position:architect

  • How owning an Instagram-famous pet changes your politics.
    https://www.salon.com/2019/06/23/how-owning-an-instagram-famous-pet-changes-your-politics

    Ici on apprend que...
    – l’acquisition de followers instagram est big business
    – il faut une équipe composé de la star, du talent pour dessiner, photogrphier, écrire, entretenir des relations, gérer les finances ...
    – une mission et un message clair qui touchent un naximum d’intéressés
    – ne pas souffrir d’une allergie contre toute forme de commercialisation.

    –> les petits enfants et les animaux domestiques ou vivant en groupes familiales constituent le contenu de base idéal.
    #fcknstgrm #seenthis-pour-les-nuls

    Owners of social media–famous animals say the experience has shaped their politics and beliefs

    Matthew Rozsa, June 23, 2019 11:30PM (UTC)

    I must begin this article with a confession: If it weren’t for my fiancee, I never would have gotten so deep into the world of Instagram-famous pets.

    To say that they give her joy is an understatement. Many restful slumbers have been disrupted by her random exclamations of unbridled happiness, followed by her pressing an iPhone against my face while cooing, “Look at the adorable dog!” or “Isn’t this the most beautiful pig in the world?”

    At first I affectionately teased her for her obsession, but then I began to dig a little deeper. What I soon learned — first from a trip to Canada last year to visit the famous Esther the Wonder Pig and then from my own research — is that animal social media stars are more than just cute pets. They are at the vanguard of a new way of viewing humanity’s relationship with other species — one that has left a positive impact on the larger world.

    “We raise awareness for the Toronto Humane Society and the Basset Hound Rescue of Ontario on our social media platforms through posts and live broadcasts,” Nathan Sidon, who along with Carly Bright co-owns Dean the Basset, told Salon by email. Incidentally, Dean the Basset has over 400,000 followers across social media platforms.

    “We also donate a significant portion of the account’s profits to these charities (over $5,000 in the last 12 months),” Sidon adds. “It’s hard to follow Dean’s account and not see how much love, attention and care he’s showered with daily.... It’s my hope that our greatest contribution to this cause is by setting an example to all pet owners and anyone considering getting a pet of how to be the best pet-owner you can be.”

    According to Sidon, he and Bright believe that “pets are a privilege and that animals in your care should be made a top priority.” He added, though, that “in our case we’ve gone so far that whether or not we’ve become Dean’s slaves is a legitimate question. I think this really shines through on Dean’s account. He’s calling the shots!”

    Salon also emailed Gemma Gené, whose social media presence includes not only pictures of her beloved pug Mochi, but also a comic series that colorfully depicts his ebullient personality.

    “I was working as an architect in my first big job in New York,” Gené recalled when asked about how she met Mochi. “It was my dream job at the time but unfortunately the hours were crazy. I used to finish work at night every day and I had to work most weekends. I missed my dog Mochi so much during work. I always liked comics and used comic as a journal. I started drawing little stories about Mochi on my subway commutes. I posted them on Instagram and eventually they become big enough that I was able to focus on my art work.”

    Now she says that she has 250,000 followers on Instagram, over 50,000 on Facebook and over a 100,000 visits every day.

    “We have participated in several campaigns,” Gené told Salon when asked about her animal rights work. “We were part of Susie’s Senior Dogs and Foster dogs NYC #famousfosters campaign where they pair people who have big audiences with a senior dog to foster. This is a great way to show how important fostering is. We fostered a little senior that we renamed Dorito and was adopted after a very few days.”

    Gené says that she donates her artwork to raise money for dog rescues — including pug rescues.

    “A cause that is very dear to our hearts is the ’Animals are not property’ petition the Animal Legal Defense Fund is working on,” Gené explained. “We try to use our influence to share this message to help change the laws on animals so they stop being considered an object and start having rights.”

    “A big part of our work presents Mochi as a little character with a big personality, much closer to a human than what most people think of dogs. We are trying to show the world that animals are much more than objects and that have many more similarities to us than what we think,” she adds.

    Salon also reached out to Steve Jenkins, who, along with Derek Walter, co-owns Esther the Wonder Pig. They told Salon that their various social media pages have roughly 2,000,000 followers and garner around 450,000 interactions every week.

    “Esther was supposed to be a mini-pig, we never had any intention of anything else,” Jenkins wrote to Salon. “By the time we realized Esther wasn’t what we thought she was, and that she would in fact be many hundreds of pounds, we had fallen in love with her and weren’t willing to give up. Technically having a family member like Esther was illegal where we lived, so we kept it quiet and opted to make a ’little Facebook page’ to show our more removed friends and family what was happening. The page went viral somehow, and all of a sudden we had thousands of people checking in every day to see what she was up to.”

    Their ownership of Esther soon caused them to become full-time animal rights activists, eventually purchasing a farm where they keep pigs, dogs, turkeys, horses and at least one (literally) strutting peacock.

    “We have been able to establish the Happily Ever Esther Farm Sanctuary, where we rescue abused and abandoned farm animals,” Jenkins explained. “We donated the largest CT scanner in the world to our local veterinary hospital. Until then, the didn’t have equipment large enough to properly get proper diagnostic images for an animal Esther’s size. We also established a fund called ’Esther Shares’ that we use to pay the medical bills for other sanctuaries and rescue organization. Last but not least, we use our pages to help people build a relationship with Esther, something that can have a deep and lasting impact on the person’s life because of their newfound love and respect for pigs.”

    Jenkins, like Gené and Sidon, also told Salon that he began to reevaluate how human beings view their relationship with animals.

    “We think everybody has a connection with animals, but we learn over time to love some animals differently than others,” Jenkins explained. “Esther really leveled that playing field in our mind, and elevated farm animals to the position we previously reserved for companion animals like cats and dogs. She ignited a passion within us that we didn’t know we had. It became a mission of our to help others see Esther the way did, and to bring her larger than life personality across in a way that people could relate to.”

    These arguments are what makes the social media movements so powerful — and why, I suspect, my fiancee is so enamored with them. It is easy to objectify animals, to view them as vessels for whatever immediate function they can provide human beings (food, clothing, recreation). Yet by presenting their animals online as hilarious personalities, with quirks and stories of their own worth following, these sites help us see animals as more than just tools of human beings. They become individuals — and, like all individuals, worthy of not just affection, but respect.

    Gené, Jenkins and Sidon also had heartwarming stories about how their social media work had improved the lives of the two-legged animals who visit them.

