Thursday, 24 October 2013


Metallica set to go south – for Antarctica gig

 for  Guardian Wednesday 23 October 2013 11.33 BST

Metal giants linked with December gig in Antarctica after soft drinks company launches online sweepstake in Colombia

Metallica

Riding the lightning … Metallica are set to become the first major band to play a gig in Antarctica, the world's southernmost continent Metallica appear to have booked a concert in Antarctica as part of a competition run by a soft drinks company.


With Metallica themselves yet to announce the glacial metal bash, news of the gig emerged through a rather esoteric source: the Colombian website for Coca-Cola Zero (via Blabbermouth). The Coca-Cola Company has launched a sweepstake for fans in six Colombian cities, with the chance to win tickets to Metallica's "unique concert" at the bottom of the world.


Though no specific date for the show is mentioned, contestants must be available to travel between 2 and 15 December.


Drummer Lars Ulrich may have been hinting about the concert when he made some cryptic remarks in September. "There's a very interesting thing coming our way in December," Ulrich told California's 107.7 The Bone. "If anybody [in management] even knew that I just said what I just said, they would hunt me down and silence me. But there is another frontier coming in December, which we're very excited about."


If the gig goes ahead, Metallica will apparently be the first major band to play in Antarctica, where live music has traditionally been at something of a premium. The US-run McMurdo Station has long hosted open-mic nights, and a band called Nunatak claimed to have played the continent's first rock concert in 2007. The quintet, consisting of scientists from the British Antarctic Survey, an environmental research centre, played to a "sell out" crowd of 17 people.


In March 2008, Fall Out Boy were forced to cancel a proposed concert in Antarctica when bad weather kept them away from the continent's western peninsula. Analysts blamed global warming for the collapse of the 16,000 sq km (6,178 sq miles) Wilkins ice shelf. "Essentially, our runway just fell off," Pete Wentz told MTV.

In other Metallica news, Ulrich recently revealed that the band have considered selling their leftover guitar riffs online. "We have more riffs than we know what to do with," he told Abu Dhabi's National newspaper (via Classic Rock) . "We talked about setting up a special riff thing, where maybe we could share some of these riffs with others, like an eBay kind of thing.


"Some of [the riffs] are actually quite decent, but we won't be able to use all of them."

Metallica are currently promoting their first 3D concert film, Through the Never. It is in cinemas now.

Sunday, 10 February 2013

British Architects Revive “The Walking City” in Antarctica with Mobile Research Station

Original post HERE

http://blogs.artinfo.com/objectlessons/files/2013/02/antarctica.jpeg



Archigram fans, brace yourselves. As much as this project looks like a collaboration between the ’60s British pop architecture collective and some Japanese vinyl toy makers, this brightly colored train of four-legged behemoths is actually the world’s first mobile research facility. Designed by UK-based Hugh Broughton Architects in conjunction with engineers at AECOM, the Halley VI Antarctic Research Station consists of eight interlinking modules, which altogether contain 20,000 square feet of laboratories and living accommodations for about 50 scientists, as Architectural Record reports. The bright red module houses a communal space designed to fend off extreme-weather-induced depression and stress.



The herd of structures is currently located on the floating Brunt Ice Shelf in Antarctica, meaning this “Walking City” (Ron Herron’s version pictured right) won’t be walking very far. Nor is it actually meant to walk at all: The modules are designed with ski-like “feet” that allow the station to be towed by tractors over a prepared ice track in the event that it needs to be relocated inland. The design’s extendable legs also allow the station to elevate above predictably high levels of ice build-up over time, obviating a problem that spelled the early demises of previous Halley stations.
Research done on one of Halley VI’s predecessors led to the 1985 discovery of the ozone hole, one of the many environmental oopsy-daisys we laugh nervously about as we deal with devastating hurricanes and strangely warm winters interspersed with freak snowstorms.


