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Friday, 4 August 2017
Guest DJ set, Recordsville, Stockport, Friday 11 August
Recordsville is taking place at Seven Miles Out (opposite Stockport market) on Friday 11 August from 8pm-12am. Free entry!
For more information see the Facebook event.
Posted by The Shrieking Violet at 13:28 No comments:
Labels: Discos, DJing, events, Indie, Indie discos, Music, Northern Soul, Pop, Punk, Stockport
Friday, 7 July 2017
Review: Available Light, Manchester International Festival
In Available Light Frank Gehry's sparse, architectural stage design sets the scene for Lucinda Childs' choreography and John Adams' modern classical score. Dominated by a huge chainlink fence and raised platform, the setting brings to mind several places familiar from American pop culture: the sidewalk, the bleachers of a sports event, or a seaside pier, sitting atop exposed, crisscrossed supports. Though simple, it plays a key part in the performance, bathed with stark light and silhouetting the stage.
John Adams' effervescent, multilayered soundtrack steals the show. It swells and ebbs, sometimes muffled and distant as if emerging from underwater and at other times crowded with bright bursts and silvery toots. It suggests found sounds collaged from technology, work and nature, from radio broadcasts and typing to trilling telephones to the creaking of gates, the rumble of industry, the passage of boats, the murmuring of owls and the whining of the wind.
Available Light is at the Palace Theatre, Manchester until Saturday 8 July. To book visit http://mif.co.uk/mif17-events/available-light.
Posted by The Shrieking Violet at 23:37 1 comment:
Labels: America, Architecture, Art, Buildings, classical music, dance, Dancing, Frank Gehry, John Adams, Lucinda Childs, Manchester, Manchester International Festival, Music, twentieth century
Review: Last and First Men, Manchester International Festival
Unlike many monuments, these huge concrete sculptures are not representational, and are deliberately devoid of any religious associations. Instead, they as act as viewing points for the landscape, framing the sun, clouds and stars, or tower over it, remote and untouchable, arms outstretched as if about to take flight. Distanced from politics, memory and culture, this leaves room for imagination, as Icelandic composer Jóhann Jóhannsson demonstrates in Last and First Men, which revisits the spomeniks to construct new stories, narratives and associations. Taking its title from Olaf Stapledon's 1930 sci-fi book, Jóhannsson uses the last two chapters as the basis for a dystopian tale that explores what it means to be human, how we communicate through physical and cultural distances, and the rise and fall of civilisations.
Last and First Men is primarily a film work, using black and white 16mm film to document the spomeniks and their relation to earth, landscape, light and sky. Often, our view is partial, abstracted and deliberately disoriented – close-up the sculptures could just as easily be fossils, ancient rock forms, rock carvings or primitive totems. There's something of Paul Nash about the way Jóhannsson presents them; suggesting organic forms such as wood, seeds and bones, they take on the anthropomorphic qualities of surrealism.
Jóhannsson is well-known for his work scoring films and his soundtrack, performed by the BBC Philharmonic, is a minimal and slow-moving exploration of the landscape on screen. It roves not just through space but through time, suggesting ageing, loss and decay. The familiar textures and instrumentation of the orchestra lend themselves to this grandiose tale told on a vast scale. Jóhannsson's score is at once heroic, romantic and fragile, conjuring the drama of entering into a battle – against the passage of time, against the inevitable entropy of the universe – that's already lost.
Taken by themselves, the visuals have a formality that reads like a slideshow or set of textbook illustrations, freed from their captions, but it's Tilda Swinton's calm, authoritative narration that binds Last and First Men together. Swinton imbues it with the air of a nature documentary or anthropological report, but Jóhannsson's orchestral soundtrack restores a sense of humanity, communality and emotion to these man-made monoliths in a way that's rooted in the enveloping, escapist fantasy of the sci-fi genre.
Posted by The Shrieking Violet at 00:53 1 comment:
Labels: Architecture, Art, art history, BBC, classical music, Fiction, Film, History, Manchester, Manchester International Festival, Music, orchestras, Public art, Public Sculpture, Sculpture, social history, Travel, War
Thursday, 6 July 2017
Review: What If Women Ruled the World?, Manchester International Festival
Rather than a hackneyed invitation to smash the patriarchy – although the need to replace established hierarchies is, unsurprisingly, a recurrent theme – What If Women Ruled the World? uses a creative platform to imagine a situation in which humanity is forced to start anew, and to learn the lessons of the past (and the present).