    “Through photos and videos requested by fans, Dean has helped a teenager ask a girl to prom, surprised a bride on her wedding day, been the theme of a 90 year old woman’s [birthday] party, and the list goes on,” Sidon told Salon. “We’ve also received hundreds of very personal messages from fans around the world telling us that Dean’s account has provided them with a much needed daily dose of positivity that’s helped them when they’re going through difficult times in their life. Suffice to say that Dean gets a lot of love from around the world and he hopes to give the love back!”

    Jenkins had a similar story about Esther.

    “My favorite message ever came from a young mother in the southern United States,” Jenkins recalled. “She was having a rough time emotionally, and found Esther’s page was becoming a bit of a crutch for her. She would check every day to see what we were up to, and engage with our posts as a way to take her mind off stuff. One day she sent a message to let us know that we had been the source of most of her smiles lately. She wanted to thank us for helping keep a positive attitude, and for helping her show her two small boys that it was ok to have two dads [Jenkins is in a same-sex relationship with Walter] and a turkey for a brother. A family is a family no matter what it looks like, and I still well up when I think about her message.”

    Gené discussed how lucky she is to “have a very loving audience,” telling Salon that “we get hundreds of messages a day telling us the impact our comic has on people and they really fuel us to keep going. Some of them particularly warm my heart like when people say that our comics make them smile when they are going through a difficult time, or when they bring back sweet memories of an animal they loved that passed away.”

    She added, “If one day we don’t post anything, we get messages of people checking up on us. That made us realize we have a community that look forward to our posts daily.”

    I should add, on a final personal note, that I do not write this article from a position of presumed moral superiority. Despite vowing to eliminate my meat consumption since I visited the Esther farm last year, I have only been able to somewhat reduce it, and aside from writing pieces like this I can’t claim to have done very much to advance the cause of animal rights in my own life. Sometimes I suspect the plaque which clogs my arteries is karmic, a punishment for sustaining my own life at the expense of those animals who have given theirs, and one that will likely shorten my own time in this world.

    The goal here is not to shame those who eat meat, or search for a firm distinction between companion animals and farm animals. The point is that social media’s animals stars have made more people think of animals as individuals — to start to see them as living souls. That isn’t enough to solve the problems facing our world today, but it’s the only place where we can start.

    #animaux #business #politique #morale #affaires #instagram #médias

  • Italie : La capitaine Pia Klemp menacée de 20 ans de prison - Secours Rouge
    https://secoursrouge.org/Italie-La-capitaine-Pia-Klemp-menacee-de-20-ans-de-prison


    Pia Klemp

    Pia Klemp a participé au sauvetage de réfugiés dans la méditerranée avec l’association Sea-Watch. Elle est maintenant accusée par la justice italienne d’aide à l’immigration illégale. Le parquet exige une peine de prison de 20 ans. Pour ses investigations, le parquet a eu recourt à des écoutes téléphoniques et à des agents infiltrés. Dans le cadre de ses six missions en tant que capitaine des bateaux de sauvetage Sea-Watch 3 et Iuventa, Pia Klemp dit avoir pu sauver les vies de 5000 personnes.

    • German boat captain Pia Klemp faces prison in Italy for migrant rescues

      Pia Klemp stands accused of aiding illegal immigration after she saved people from drowning in the Mediterranean. The Bonn native has accused Italian authorities of organizing “a show trial.”

      Nearly 60,000 people had signed a petition by Saturday afternoon demanding that Italy drop criminal proceedings against German boat captain Pia Klemp and other crew members who have rescued thousands of migrants in the Mediterranean Sea.

      In an interview with the Basler Zeitung daily on Friday, Klemp said that a trial against her was due to begin soon after she and some of her compatriots were charged in Sicily with assisting in illegal immigration.

      She said that she was told by her Italian lawyer that she could be looking at “up to 20 years in prison and horrendous fines.”

      Klemp added, however, that she intended to fight the case up to the European Court of Human Rights in Strasbourg, France, if she had to.

      The 35-year-old Bonn native has been under investigation in Italy since her ship, the Iuventa, was impounded in the summer of 2017, and the government has moved to ban her from sailing around the Italian coast. According to German public broadcaster WDR, through the work on that ship and the Sea-Watch 3, Klemp has personally assisted in the rescue of more than 1,000 people at risk of drowning in unsafe dinghies as they attempted to cross to Europe in search of a better life.

      Read more: Italy’s Matteo Salvini wants hefty fines for migrant rescue vessels

      Salvini’s crackdown

      An already immigrant-unfriendly government in Rome became even more so in June 2018, when newly appointed Interior Minister and Deputy Prime Minister Matteo Salvini of the far-right League party promised a crackdown the likes of which modern Italy had never seen.

      Since assuming office, Salvini has sought to put a stop to migrant rescue ships docking on Italian shores and allowing refugees to disembark. In January, the nationalist leader made headlines with the forced evacuation of hundreds of asylum-seekers from Italy’s second-largest refugee center and his refusal to clarify where the people, many of whom had lived in Castelnuovo di Porto for years and become integrated into town life, were being taken.

      Shortly thereafter, Sicilian prosecutors ruled that Salvini could be charged with kidnapping more than 177 migrants left stranded on a ship he had ordered impounded.

      ’A yearslong show trial’

      What frustrates Klemp the most, she told the Basler Zeitung, is that the costs — amounting to hundreds of thousands of euros — that she has had to prepare to cover from her own savings and some new donations “for what is likely to be a yearslong show trial” require money that could have been spent on rescue missions.

      “But the worst has already come to pass,” she said. “Sea rescue missions have been criminalized.”

      For this, the captain blames not only the Italian government but what she sees as a failure of the European Union “to remember its avowed values: human rights, the right to life, to apply for asylum, and the duty of seafarers to rescue those in danger at sea.”

      Klemp added that “demagogues” such as Salvini, former Austrian Chancellor Sebastian Kurz and German Interior Minister Horst Seehofer were effectively allowing thousands to perish in the Mediterranean each year.

      She pushed back at criticism that rescue missions encouraged more people to attempt the highly dangerous crossing. “There are scientific studies that disprove the idea that sea rescues are a so-called pull factor,” she said. “The people come because, unfortunately, there are so many reasons to flee.” And if countries close their borders, “they come via the Mediterranean because there is no legal way to get here,” she added.