Photos courtesy the architects.
- Kelly Chan

Thursday, 13 September 2012

Trinity Church


Trinity Church, a small Russian Orthodox church on King George Island near Russian Bellingshausen Station in Antarctica. It is the southernmost Eastern Orthodox church in the world. Here's where it is located on the map: 

The ambitious project to establish a permanent church on Antarctica originated in the 1990s. A charity named Temple for Antarctica was approved by Patriarch Alexius II and received donations from across Russia. The church is a fifty-foot-high wooden structure built in traditional Russian style. It can accommodate up to 30 worshipers. It was consecrated on February 15, 2004, by Theognost, the Bishop of Sergiyev Posad and the Namestnik (abbot) of Troitse-Sergiyeva Lavra, who visited Antarctica for this occasion, along with a number of other clerics, pilgrims, and sponsors.

The church is manned year-round by one or two Orthodox priests, who volunteer for the Antarctic assignment. They are rotated annually.

Among the priests' tasks are praying for the souls of the 64 Russian people who have died in Antarctic expeditions and serving the spiritual needs of the staff of Bellingshausen Station and other nearby stations. Besides Russian polar researchers, the church is often visited by their colleagues from the nearby Chilean, Polish, Korean, and other research stations, as well as by tourists. For the benefit of Latin American visitors, some church services are conducted in Spanish.

On occasions, the priest baptizes new adherents of Christianity in the Southern Ocean (I've done some cold baptisms, but probably not THAT cold!). On 29 January, 2007, the priest of the church celebrated what was likely the first ever church wedding in Antarctica (a staff member of a Chilean Antarctic base, who had joined the Orthodox Church soon after the opening of the Antarctic temple, and his Russian wife). When not busy with church work, priests help out with the general maintenance of the Bellingshausen station.





Monuments





This monument is situated on the Chilean side of King George Island. It honors the Antarctic treaty and the protection of the Antarctic continent. The inscription is in the different languages of all countries that are members of the treaty.
Chile was involved in Antarctic research from the beginning of the 20th century. Luis Pardo Villalon was the captain of the ship that rescued Sir Shackleton's stranded men after the faithful voyage onboard the Endurance. The ship sailed from South Georgia to Elephant Island and ensured that none of the stranded men perished.
Russian direction signs



Wednesday, 12 September 2012

Jewish Law in the Polar Regions

(Thanks to Helen Stoilas for alerting our attention to this!)

http://en.wikipedia.org/wiki/Jewish_law_in_the_polar_regions


Jewish law in the polar regions

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The observance of Jewish law (halakhah) in the polar regions of Earth presents unique problems. Many mitzvot, such as Jewish prayer and the Jewish sabbath, rely on the consistent cycle of day and night in 24-hour periods that is commonplace in most of the world. However, north of the Arctic Circle (and south of the Antarctic Circle) a single period of daylight can last for a month or more during the summer, and the night lasts for a similar length of time in the winter. The question for Jews that live in, and visit these regions, is how to reconcile the observed length of days in the polar regions with common practice elsewhere in the world. Should a "day" be defined solely based on sunrise and sunset, even if these events do not occur for long stretches of time; or should the definition of a polar "day" be consistent with the length of a day in the rest of the world?
The problem was first identified in the 18th century, when Jewish émigrés began to immigrate in greater numbers to the northern parts of Scandinavia. A number of different opinions on the question have been presented in responsa and are reviewed in a recent essay.[1]

Scope of the problem

The definition of a "day" in polar regions affects mitzvot that must be performed during the day, or at a particular time of day. It also affects the passage of time in the Jewish calendar for the purpose of observing Shabbat and other Jewish holidays.