Israeli artist Yael Bartana's commission for Manchester International Festival takes the ambiguous end point of Stanley Kubrick's classic film Dr Strangelove as its starting point, positing a female-led world in which women outnumber men ten to one and asking what would happen next if the slate was wiped clean and we could start again – with women in charge.
To start with, the piece has an air of amateur dramatics about it – think stick-on-moustaches, exaggerated accents, women in drag and 'survival kits' containing lipstick and nylons alongside sustenance and weapons – but the piece convincingly navigates between fact and storytelling, entertainment and debate, information and polemic. It's both historically grounded and contemporary, incorporating possibly the first literary reference to 'covfefe', to knowing audience laughter.
What If Women Ruled the World? is an invitation to imagine things done differently, and to ask questions of our actions and priorities as individuals, as city dwellers, and as British, European and global citizens. It starts with a lighthearted premise, exploring serious issues with personality and humour, but it's a simplistic title for a piece that suggests not just overthrowing the patriarchy, but our entire economic, social and political systems and fundamentally rethinking the way we relate to each other and to the planet. At a time when socialist ideas such as equitable taxation and economic redistribution are apparently back in vogue, much of the discussion captures the zeitgeist, but ultimately, it serves as a warning about bigger dangers such as the power of individuals and the cult of personality. It poses not just the titular question, but asks who should be allowed a seat at the table of power, whose knowledge and expertise we take on board, and what measures we need to take to ensure those voices are heard.
What If Women Ruled the World? is at Mayfield, Manchester, until Saturday 8 July as part of Manchester International Festival. To book visit http://mif.co.uk/mif17-events/what-if-women-ruled-the-world.
Posted by The Shrieking Violet at 00:33 2 comments:
Labels: Art, Documentary, Feminism, Film, History, Manchester, Manchester International Festival, performance art, Plays, Politics, social history, Theatre, twentieth century, War, Women, Yael Bartana
Wednesday, 17 May 2017
An education in art: The University of Salford Art Collection
Darren Nixon, The Intern (2016)
Mixed media
Courtesy the artist, photograph courtesy Museum Photography North West
The precedent for collecting contemporary art for educational purposes lay partly in the ideas of influential educationalists like Henry Morris, Director of Education in Cambridgeshire, who sought to create beauty in educational environments – and believed in the potential for the places by which people were surrounded everyday to be visually and aesthetically educational. In the 1930s Morris commissioned renowned architects such as Walter Gropius to design school buildings, and after the Second World War he worked with the planners of new towns. He also advocated displaying works of art in educational buildings, believing that they would act as a 'silent teacher'.
Although aspects of these ideas are laudable, including taking art out of the museum to be encountered and experienced as part of everyday life, today the University of Salford Art Collection is challenging ideas about what form a collection should take, who it's for – and where and how it should be displayed. Although there are a number of items from the collection around campus in communal spaces, and the New Adelphi Building hosts changing exhibitions, this isn't the main focus of the collection. "Buildings change and offices move, but the collection is for public benefit," explains Art Curator Lindsay Taylor. For this reason, she explains, "we don't just put it on the walls but carefully consider what stories we want to tell or what themes we want to identify when installing work across the campus".
As part of the University of Salford's 50th anniversary celebrations a new exhibition at Salford Museum and Art Gallery, What's in Store?, displays highlights from the collection, showing how the collection has evolved and what has influenced collecting themes over time. It also offers an insight into how the notion of collecting for educational purposes has changed over the decades.
The exhibition references the collection's historical context, containing paintings by twentieth century northern artists such as LS Lowry and Adolphe Valette. Lindsay explains that print-making was also historically important, including prints from the Manchester Print Workshop, which was based at the university in the 1970s. The collection also acquired international work from early on and includes the archive of South African painter Albert Adams, paint brushes and all; changing works by Adams are now hung in a room dedicated to his work in the university's Old Fire Station building.
Lindsay, who joined the collection in 2013 after many years of working at the Harris Museum and Art Gallery in Preston, admits that "there is historically a lack of documentation and knowledge about the collection". She explains: "There are some works that we don't know who they are by and we don't know if they've been shown before. There has always been an interest in collecting contemporary art – however sadly documentation procedures and collections care were not as important as they should have been!" Eventually, one of Lindsay's aims is to build the archive material in the collection in order to enable its story to be told better, and to work with other collections such as the University Archive and Special Collections, Salford Museum and Art Gallery, and the nearby Working Class Movement Library.