      To cover her potentially exorbitant legal costs, a bar in Bonn has announced a fundraising campaign to help Klemp. Cafe Bla has announced that for every patron who orders the “Pia beer,” 50 euro cents will be donated to their former waitress.


      https://www.dw.com/en/german-boat-captain-pia-klemp-faces-prison-in-italy-for-migrant-rescues/a-49112348?maca=en-Twitter-sharing

    • Mobilisation pour la capitaine d’un navire humanitaire

      L’ancienne capitaine du « #Iuventa », immobilisé depuis 2017, encourt vingt ans de prison en Italie. Accusée de complicité avec les passeurs, elle affirme n’avoir fait que respecter le droit international, qui impose de porter secours à toute personne en détresse.

      https://www.liberation.fr/planete/2019/06/11/mobilisation-pour-la-capitaine-d-un-navire-humanitaire_1732973

    • I Helped Save Thousands of Migrants from Drowning. Now I’m Facing 20 Years in Jail | Opinion

      In today’s Europe, people can be sentenced to prison for saving a migrant’s life. In the summer of 2017, I was the captain of the rescue ship Iuventa. I steered our ship through international waters along the Libyan coastline, where thousands of migrants drifted in overcrowded, unseaworthy dinghies, having risked their lives in search of safety. The Iuventa crew rescued over 14,000 people. Today, I and nine other members of the crew face up to twenty years in prison for having rescued those people and brought them to Europe. We are not alone. The criminalization of solidarity across Europe, at sea and on land, has demonstrated the lengths to which the European Union will go to make migrants’ lives expendable.

      Two years ago, Europe made renewed efforts to seal the Mediterranean migrant route by draining it of its own rescue assets and outsourcing migration control to the so-called “Libyan Coast Guard”, comprised of former militia members equipped by the EU and instructed to intercept and return all migrants braving the crossing to Europe. NGO ships like the Iuventa provided one of the last remaining lifelines for migrants seeking safety in Europe by sea. For European authorities, we were a critical hurdle to be overcome in their war against migration.

      In August 2017, the Iuventa was seized by the Italian authorities and the crew was investigated for “aiding and abetting illegal immigration.” Thus began an ongoing spate of judicial investigations into the operation of search and rescue vessels. Sailors like myself, who had rallied to the civil fleet when it seemed no European authority cared people were drowning at sea, were branded as criminals. The ensuing media and political campaign against us has gradually succeeded in removing almost all NGOs from the central Mediterranean, leaving migrants braving the sea crossing with little chance of survival.

      We sea-rescuers have been criminalized not only for what we do but for what we have witnessed. We have seen people jump overboard their frail dinghies on sighting the so-called Libyan Coast Guard, preferring death at sea over return to the slavery, torture, rape and starvation that awaits them in EU-funded Libyan detention centers. We have also seen what becomes of those who are found too late. For days, I steered our ship through international waters with a dead two-year-old boy in the freezer. No European country had wanted to save him when they had the chance. His mother lived, and after days of drifting in wait of an open port, our ship brought her to Europe—when it no longer mattered to her. We rescuers know that those who drown at Europe’s doorstep are not unlucky casualties of the elements. The transformation of the Mediterranean into a mass grave for migrants is a European political project.

      Over the past year, Italy’s interior minister Matteo Salvini has provided a useful alibi for centrist European political forces–those avowedly committed to “European values” of human rights. His persistent targeting of rescue NGOs and his decision to seal Italian ports to ships carrying rescued migrants has seen him cast as the “rotten egg” of an otherwise largely liberal European Union. But Matteo Salvini is neither the architect of Fortress Europe, nor its sole gatekeeper.

      Alongside Italy’s ostentatious prosecution of sea rescuers, other European nations have adopted shrewder, subtler tactics, revoking their flags or miring ships’ crews in unnecessary and lengthy bureaucratic procedures. When Salvini sealed Italian ports, other member states expressed righteous indignation—but not one of them offered its own ports as havens for later rescues. One of two remaining rescue ships, Sea-Watch 3, has since spent weeks motoring along the European coast line with hundreds of refugees on board, pleading for an open port, only to find that their “cargo” was not wanted anywhere in Europe.

      In the coming months, as the conflict in Libya intensifies, thousands more will be forced to brave the sea crossing. I know from experience that without rescue, the majority of them will die. Common sense tells me that with humanitarian vessels barred from saving lives and European commercial and military and Coast Guard ships instructed to avoid migrant routes, their chances of rescue are shrinking. I suspect European leaders share my common sense.

      Meanwhile, we sea rescuers are not alone in facing charges for “crimes of solidarity.” On land across Europe, hundreds of men and women stand trial for having offered food, shelter or clothing to migrants. Among us are countless migrants criminalized for having helped other migrants in need, whose faces will likely not appear in esteemed publications.

      None of us has been prosecuted for helping white Europeans. The simple truth is that in intimidating and punishing those of us who have offered their solidarity to migrants, Europe has worked systematically and with precision to segregate, humiliate and isolate its weakest members—if not based on race and ethnicity de jure, then certainly de facto.

      None of us facing charges for solidarity is a villain, but neither are we heroes. If it is alarming that acts of basic human decency are now criminalized, it is no less telling that we have sometimes been lauded by well-intentioned supporters as saints. But those of us who have stood in solidarity with migrants have not acted out of some exceptional reserve of bravery or selfless compassion for others. We acted in the knowledge that the way our rulers treat migrants offers a clue about how they would treat the rest of us if they thought they could get away with it. Politicians who target, scapegoat and exploit migrants, do so to shore up a violent, unequal world—a world in which we, too, have to live and by which we, too, may be disempowered.

      The criminalization of solidarity today is not only about stripping Europe’s most precarious of their means of survival. It is also an effort at foreclosing the forms of political organization that alliances between Europeans and migrants might engender; of barring the realization that in today’s Europe of rising xenophobia, racism, homophobia and austerity, the things that migrants seek—safety, comfort, dignity—are increasingly foreclosed to us Europeans as well.

      And in hounding migrants and those standing in solidarity with them, Europe is not only waging a brutal battle of suppression. It is also belying its fear of what might happen if we Europeans and migrants made common cause against Fortress Europe, and expose it for what it is: a system that would pick us off one by one, European and migrant alike, robbing each of us in turn of our freedoms, security and rights. We should show them that they are right to be afraid.