Mitzvot performed during the day

A long list of mitzvot must be performed at any time during the day but not at night, or vice versa. These are listed in a mishnah in Megillah.[2] (Many of these mitzvot, as part of the sacrificial service in the Temple of Jerusalem, could not be performed in the polar regions.) In addition, a lender is required to return clothing used as collateral to a poor borrower if he needs it to sleep at night,[3] and an employer must pay a day laborer his wages on the same day that the work is done.[4]

Time of day

The most familiar mitzvah that depends on the time of day is Jewish prayer. The morning Shema must be read between dawn[5] and three variable hours after sunrise. ("Variable hours" are each one-twelfth of the time between sunrise and sunset, or according to another opinion between dawn and the appearance of stars at twilight. Variable hours are longer than 60 minutes in the summer, and shorter than 60 minutes in the winter.) The prayers of Shacharit, Mussaf and Minchah are also limited to certain hours of the day. The evening Shema and Ma'ariv, though acceptable at any time of the night, should preferably be done in the first half of the night. It is possible that during very long days of the polar summer, evening prayers are not recited, and during very long nights of the polar winter, daytime prayers are not recited.

Days of the week

The passage of days from one to the next most prominently drives the observance of Shabbat on every seventh day. During the polar summer, hundreds of hours can pass without sunset, and it is possible that this entire period is just one day of a week. However, since Shabbat is observed on the same day throughout the world (allowing for differences in time zones), it stands to reason that Shabbat should be observed simultaneously even in polar regions.

Pre-modern background

The Bible, Talmud, and individual pre-modern Jewish writers do not address this issue because Jews did not visit the polar regions and were not aware of its distinctive nature before modern times. However, the section in Talmud regarding the "desert wanderer" has been used by modern authorities to analyze this issue. The Talmud contains the following discourse:
Rav Huna says, if a man is wandering in the desert and he does not know when is the Sabbath, he should count six days [as weekdays] and keep one day as the Sabbath. Hiyya bar Rav says he should keep one day as Sabbath, then count six days [as weekdays]. ...
Rava says, on each day he may do whatever he needs in order to survive, except for his Sabbath. But should he die on the Sabbath? He could prepare extra food the day before his Sabbath, but that might be the real Sabbath. So every day he may do whatever he needs in order to survive, even on the Sabbath. How is the Sabbath recognizable to him? By kiddush and havdalah [which he performs on his Sabbath but not on other days].
Rava says, if he knows which day he departed on the journey, he may do work on the same day of the week [i.e. 7 or 14 days after he departed, because he certainly would not have departed on a Sabbath].[6]
The law is in accordance with the first opinion, that a confused desert wanderer keeps six "weekdays" followed by one "Shabbat", but he may not perform activities forbidden on Shabbat on any day except to aid his own survival.[7] The law is based on a principle that a person who is unaware of reality should create his own Sabbath while acting out of concern that the real Sabbath may be on a different day.

Modern opinions

Rabbi Israel Lipschutz

Rabbi Israel Lipschutz, in his commentary Tiferet Yisrael, writes that in polar regions there is a 24-hour day, as evidenced by the fact that the sun rotates in the sky from a high point at noon to a low point near the horizon at midnight. He does not offer a means of measuring the passage of a 24-hour day during the polar winter when the sun is invisible. He advises that a Jewish traveler observe the beginning and end of the Sabbath based on the clock of the location whence he came. It is unclear whether this refers to his residence or his port of embarkation.
A result of this view is that two Jews who leave from different cities will always observe Shabbat on Saturday, but at different times. A Jew who leaves from America will observe the Sabbath according to the clock of his hometown, while a Jew from Europe will use the clock of his European hometown, which begins and ends Sabbath about five hours earlier than in America. Thus, there is no uniquely identifiable beginning and end of the day in the polar regions.[8]

References

  1. ^ "Mizvot in the Polar Regions and in Earth Orbit." J. David Bleich. Contemporary Halakhic Problems, volume 5, chapter 3, pages 75-128. Targum Press, 2005. ISBN 1-56871-353-3
  2. ^ Chapter 2; page 20b.
  3. ^ Deuteronomy 24:12-13
  4. ^ Deuteronomy 24:14-15
  5. ^ Specifically, this is the time between dawn and sunrise that a person may first distinguish between light and blue, according to the Mishnah in Berakhot.
  6. ^ Babylonian Talmud, Tractate Shabbat, 69b (translated from Aramaic)
  7. ^ Joseph Caro. Shulhan Arukh, Orakh Hayyim, chapter 344.
  8. ^ Bleich pp. 85-92