Today, Lindsay's priority is commissioning new work for the collection, particularly in digital media, and by Chinese and northern artists, often working in partnership with other galleries and studios in the area. At the Harris, Lindsay had assumed that established artists working in new media were in collections, but found that this often wasn't the case. She explains that the aim is to "take a risk and help artists make new work they wouldn't do otherwise" and, by collecting work by artists at different stages of their careers, show that "there is a story to tell". Co-commissioning has been a way to raise the profile of the collection and the university: work has been loaned to galleries across the north, shown at festivals and exhibited internationally.
One of the most fruitful relationships has been with the Centre for Chinese Contemporary Art in Manchester, which has thirty years of expertise but no collection. Lindsay explains: "We live in the Chinese century but no-one else is really collecting Chinese art in a significant way." When displayed alongside one another pieces from the collection can show "surprising connections between artists". For example, both Cao Fei's 2013 work 'Haze and Fog', which examines the new middle- and working-classes in China, and Lowry's paintings of workers in the UK in the early to mid-twentieth century, are engulfed in smog and pollution. Contemporary art is important, says Lindsay, because it "addresses the issues of the day and represents the time we're in: ideas about what's 'contemporary' change".
Another collecting theme is 'About the Digital' because, as Lindsay says, we live in the digital age. This does not necessarily mean work created digitally: Jai Redman's painting 'The Lovers', on show in the exhibition, concerns communications, showing "invisible threads and networks". Other work in What's in Store? includes the trailer for the young Scottish artist Rachel Maclean's film 'It's What's Inside That Counts', first shown as part of an exhibition at Home in Manchester in 2016, as well as composite aerial images by Mishka Henner using digital technology.
Mishka Henner, Wasson Oil and Gas Field, Yoakum County, Texas (2013-2014)
Archival pigment print mounted to aluminium
Courtesy the artist and Carroll/Fletcher gallery
Archival pigment print mounted to aluminium
Courtesy the artist and Carroll/Fletcher gallery
Another focus is acquiring work by artists based in the immediate area, such as Maurice Carlin and Rachel Goodyear, both of whom have a long association with Islington Mill in Salford. "It's really important to work with artists living and working in the region," Lindsay explains. "There are some great artists here and they deserve to be at the next level. Artists can trial things here; we can be a stepping stone to them achieving the national or international recognition they deserve. I feel it is important to understand that all the different aspects of the ecology are needed."
For Assistant Curator Steph Fletcher one of the highlights of the collection is Manchester artist Darren Nixon's 'The Awkward Ambassador', which came about through a partnership with Mark Devereux Projects. This comprises a series of unstable-looking wooden sculptural constructions responding to the collection that have been "purposefully installed into the collection, fit into the store and hide among the other works".
Darren Nixon, The Awkward Ambassador (2016)
Mixed media
Courtesy the artist, photograph courtesy Arthur Siuksta
Mixed media
Courtesy the artist, photograph courtesy Arthur Siuksta
Perhaps most significantly for a collection with educational value at its heart the University of Salford Art Collection is committed to supporting students' practice as artists through schemes such as the Graduate Scholarship Programme, where a small number of graduates are given studio space and opportunities such as mentoring for a year in return for giving work to the collection. Another initiative involves commissioning students to make formal portraits of the Chancellor and Vice-Chancellor. Students also have the chance to have their work shown to a professional standard in the Old Fire Station, which houses the offices of the Vice-Chancellor.
Claudia Alonso, Jackie Kay (2015)
Digital photograph
Courtesy the artist
Digital photograph
Courtesy the artist
Lindsay aims to ask "what can make Salford different?" and create "real world links" with the city's studio spaces such as Islington Mill, Artwork Atelier and Hotbed Press, as well as the International 3 gallery. She explains: "We really want to develop an ongoing relationship with students. It's really important to demonstrate to students that you can live and work here without going to London or Berlin. It's about changing how you think as an artist."
Salford Museum and Art Gallery itself has a "really good and relatively unknown collection of modern British art", says Lindsay, and an aspiration to show more contemporary art. Lindsay hopes that the show will enable the collection to "feel more valued and understood" as it's "public and for everyone to enjoy".
At a time when both Salford and Manchester are undergoing extensive redevelopment, including the relocation of long-established studio group Rogue from Manchester city centre due to property speculation, Lindsay says she is interested in Salford "as it's not Manchester, but can complement Manchester". She explains: "There are a number of artists relocating to Salford and it has the potential to be such an exciting time. I want to bring together the good things happening here: there is potential to make a difference."