      Captain Pia Klemp is a vegan nature-lover, animal-rights and human-rights activist. Before joining search and rescue missions, Captain Pia Klemp was an activist for maritime conservation with Sea-Shepherd. Chloe Haralambous, a researcher and fellow rescue crew member, contributed to this op-ed.

      The views expressed in this article are the author’s own.​​​​​

      https://www.newsweek.com/refugees-mediterranean-sea-rescue-criminalization-solidarity-1444618

  • Our brutalist tower that never was | Universal Hub

    https://www.universalhub.com/2018/our-brutalist-tower-never-was

    The only reason City Hall is the most hated building in Boston is because most people somehow manage to completely ignore the Government Service Center on Cambridge Street between Staniford and New Chardon.

    But the building, which houses various government offices, such as the Lindemann Mental Health Center, would have been harder to ignore under architect Paul Rudolph’s original plans, which called for a 23-story tower - all intended to be part of what we now call Government Center, rising from the remains of old Scollay Square.

    #architecture #brutalisme

  • Brock Pierce on Reviving Mt. Gox
    https://hackernoon.com/brock-pierce-on-reviving-mt-gox-d08a838ecc0a?source=rss----3a8144eabfe3-

    Audio interview transcription — WBD079Note: the following is a transcription of my interview with Brock Pierce. I have reviewed the transcription but if you find any mistakes, please feel free to email me. You can listen to the original recording here.You can subscribe to the podcast and listen to all episodes here.In the fifth part of my series of interviews relating to Mt. Gox, I talk with Brock Pierce, the architect of Gox Rising, a mission to support creditors, maximise revenues and relaunch the exchange.https://medium.com/media/7ffa516a38be32ca705b1fadbfaab96b/hrefConnect with What Bitcoin Did:Listen: iTunes | Spotify | Stitcher | SoundCloud | YouTube | TuneInFollow: Website | Email | Blog | Twitter | Medium | Instagram | YouTubeInterview TranscriptionInterview Date: Wednesday 13th (...)

    #mtgox #blockchain

  • Daniel Kelman on the Creditors of Mt. Gox and Civil Rehabilitation
    https://hackernoon.com/daniel-kelman-on-the-creditors-of-mt-gox-and-civil-rehabilitation-ad8b8c

    Audio interview transcription — WBD077Note: the following is a transcription of my interview with Daniel Kelman, a lawyer and creditor of Mt. Gox. I have reviewed the transcription but if you find any mistakes, please feel free to email me. You can listen to the original recording here.You can subscribe to the podcast and listen to all episodes here.In the third part of my series of interviews relating to Mt. Gox, I talk with the lawyer, Daniel Kelman, the architect of the civil rehabilitation plan for Mt. Gox creditors. We discuss this as well as the claims from Brock Pierce and Peter Vessenes.https://medium.com/media/df3b3927dfc2d17bcc83c75a9684352b/hrefConnect with What #bitcoin Did:Listen: iTunes | Spotify | Stitcher | SoundCloud | YouTube | TuneInFollow: Website | Email | Blog | (...)

    #mtgox

  • Sackler family money is now unwelcome at three major museums. Will others follow? - The Washington Post
    https://www.washingtonpost.com/entertainment/museums/two-major-museums-are-turning-down-sackler-donations-will-others-follow/2019/03/22/20aa6368-4cb9-11e9-9663-00ac73f49662_story.html

    By Philip Kennicott
    Art and architecture critic
    March 23

    When the National Portrait Gallery in London announced Tuesday that it was forgoing a grant from the Sackler family, observers could be forgiven for a certain degree of skepticism about the decision’s impact on the art world. The Sacklers, owners of the pharmaceutical behemoth Purdue Pharma, which makes OxyContin, had promised $1.3 million to support a public-engagement project. The money, no doubt, was welcome, but the amount involved was a relative pittance.

    Now another British institution and a major U.S. museum, the Guggenheim, have said no to Sackler money, which has become synonymous with a deadly and addictive drug that boosted the family fortune by billions of dollars and caused immeasurable suffering. The Tate art galleries, which include the Tate Modern and the Tate Britain in London as well as outposts in Liverpool and Cornwall, announced Thursday that it will also not accept money from the family.

    The Sacklers are mired in legal action, investigations and looming congressional inquiries about their role in marketing a drug blamed for a significant early role in an epidemic of overdose deaths that has claimed the lives of hundreds of thousands of Americans since 1997.

    Is this a trend? These moves may affect immediate plans but won’t put much of a dent in the museums’ budgets. The impact on the Sackler family’s reputation, however, will force American arts institutions to pay attention.

    The Sackler family, which includes branches with differing levels of culpability and involvement with the issue, has a long history of donating to cultural organizations. Arthur M. Sackler, who gave millions of dollars’ worth of art and $4 million for the opening of the Smithsonian’s Sackler Gallery in 1987, died long before the OxyContin scandal began. Members of the family involved with OxyContin vigorously contest the claims that Perdue Pharma was unscrupulous in the promotion of a drug, though company executives pleaded guilty to violations involving OxyContin in 2007 and the company paid more than $600 million in fines.

    A million here or there is one thing. Having a whole building named for a family with blood on its hands is another, and seeking yet more money for new projects will become even more problematic. And every institution that bears the Sackler family name, including New York’s Metropolitan Museum of Art (which has a Sackler wing) and the University Art Museum at Princeton (which has a Sackler gallery) is now faced with the distasteful proposition of forever advertising the wealth of a family that is deeply implicated in suffering, death and social anomie.

    Will any major U.S. institution that has benefited from Sackler largesse remove the family’s name?

    The National Portrait Gallery in London. (Daniel Leal-Olivas/AFP/Getty Images)
    The usual arguments against this are stretched to the breaking point. Like arguments about Koch family money, which has benefited cultural institutions but is, to many, inextricably linked to global warming and the impending collapse of the Anthropocene, the issues at stake seem, at first, to be consistency and pragmatism. The pragmatic argument is this: Cultural organizations need the money, and if they don’t take it, that money will go somewhere else. And this leads quickly to the argument from consistency. Almost all of our major cultural organizations were built up with money derived from family fortunes that are tainted — by the exploitation of workers, slavery and the lasting impacts of slavery, the depredations of colonialism and the destruction of the environment. So why should contemporary arts and cultural groups be required to set themselves a higher, or more puritanical, standard when it comes to corrupt money? And if consistency matters, should we now be parsing the morality of every dollar that built every opera house and museum a century ago?