Sunday, 9 September 2012

Lucy & George Orta


Lucy + Jorge Orta | Antarctic Village - No Borders, 2007, courtesy Galleria Continua, San Gimignano - Beijing. Photo: JJ Crance

According to the Antarctic Treaty signed in 1959, the continent's territory is a protected ecosystem and as such cannot be used neither for military purposes nor commercial exploitation. The Antarctic contains 70% of the planet's fresh water reserves in the form of ice and, today, its name evokes the slow melting of the ice caused by global warming. In 2007 Lucy + Jorge Orta went to the inhospitable land on an artistic and social research expedition.




The tents, survival kits, videos and mobile aid units created by the artists as a result of their expedition to the edge of the world are having their first public showing at the Hangar Bicocca in Milan. Hangar Bicocca is real big. Before being a space dedicated to contemporary art, it was a vast industrial factory that manufactured bobbins for electric train motors.

The star of the exhibition is Antarctic Village. Made of 50 dwellings that bring out the images of refugee camps broadcast on tv, the installation is a symbol of the plight of those struggling to cross borders and to gain the freedom of movement necessary to escape political and social conflict. The temporary encampment was envisioned as a free, neutral territory in a place where living conditions are so extreme that it imposes a situation of mutual aid and solidarity, no matter your nationality.

The tents are hand stitched with sections of flags from around the world, along with clothes and gloves, symbolising the multiplicity and diversity of people. A recent UN source states that 2.2 million migrants, mainly from the African and Asian continents, will arrive in the rich world every year from now until 2050. The artists go beyond their comment on the free circulation of individuals across the whole planet by proposing an amendment to the Universal Declaration of Human Right that would include the right to free circulation, on par with merchandise, economic flows and pollution.


Antarctic Village - No Borders, Drop Parachute





Antarctica World Passport, International Delivery Bureau, 2008


  • Bureau construction, reclaimed chairs, red cross crates, various reclaimed objects, passport stamps, ink pads, Antarctica World Passports
  • Dimensions: Variable
  • Exhibition history: 2012 Tufts University Gallery, USA; 2010 Festival des Arts Auxois, France; 2009 Maison Europeene de la Photographie, Paris; 2008 Hangar Bicocca Milan, Italy; Galleria Continua Le Moulin, France
  • Courtesy: Galleria Continua San Gimignano / Beijing / Le Moulin and the Artists
  • Concept: The Antarctic Treaty signed in 1959 states that this sixth continent is a common territory, open to all peaceful peoples and to cultural and scientific cooperation. The edition of the first 10,000 Antarctica World Passports imagined by Lucy + Jorge Orta is a proposal for a new world community. It is a document that recognises the inherent dignity of every member of the human race and their equal and inalienable rights shall constitute the basis of liberty, justice and peace in the world. The Antarctica World Passport proposes an amendment to Article 13 of the 1948 Universal Declaration of Human Rights - Art. 13 :3 “Every human being has the right to move freely and cross frontiers to their chosen territory. Individuals should not be deemed of an inferior status to that of capital, trade, telecommunication and pollution, all of which have no boundaries. The passports are distributed during exhibitions or conferences to persons wishing to become a citizen and form part of an online database developed by MIT. On deliverance the passport requests in return that each new citizen dedicate him or herself to combat all acts of barbarity, to fight against intimidation and poverty, to support social progress, to protect the environment and endangered species, to safeguard human dignity and to defend the inalienable rights to liberty, justice and peace in the world


  • Materials: Wooden valise, Lambda photograph laminated, glass, 10 Antarctica World Passports, hand turned wooden passport stamp with rubber embossed motif. Edition of 25
  • Dimensions: 20 x 35 x 10 cm
  • Catalogued: Antarctica, Electa Mondadori, 2008, pp.130-131; Lucy + Jorge Orta: Food Water Life, Princeton Architectural Press NY, 2011, pp.150-151
  • Exhibition history: 2008 Hangar Bicocca Milan; 2008 Galleria Continua La Moulin; 2009 Galerie Motive Amsterdam