What's In Store? is at Salford Museum and Art Gallery from Saturday 20 May-Sunday 19 November and will be accompanied by a series of talks and events. For more information visit http://artcollection.salford.ac.uk.
Posted by The Shrieking Violet at 11:23 2 comments:
Labels: Art, art history, Chinese Arts Centre, exhibition, exhibitions, Film, Manchester, painting, Photography, prints, Public art, Salford, Salford Art Gallery, Salford University, Sculpture, twentieth century
Monday, 2 January 2017
The Turnpike, Leigh: A New(/Old) Contemporary Art Gallery for Greater Manchester
The Turnpike caught the tail end of this wave of optimism and renewal. In Leigh and the surrounding area at that time, the last of the pits were closing down – leading Arts Manager Helen Stalker to wonder how such a bold cultural gesture was received. Nonetheless, from Moore's opening exhibition in 1971 the Turnpike sustained that calibre right up until its last exhibition, by abstract painter Gillian Ayres, in 2013.
In 2013, as part of nationwide programmes of cuts, Wigan Borough Council pulled all funding for the Turnpike and made all staff redundant, moving away from local authority control towards relying on local art groups. This story is not unique to Wigan, but continues to be repeated all over the country. Many of the institutions of the welfare state, established in the post-war years, have been dismantled in the succeeding decades, and replaced by either profit-making private sector bodies or volunteers, a process that has accelerated in recent years. Culture, it seems, is a particularly easy target.
Faced with a lack of money, the Turnpike gallery was run on "tea and coffee sales". Helen Stalker, then Fine Art Curator at Whitworth Art Gallery in Manchester, who lives down the road in Lowton, had been a regular visitor to exhibitions at the Turnpike and observed what happened to it over the next couple of years. "It went through lots of manifestations about what it would become", explains Helen. "It became full of pictures of Johnny Depp and numerous African sunsets!"
After thinking "I'd love to get my hands on it," Helen got her chance early in 2016, when she applied for a two-year post as Arts Manager, funded by the Esmée Fairbairn Foundation. Helen joined the Turnpike in March 2016 after ten years at the Whitworth and five years at Tate Liverpool. Before that, she worked at the Victoria and Albert Museum in London. "It's an incredible learning curve," admits Helen. "I've come from a well-funded bubble of a fantastic, feminist, forward-thinking organisation but I'm getting a better understanding of the real world climate of arts venues. It's been a missed opportunity for a fly-on-the-wall documentary!"
Currently, the Turnpike is in transition. The gallery itself is closed to the public, but walk up the stairs and you're greeted by 1970s screenprints by Ron Kitaj and Patrick Caulfield. Helen has got these prints out of storage from the Wigan and Leigh art collection, formerly based at Drumcroon in Wigan, an art education centre which closed due to cuts in 2011 and has now been demolished.
In January a new independent organisation takes over the Turnpike, with a new board of trustees from across the arts, business and marketing. "We are aiming to be more ambitious, to have more outreach and to bring a creative environment back in," explains Helen. "It needs real impact and serious change. I'd like a creative hub with the community at the heart, which is both shaped by the town and shapes the town, a coming together and connection point which is cross-collaborative, where people can be inspired by each other."
In January (14 January-12 March), the Turnpike will be the only northern venue for the Jerwood Drawing Prize, an annual touring show that challenges and expands expectations and understandings of what it means to draw. Helen sees it as an opportunity to hold a celebration, talk to audiences, engage schools and host drawing workshops. Instead of a holding a private view for dignitaries, Helen is keen that schools will be the first to see the exhibition, and children will take part in a "Jerwood within a Jerwood", making their own decisions about the winners.
In June, the Turnpike will be one of several North West galleries (others include Touchstones, Rochdale and Bury Art Museum) to select work and build a programme from the 2016 Liverpool Biennial as part of its "really exciting" strategic touring fund, which has been established to develop audiences. The idea is that rather than being "parachuted in", the selected artist comes and engages with the town, for example by working with local teens.
Helen has chosen to show the video work Dream English Kid by Mark Leckey, who grew up in Ellesmere Port, Merseyside "peering into the city". Incorporating footage of a Joy Division gig he attended as a young man, the film – like his rave and Northern Soul tribute, Fiorucci Made Me Hardcore – explores individual and collective experiences and memory. For the Turnpike incarnation of the work, Helen hopes to draw on the Leigh Rock Festival of 1979, which was organised by Tony Wilson and Bill Drummond due to its location in between Manchester and Liverpool, and played host to bands including Joy Division, OMD and the Teardrop Explodes. "Bus strikes meant only about 200 people went, but it's achieved mythical status," explains Helen.