    Both arguments are cynical. Arts organizations that engage in moral money laundering cannot make a straight-faced claim to a higher moral purpose when they seek other kinds of funding, including donations and membership dollars from the general public and support from government and foundations. But the consistency argument — that the whole system is historically wrapped up in hypocrisy about money — needs particular reconsideration in the age of rapid information flows, which create sudden, digital moral crises and epiphanies.

    [The Sacklers have donated millions to museums. But their connection to the opioid crisis is threatening that legacy.]

    Moral (or social) hazard is a funny thing. For as long as cultural institutions are in the money-laundering business, companies such as Perdue Pharma will have an incentive to take greater risks. If the taint of public health disaster can be washed away, then other companies may choose to put profits over public safety. But this kind of hazard isn’t a finely calibrated tool. It involves a lot of chance and inconsistency in how it works. That has only increased in the age of viral Twitter campaigns and rapid conflagrations of public anger fueled by new social media tools.

    Why is it that the Sackler family is in the crosshairs and not any of the other myriad wealthy people whose money was made through products that are killing us? Because it is. And that seeming randomness is built into the way we now police our billionaires. It seems haphazard, and sometimes unfair, and inefficient. Are there worse malefactors scrubbing their toxic reputations with a new hospital wing or kids literacy program? Surely. Maybe they will find their money unwelcome at some point in the future, and maybe not. The thing that matters is that the risk is there.

    [Now would be a good time for museums to think about our gun plague]

    The Arthur M. Sackler Gallery of Art in Washington. (Bill O’Leary/The Washington Post)
    Much of the Sackler family money was made off a drug that deadens the mind and reduces the human capacity for thought and feeling. There is a nice alignment between that fact and what may now, finally, be the beginnings of a new distaste about using Sackler money to promote art and cultural endeavors, which must always increase our capacities for engagement with the world. It is immensely satisfying that the artist Nan Goldin, whose work has explored the misery of drug culture, is playing a leading role in the emerging resistance to Sackler family money. (Goldin, who was considering a retrospective of her work at the National Portrait Gallery, said to the Observer: “I have told them I would not do it if they take the Sackler money.”)

    More artists should take a lead role in these conversations, to the point of usurping the usual prerogatives of boards and executive committees and ethical advisory groups to make decisions about corrupt money.

    [‘Shame on Sackler’: Anti-opioid activists call out late Smithsonian donor at his namesake museum]

    Ultimately, it is unlikely that any arts organization will manage to find a consistent policy or somehow finesse the challenge of saying all that money we accepted from gilded-age plutocrats a century ago is now clean. But we may think twice about taking money from people who are killing our planet and our people today. What matters is that sometimes lightning strikes, and there is hell to pay, and suddenly a name is blackened forever. That kind of justice may be terrifying and swift and inconsistent, but it sends a blunt message: When the world finally learns that what you have done is loathsome, it may not be possible to undo the damage through the miraculous scrubbing power of cultural detergent.

    #Opioides #Sackler #Musées #Shame

  • Morozov’s House | izi.TRAVEL
    https://izi.travel/en/5398-morozov-s-house/en


    Siège du mouvement Proletkult
    https://fr.wikipedia.org/wiki/Proletkoult

    The elegant building which looks like a Moorish castle is the house of Arseny Morozov.

    This exotic house on Vozdvizhenka was built by the architect Viktor Mazyrin for his friend Arseny Morozov who was from a family of wealthy industrialists. When they travelled together through Spain and Portugal, Arseny noted a castle he liked and he decided to build something like it for himself. And he did, only in Moscow it looked a bit out of place. It was all done in a deliberately Moorish style – the Arabic arch, the windows, the canopies and cornices, the wall-carvings, the decorative work in the form of sea shells, nautical ropes and chains.

    The people of Moscow did not like Morozov’s house at all, and even Arseny’s mother allegedly expressed her disapproval like this: “Before only I knew that you were a fool, now all of Moscow will know!” But time has gone by, and now the eccentric house is popular, it clearly adds decorative colour to Vozdvizhenka. It is now the Government Reception House of the Russian Federation.

  • Rebel with a cause: how the founder of #Bauhaus changed the world | Art and design | The Guardian
    https://www.theguardian.com/artanddesign/2019/mar/01/rebel-with-a-cause-how-the-founder-of-bauhaus-changed-the-world

    Arrogant and charmless, obsessed with his own image, even phoney – this is how #Walter_Gropius, founder of the Bauhaus, the most influential of all art schools, is remembered. He is the rigid disciplinarian, the architect unable to draw. In the five years I’ve spent writing about Gropius’s life, I have often been treated as crazy for taking on such an unsympathetic subject. The architectural historian Joseph Rykwert described Gropius as someone “who seemed to have fewer redeeming features than many of his kind … his pinched humourless egotism was unrelieved by sparkle”. But these received ideas need to be challenged. Why have people got him so wrong?

  • https://www.arch2o.com/david-cardelus-photographs-antoni-gaudi-el-capricho
    David Cardelús is a Spanish architectural photographer who specialized in representing contemporary architecture for architectural firms and national and international publishing companies, has takes a series of photographs of El Capricho, that in 1883, Máximo Díaz de Quijano, an “Indiano” enriched in America, commissioned to Antoni Gaudí with what would be a summer villa near the palace of Sobrellano del Marqués in Comillas, Cantabria. Gaudi has several other works in Barcelona that one cannot miss if they happen to visit the Catalonian city.

    #antoni_gaudí

  • Pétition de personnalités britanniques (Vivienne Westwood, Peter Gabriel, Mike Leigh, Julie Christie, Maxine Peake, Wolf Alice, Roger Waters, Caryl Churchill, Al Kennedy) contre la tenue de l’Eurovision en israel et sa diffusion par la BBC.