  • Concept:
    Antarctica World Passports is an ongoing conceptual component of Lucy +Jorge Orta’s project Antarctic Village – No Borders (1992-2008), which reflects on the Antarctic continent as a new vision of Utopia. The artists have chosen Antarctica because the Antarctic Treaty signed in 1959 by Argentina, Australia, Belgium, Chile, the United States, France, the United Kingdom, Japan, Norway, New Zealand, South Africa, and the USSR states that this sixth continent is a neutral and common land, free of conflict, open to all peaceful peoples and a place for cultural and scientific cooperation.

    The edition of this small valise containing ten Antarctica World Passports takes the form of a kit, to be issued to every person wishing to become a citizen of this continent and allowing them to travel freely throughout the world. On deliverance it will request in return that each citizen take responsibility for their actions. The new world citizen will dedicate him or herself to combat all acts of barbarity, to fight against intimidation and poverty, to support social progress, to protect the environment and endangered species, to safeguard human dignity and to defend the inalienable rights to liberty, justice and peace in the world. 



    Antarctica World Passport, International Delivery Bureau, 2008.










    Polar Visual Culture: Conference - St Andrews


    http://www-ah.st-andrews.ac.uk/newsandevents/pvculture/abstracts/


    Polar Visual Culture: An International Conference is a two day event to take place in the Arts Building Lecture Theatre of the University of St Andrews on 17-18 June 2011. This conference brings together a diverse, internationally recognised group of scholars from the humanities and social sciences to present new research on the visual culture of polar exploration. The polar environment, and its potential destruction, is now receiving heightened attention in the mass media, with extensive scientific study and urgent results on climate change reported daily. Our objective is to focus attention upon the unique, prolific and hitherto under-examined visual culture - painting and graphic illustration, expedition and frontier narratives, installations and poetic geographies, films and photography - that the expeditions to the two polar regions have inspired since the early nineteenth century, and which forms a fundamental part of our perception of these environments. We invite all those interested in these themes to register for this important conference and join us in St Andrews. 


    Thomas Joshua Cooper (Professor and Senior Researcher in Fine Art, Glasgow School of Art) TRUE and other Polar Stories ­ two years on the ice
    Jan Anders Diesen (Lillehammer University College, Norway) The Cinematic Race to the Poles: Roald Amundsen's South Pole Expedition (1910-12)
    and Other Polar Films in the Heroic Era

    Robert G. David (Lancaster University) The Rural Imagination and the Arctic
    Robert Dixon (University of Sydney) ‘Shackleton's Marvellous Moving Pictures’: The Ontology of the Early Travelogue
    Luke Gartlan (University of St Andrews) Revisiting 'Arctic Regions'
    Elena Glasberg (Princeton University) 'Living Ice': Contact, Material, Frames
    Sophie Gordon (Royal Photograph Collection, Windsor Castle)
    At the Ends of the Earth: Polar Images and Royal Collections

    Matthew Jarron (University of Dundee) From Dundee with the Whalers: Early Visual Representations of the Arctic and Antarctic
    Tyrone Martinsson (University of Gothenburg, Sweden) The Andrée Polar Expedition – With Camera towards Death
    Shane McCorristine (NUI Maynooth and Scott Polar Research Institute, University of Cambridge) Icarian Icescapes and Daedalean Dreamscapes: Envisioning Victorian Arctic Exploration
    Alexandra Neel (Loyola Marymount University, Los Angeles)
    Performing Antarctica

    Russell A. Potter (Rhode Island College, Providence)
    From Panoramas to Early Cinema: Arctic Spectacles 1893-1930

    Alistair Rider (University of St Andrews) Ice, Meltwater and Mutability in Contemporary Art
    Camille Seaman (Artist-Photographer, Emeryville, California) Connection and Purpose