In November the Turnpike will show new and existing work by Nick Crowe and Ian Rawlinson, including their 2014 installation Song for Coal, originally shown at Yorkshire Sculpture Park, and drawing on the material fabric of Leigh by using coal taken from the area in new works. Manchester artist Mary Griffiths will also reference the heritage of the town, from mining and industry to engineering, at an exhibition in 2018.
Another plan for 2017 is for an open call photography competition responding to, reinventing and offering a new vision of George Orwell's The Road to Wigan Pier, corresponding with its eightieth anniversary "People are still quite bitter about it around here," explains Helen. "They want to shake off the book's legacy."
The Turnpike's new programme is part of a bigger ambition to develop a cultural strategy and voice for Wigan. "There is an uneven playing field in the area; access to culture is really low down on the priority list," explains Helen. "Wigan is a huge borough but it's not got the riches of Manchester. It's got next to nothing for its size. The local authority in Manchester understands that the arts play a vital role in the city, but Wigan has a wobbly infrastructure for the arts with nothing underneath it."
One core part of the gallery's target audience will be schools; there are three schools in walking distance of the Turnpike. "Regional and local artists have told me that the place made them artists when they were children; we need to develop a culturally aware generation with a voice and raise aspirations for young people," explains Helen. "We need to bring art and culture of an exceptional standard to them so they understand what it is and that they're entitled to it – why shouldn't they have it on their doorstep? People been infantilised and not empowered enough. I want to get people to demand better quality, to open up opportunities."
To support this, Helen is taking part in the Cultural Educational Leadership programme, a new scheme from Curious Minds with support from the Arts Council. She is being trained as a school governor in order to establish how schools work and what they need to address, from understanding how to reduce the attainment gap, to seeking solutions to the awkward transition between primary and secondary school. As well as running enrichment days and advocating for the arts and education, Helens hopes to extend the school day by offering access to the arts after school.
Despite some scepticism about the demand for contemporary art in the town – Leigh and Wigan are "flashing bright red on the Arts Council map of lack of engagement," says Helen – she sees the sell-out success of the Z-arts production Sponge at the Turnpike, where 70 per cent of families who attended had never been to the theatre before, as proof "that there is a huge hunger for it, and not just for watercolour landscapes!"
Castlefield's Gallery's New Art Spaces supports local artists and this year's Wigan Arts Festival, founded in 2015 as "a provocation and a way of taking control", will be expanded into the Wigan and Leigh Arts Festival. "There's some agitation about the town, and art and culture are the catalyst," says Helen. "Once we've got over the barriers at the Turnpike we can really have some fun with it!"
With the reopening of the Turnpike Gallery in 2017, the people of Wigan, Leigh and Greater Manchester will gain a new place to encounter challenging and exciting contemporary art, in one of the region's architectural hidden gems: here's to the building's next 46 years.
To keep up-to-date with news and exhibitions, visit www.theturnpike.org.uk, and follow the Turnpike on Facebook at www.facebook.com/TurnpikeGallery and on Twitter at www.twitter.com/turnpikeleigh.
Posted by The Shrieking Violet at 10:29 3 comments:
Labels: Art, art history, exhibitions, History, Leigh, Liverpool Biennial, Manchester, Public art, Public Sculpture, Regeneration, Sculpture, Turnpike Gallery, twentieth century, Urban Regeneration
Saturday, 24 December 2016
Best of 2016
Two of my art highlights of the year came early in 2016. After years of planning to visit, I was finally enticed over to Nottingham Contemporary for Monuments Should Not Be Trusted, a wide-ranging exhibition of art and artefacts from Tito's Yugoslavia. From dark, Joy Division-esque music videos to punk to dreamy electronica, the exhibition encompassed consumerism, critique, feminism and subcultures. Among the most absurd and surprising were the eccentrically decorated youth batons, as well as the array of bizarre gifts presented to Tito, custom-made to reflect the work of different professions and groups of society. Other highlights included the films of Karpo Godina, particularly the playfully soundtracked Healthy People for Fun.
The most compelling exhibition of the year – and the highlight of Home's programming thus far – was Rachel Maclean's Wot u :-) About. The central film brings to mind mindfulness and meditation gurus, depicting selfies and desperate grasping for public approval. It's grotesque and uncomfortable viewing but also topical, contemporary and very much of the now. Elsewhere in the exhibition, the grotesque world she creates steps out from her film in the form of sculpture and installation.