    (un article en parlait déjà là: https://seenthis.net/messages/756450 )

    The BBC should press for Eurovision to be moved from Israel
    The Guardian, le 29 janvier 2019
    https://www.theguardian.com/tv-and-radio/2019/jan/29/the-bbc-should-press-for-eurovision-to-be-moved-from-israel

    Traduction en français:

    La BBC devrait faire pression pour que l’Eurovision n’ait pas lieu en Israël
    The Guardian, le 29 janvier 2019
    http://www.agencemediapalestine.fr/blog/2019/01/31/la-bbc-devrait-faire-pression-pour-que-leurovision-nait-pas-lie

    Peter Ahrends, architect
    Amir Amirani, filmmaker
    Jonathan Arndell, architect, artist
    Roy Battersby, director
    Bloody Knees, band
    brave timbers, band
    Jen Brister, comedian
    Carmen Callil, publisher, writer
    Taghrid Choucair-Vizoso, performer
    Julie Christie, actor
    Ian Christie, film historian, broadcaster
    Chipo Chung, actor
    Caryl Churchill, playwright
    Michael Darlow, tv writer and director
    Paula Darwish, musician
    April De Angelis, playwright
    Tam Dean Burn, actor
    Drones Club, band
    Nancy Elan, violin
    Gareth Evans, producer, curator
    Peter Gabriel, musician, founder WOMAD festival
    Lots Holloway, singer, songwriter
    Rachel Holmes, writer
    Brigid Keenan, author
    Patrick Keiller, artist, filmmaker
    Reem Kelani, musician, broadcaster
    AL Kennedy, writer
    Desmond Lambert, musician
    Mike Leigh, writer, director
    Ken Loach, director
    Sabrina Mahfouz, writer
    Miriam Margolyes, actor
    Yann Martel, writer
    Declan McKenna, singer, songwriter
    JD Meatyard, musician
    Pauline Melville, writer
    Giuliano Modarelli, musician, composer
    Object Blue, DJ
    Maxine Peake, actor
    Jocelyn Pook, composer
    TJ Rehmi, composer, producer
    Reverend & the Makers, band
    Leon Rosselson, songwriter
    Rrose, DJ
    Alexei Sayle, comedian, author
    David Scott, music producer
    Nick Seymour, musician
    Sarah Streatfeild, violin
    Roger Waters, musician
    Vivienne Westwood, fashion designer
    Wolf Alice, band

    #Palestine #Eurovision #BDS #Boycott #BBC #Grande-Bretagne

  • Minnette de Silva: the brilliant female architect forgotten by history | Cities | The Guardian

    https://www.theguardian.com/cities/2018/dec/14/minnette-de-silva-the-brilliant-female-architect-forgotten-by-history

    CORR for the title: forgotten on purpose by men (not by history)

    Against all odds, the 1940s pioneer of Sri Lankan modernism became one of the world’s most famous women architects. So why are her buildings not celebrated today?
    Cities is supported by
    Rockefeller Foundation
    About this content

    Shiromi Pinto

    Fri 14 Dec 2018 07.30 GMT
    Last modified on Wed 9 Jan 2019 15.50 GMT

    Shares
    9,865
    Comments
    25
    Minnette de Silva and politician Georges de Silva at the 1948 World Congress of Intellectuals in Defence of Peace.
    Minnette de Silva and politician George de Silva at the 1948 World Congress of Intellectuals in Defence of Peace. Photograph: PAP

    The second house designed by Minnette de Silva, once one of the most famous female architects in the world, stands in Alfred House Gardens, a leafy street in Colombo, Sri Lanka, tucked away from the fumes of nearby Galle Road.

    Raised on columns, the house shelters within a limestone boundary wall, its iron gate patterned with leaf shapes. A yellow oleander tree and red bougainvillea spill over the gate, almost entirely obscuring the house that was built for family friends the Pierises in 1952. Inside are De Silva’s trademark features: open courtyards and verandahs alive with trees, shrubs and a pond; a walled garden; a parking space that once doubled as a play area; and a staircase sweeping up to the second floor, where the bedrooms and kitchen are located.

    #architecture #femmes_invisibilisées

  • Architecting a #hyperledger Solution — Things to keep in mind
    https://hackernoon.com/architecting-a-hyperledger-solution-things-to-keep-in-mind-78033e6fee75?

    Architecting a Hyperledger SolutionAt the time of writing this article, there are not many resources available to derive the nodes and architect a Hypderledger Fabric solution. I hope this post will bring some amount of clarity in designing an enterprise level hyperledger fabric solutionYou will have to keep following things in mind while architecting a hyperledger solution –1. Fabric has a highly modular and configurable #architecture suitable for a broad range of industry use cases including banking, finance, insurance, healthcare, human resources, supply chain.The Fabric platform is also permissioned. Unlike a public permissionless network where the participants are known to each other, instead fabric is anonymous and therefore fully untrusted. This means that while the participants may (...)

    #blockchain #smart-contracts #blockchain-technology

  • The roundabout revolutions

    The history of these banal, utilitarian instruments of traffic management has become entangled with that of political uprising, #Eyal_Weizman argues in his latest book

    This project started with a photograph. It was one of the most arresting images depicting the May 1980 #Gwangju uprising, recognised now as the first step in the eventual overthrow of the military dictatorship in South Korea. The photograph (above) depicts a large crowd of people occupying a roundabout in the city center. Atop a disused fountain in the middle of the roundabout a few protestors have unfurled a South Korean flag. The roundabout organised the protest in concentric circles, a geometric order that exposed the crowd to itself, helping a political collective in becoming.

    It had an uncanny resonance with events that had just unfolded: in the previous year a series of popular uprisings spread through Tunisia, Egypt, Bahrain, #Oman, Yemen, Libya, and Syria. These events shared with Gwangju not only the historical circumstances – they too were popular protests against military dictatorships – but, remarkably, an urban-architectural setting: many of them similarly erupted on roundabouts in downtown areas. The history of these roundabouts is entangled with the revolutions that rose from them.

    The photograph of the roundabout—now the symbol of the “liberated republic” – was taken by #Na_Kyung-taek from the roof of the occupied Provincial Hall, looking toward Geumnam-ro, only a few hours before the fall of the “#Gwangju_Republic”. In the early morning hours of the following day, the Gwangju uprising was overwhelmed by military force employing tanks and other armed vehicles. The last stand took place at the roundabout.

    The scene immediately resonates with the well-known photographs of people gathering in #Tahrir_Square in early 2011. Taken from different high-rise buildings around the square, a distinct feature in these images is the traffic circle visible by the way it organises bodies and objects in space. These images became the symbol of the revolution that led to the overthrow of President Hosni Mubarak in February 2011 – an event described by urban historian Nezar AlSayyad as “Cairo’s roundabout revolution”. But the Gwangju photograph also connects to images of other roundabouts that erupted in dissent in fast succession throughout the Middle East. Before Tahrir, as Jonathan Liu noted in his essay Roundabouts and Revolutions, it was the main roundabout in the capital of Tunisia – subsequently renamed Place du 14 Janvier 2011 after the date on which President Zine el-Abidine Ben Ali was forced to flee the country. Thousands of protesters gathered at the roundabout in Tunis and filled the city’s main boulevard.

    A main roundabout in Bahrain’s capital Manama erupted in protests shortly after the overthrow of Mubarak in Egypt. Its central traffic island became the site of popular protests against the government and the first decisive act of military repression: the protests were violently broken up and the roundabout itself destroyed and replaced with a traffic intersection. In solidarity with the Tahrir protests, the roundabouts in the small al-Manara Square in Ramallah and the immense Azadi Square in Tehran also filled with protesters. These events, too, were violently suppressed.

    The roundabouts in Tehran and Ramallah had also been the scenes of previous revolts. In 2009 the Azadi roundabout in Iran’s capital was the site of the main protests of the Green Movement contesting President Mahmoud Ahmadinejad’s reelection. Hamid Dabashi, a literature professor at Columbia University and one of the most outspoken public intellectuals on these revolutions, claims that the Green Movement was inspirational for the subsequent revolutionary wave in the Arab world. In Palestine, revolt was a permanent consequence of life under occupation, and the al-Manara roundabout was a frequent site of clashes between Palestinian youth and the Israeli military. The sequence of roundabout revolutions evolved as acts of imitation, each building on its predecessor, each helping propel the next.

    Roundabouts were of course not only exhilarating sites of protest and experiments in popular democracy, but moreover they were places where people gathered and risked their life. The Gwangju uprising is, thus, the first of the roundabout revolutions. Liu wrote: “In all these cases, the symbolism is almost jokingly obvious: what better place to stage a revolution, after all, then one built for turning around?” What better way to show solidarity across national borders than to stage protests in analogous places?

    Why roundabouts? After all, they are banal, utilitarian instruments of traffic management, certainly not prone to induce revolutionary feeling. Other kinds of sites – squares, boulevards, favelas, refugee camps – have served throughout history as the setting for political protest and revolt. Each alignment of a roundabout and a revolution has a specific context and diverse causes, but the curious repetition of this phenomenon might give rise to several speculations. Urban roundabouts are the intersection points of large axes, which also puts them at the start or end of processions.

    Occupying a roundabout demonstrates the power of tactical acupuncture: it blocks off all routes going in and out. Congestion moves outward like a wave, flowing down avenues and streets through large parts of the city. By pressuring a single pivotal point within a networked infrastructure, an entire city can be put under siege (a contemporary contradistinction to the medieval technique of surrounding the entire perimeter of a city wall). Unlike public squares, which are designed as sites for people to gather (therefore not interrupting the flow of vehicular traffic) and are usually monitored and policed, roundabout islands are designed to keep people away. The continuous flow of traffic around them creates a wall of speeding vehicles that prohibits access. While providing open spaces (in some cities the only available open spaces) these islands are meant to be seen but not used.

    Another possible explanation is their symbolic power: they often contain monuments that represent the existing regime. The roundabouts of recent revolutions had emblematic names – Place du 7 Novembre 1987, the date the previous regime took power in Tunisia; “Liberty” (Azadi), referring to the 1979 Iranian Revolution; or “Liberation” (Tahrir), referring to the 1952 revolutions in Egypt. Roundabout islands often had statues, both figurative and abstract, representing the symbolic order of regimes. Leaders might have wished to believe that circular movement around their monuments was akin to a form of worship or consent. While roundabouts exercise a centripetal force, pulling protestors into the city center, the police seek to generate movement in the opposite direction, out and away from the center, and to break a collective into controllable individuals that can be handled and dispersed.

    The most common of all centrifugal forces of urban disorganisation during protests is tear gas, a formless cloud that drifts through space to disperse crowds. From Gwangju to Cairo, Manama to Ramallah, hundreds of tear-gas canisters were used largely exceeding permitted levels in an attempt to evict protesters from public spaces. The bodily sensation of the gas forms part of the affective dimension of the roundabout revolution. When tear gas is inhaled, the pain is abrupt, sharp, and isolating. The eyes shut involuntary, generating a sense of disorientation and disempowerment.

    Protestors have found ways to mitigate the toxic effects of this weapon. Online advice is shared between activists from Palestine through Cairo to Ferguson. The best protection is offered by proper gas masks. Improvised masks made of mineral water bottles cut in half and equipped with a filter of wet towels also work, according to online manuals. Some activists wear swim goggles and place wet bandanas or kaffiyehs over their mouths. To mitigate some of the adverse effects, these improvised filters can be soaked in water, lemon juice, vinegar, toothpaste, or wrapped around an onion. When nothing else is at hand, breathe the air from inside your shirt and run upwind onto higher ground. When you have a chance, blow your nose, rinse your mouth, cough, and spit.


    https://www.iconeye.com/opinion/comment/item/12093-the-roundabout-revolutions
    #révolution #résistance #giratoire #carrefour #rond-point #routes #infrastructure_routière #soulèvement_politique #Corée_du_Sud #printemps_arabe #Egypte #Tunisie #Bahreïni #Yémen #Libye #Syrie #Tahrir

    Du coup : #gilets_jaunes ?

    @albertocampiphoto & @philippe_de_jonckheere

    This project started with a photograph. It was one of the most arresting images depicting the May 1980 #Gwangju uprising, recognised now as the first step in the eventual overthrow of the military dictatorship in South Korea. The photograph (above) depicts a large crowd of people occupying a roundabout in the city center. Atop a disused fountain in the middle of the roundabout a few protestors have unfurled a South Korean flag. The roundabout organised the protest in concentric circles, a geometric order that exposed the crowd to itself, helping a political collective in becoming.

    –-> le pouvoir d’une #photographie...

    signalé par @isskein

    ping @reka

  • 6 Superpowers of a Technology Architect
    https://hackernoon.com/6-superpowers-of-a-technology-architect-fd7adaa0f35?source=rss----3a8144

    Every profession requires special skills which make an individual best or mediocre in that field. If you are a superhero, flying without engines, seeing behind the walls or firing laser beams off your eyes would certainly make you a favourite amongst the others.Having spent close to two decades in technology #architecture, I tried imagining the superpowers of a super architect. I focused on the character skills instead of domain, technology, or methodology knowledge and experience.I believe an architect who has these skills would pull off any complex design problems even they are new in the field or don’t have a shiny architecture badge.None of these would be considered a superpower unless it comes with a flashy name. The outcome is not as striking as Negasonic Teenage Warhead, but I (...)

    #superheroes #tech-superpowers #tech-superheros #technology-architect

  • 100 years #Bauhaus: more than good forms
    https://www.deutschland.de/en/topic/culture/100-years-bauhaus-more-than-good-forms

    Formerly a school, now a foundation: following reunification, in 1994 the German Federal Government founded the Bauhaus Foundation in Dessau. Its task is to preserve the cultural heritage of the Bauhaus, which has been under UNESCO protection in Weimar and Dessau since 1996. In 2014, the architect Claudia Perren took over the direction of the foundation.

    Mrs Perren, in 2019 Germany will be celebrating 100 years Bauhaus. What was special about this College of Design?

    The Bauhaus was created after the First World War to find new ways of life. In Dessau, for example, they began building prototypes that would allow the working class to own their own homes. The Bauhaus has had a direct impact on society through social housing projects. It’s therefore not only a design model but also a social and an economic one.

    #art #design

  • What is Digital Architecture anyway?
    https://hackernoon.com/what-is-digital-architecture-anyway-47482189e3fc?source=rss----3a8144eab

    What is Digital Architecture Anyway?Best way to secure funding for your project is to put the word Digital somewhere into the name of it.Those were the words I heard from a IT executive pretty much summarising the way IT industry reacts to Digital today. We work in digital transformation projects which would be just called transformation projects a few years ago.Unsurprisingly companies are seeking for Digital Architects to support these projects, whereas they would be just looking for Technology Architects before digital became the fund-securing-word. Funnily enough, if you look at to required job skills, you can hardly spot any significant difference apart from some key words. So what makes an architect a Digital Architect and in fact, is there such thing as Digital Architecture?Short (...)

    #digital-architecture #business #software-architecture #digital-transformation #enterprise-technology

  • Becoming a #blockchain Architect in 10 steps
    https://hackernoon.com/becoming-a-blockchain-architect-in-10-steps-b5945701e9cd?source=rss----3

    There is an overwhelming amount of information and hype about blockchain, which gets outdated really fast as the ecosystem moves at breakneck speed. In this article I detail on my ongoing journey towards becoming a blockchain architect, to the benefit of any others that might want to follow this path.I’m not afraid of storms, for I’m learning how to sail my ship. — Louisa May AlcottWho is this article intended for?This article is intended for people that want to get into blockchain in the heady summer of 2018. With a special emphasis on those that want to get into architecture roles and therefore need an understanding of all moving parts including theory, but that don’t really need a deep knowledge of anything in particular. As an architect you should know how to get the right knowledge from (...)

    #blockchain-architect #software-development #software-architecture #learning-to-code

  • The Storefront Theater was designed “for people to come together”
    https://www.dezeen.com/2018/12/04/movie-storefront-theater-matthew-mazzotta-architecture-project-dezeen-awards

    The Storefront Theater was named Architecture Project of the Year 2018 at the inaugural Dezeen Awards ceremony

    The project won because it demonstrates how a simple architectural idea can have a positive impact on the local community, according to Mexican architect Rojkind, who was chair of the Dezeen Awards master architecture jury.

    #architecture #espace_public #théâtre

  • #eos Development Startup Guide
    https://hackernoon.com/eos-development-startup-guide-2cc079d941c6?source=rss----3a8144eabfe3---

    I architect distributed-ledger products for Carbon-12 Labs, and I had the pleasure of building and deploying an EOS stablecoin throughout the past month with the resident Carbon hackers.Let’s get right to the point: I believe that EOS is a developer’s paradise ? and I want to help other developers and craftsman learn about EOS and why it’s a great environment to develop & deploy decentralized applications.Paul Graham, a magician of speech and the entrepreneur-whisperer, once stated that: “Great hackers tend to clump together” and “Like all craftsmen, hackers like good tools. In fact, that’s an understatement. Good hackers find it unbearable to use bad tools”, and I couldn’t agree more with this pair of statements. EOS is a distributed, trust-minimized computer like Ethereum, but it offers (...)

    #eos-development #eos-startup-development #eos-development-tutorial #eos-development-guide

  • Amin Taha ordered to demolish award-winning 15 Clerkenwell Close
    https://www.dezeen.com/2018/09/26/amin-taha-15-clerkenwell-close-demolition-order
    L’administration chargée d’examiner le permis de construire omet de télécharger un document et demande ensuite la démolition de l’immeuble pour non-conformité !

    Architect Amin Taha has been served a demolition order for his stone-framed 15 Clerkenwell Close housing block in London, which is shortlisted for a Dezeen Award, and has already won an RIBA Award.

    Islington Council issued the order to demolish the six-storey building, because the natural stone used on its facade is not fully detailed in the planning documents.

    Taha – who was the architect and developer for the project, and also lives in one of the flats – has launched an appeal against the order, which will be heard in March 2019.

    It is the second enforcement notice issued for the building. An initial order to demolish the building was issued in 2017, following confusion caused by the council only uploading some of the planning documents to its online portal.

    #architecture

  • The Architecture of Food Systems

    Spotlighting the #Hudson_Valley Design Lab and Good Shepherd Institute in a conversation with Caitlin Taylor of MASS Design Group.

    Few people recognize the interconnectedness of architecture, social justice, and local food systems; Caitlin Taylor is dedicated to changing that. Between roles as an architect with nonprofit firm MASS Design Group, an adjunct professor of architecture at Columbia University, and a founding member of Four Root Farm in rural Connecticut, she is living her dream of uniting food systems and architecture in her life and work.


    https://medium.com/planet-local/the-architecture-of-food-systems-5145ccc11648
    #alimentation #justice_sociale #architecture #Poughkeepsie #USA #Etats-Unis #design #agriculture

  • The map that shows what the world REALLY looks like: Japanese design flattens the Earth to show how big landmasses and oceans really are

    A Japanese architect has created what may be the most accurate map of the world. #Hajime_Narukawa used a new map (main) making method called AuthaGraph that divides the globe into 96 triangles, transfers them a tetrahedron and unfold it to be a rectangle - all while keeping the landmasses and seas proportioned.


    https://www.dailymail.co.uk/sciencetech/article-3894600/The-map-shows-world-REALLY-looks-like-Japanese-design-flattens-Earth-bi
    #cartographie #visualisation #projections #Japon #eau #terre
    cc @reka @fil