Another unexpected highlight was Vogue 100 at Manchester Art Gallery, which celebrated 100 years of British Vogue by showing cover designs, drawings and illustrations from the Vogue archive, from the magazine's early years to the classic work of photographers like Cecil Beaton to the present day. Vogue 100 vastly surpassed my expectations: it didn't just document changing fashions and ideas of beauty but cultural, political, literary, artistic and social change. The exhibition showed portraits of the personalities of the day, from Snowdon's royals to Thatcher to an impossibly young-looking Posh and Becks to Kate Middleton, as well as the assimilation of movements such as punk into fashion. Highlights included William Klein's fantastical set designs at Jodrell Bank; Norman Parkinson's portrait of Jerry Hall astride a giant statue in Armenia in 1976; Lee Miller's land girls in their Harrods 'austerity trousers' (eight vouchers each) and documentation of war damage; Alexander McQueen with a smoking skull, going behind the scenes to offer a portrait of the makers of the fashion; the film-maker John Schlesinger in the studio of David Hockney; Frank Horvat's aristocratic-looking woman in a tailored wool dress and jacket standing surrounded by children in an alleyway in the wool city of Bradford; and the grunge aesthetic of Stella Tennant's eyeliner, nose ring and messy crop.
At Liverpool Biennial, the highlight was HFT The Gardener, Suzanne Treister's beautiful, intricate, colourful quasi-botanical series of drawings at Liverpool John Moores University. Constructing a narrative world involving an amateur botanist/outsider artist, Treister transformed our perceptions of FTSE 100 companies by introducing psychedelic possibilities. The other highlight of Liverpool Biennial was Mark Leckey's video work Dream English Kid at Camp and Furnace, intertwining personal, natural and cultural biography and memory. Also worth seeing were Krzysztof Wodiczko's street installations and interventions at FACT, and Fabien Giraud and Raphaël Siboni's sunset in extreme slow-motion at Open Eye.
At Henry Moore Institute in Leeds I enjoyed A Lesson In Sculpture With John Latham, a show exploring ideas around work, monuments, value and social and natural environments, which displayed Latham's 'skoob' sculptures alongside work by Mary Kelly and strange environmental constructions by Yves Klein bringing to mind the experimental living environments of Buckminster Fuller.
The Stanley and Audrey Burton Gallery at Leeds University gave an interesting insight into Mitzi Cunliffe, the American-born designer of the Bafta mask and creator of many public artworks in Manchester and the North of England. Cunliffe came across as a stylish and glamorous figure, designing her own dress and accessories for the unveiling of the Man-made Fibres sculpture at Leeds University. Another highlight was seeing the door handles and knockers she created for the Festival of Britain.
Out There: Our Post-war Public Art, at Somerset House, was a comprehensive and well-researched survey of public sculpture in Britain, coinciding with Historic England's listing of key pieces of public art at the start of 2016. As well as the historical context and aspirations surrounding the commissioning of public art, the exhibition gave an insight into the processes of creating public art, with a number of drawings and maquettes on display.
At Hebden Bridge Arts Festival I stumbled across Simon Ford's Apocalypse Haywain in an abandoned bowls club in the woods. Apocalypse Haywain brought together a collection of charity shop-purchased and subsequently flood-damaged editions of Constable's famous painting, each slightly varying from the original in colour, quality and scale. Shown collectively, they raised questions around landscape and human and cultural impact, change/transience, value, preservation and collecting.
Barnaby Festival showed me plenty of places in Macclesfield I would have never visited otherwise, from churches to parks. Bedwyr Williams' video commission was a fantastical tale set in the town, and I enjoyed climbing the steep, ramshackle stairs of the Print Room to see Hondartza Fraga's delicate drawings of nearby Jodrell Bank, but the highlight was Liliane Lijn's Moonmeme in Savage Tower, a cyclical exploration of femininity.
I enjoyed the international range of photos, plans, drawings and videos relating to play on display at The Playground Project at the Baltic, Gateshead, exploring the history of playgrounds and their links with new developments in art, architecture and pedagogy.
A late highlight was John Akomfrah's split-screen video installation Vertigo Sea at the Turner Contemporary in Margate, which brought together art film, documentary and period drama with nature observation to explore the multiplicity of time, life stories and histories. Using archival film and new footage – including striking aerial views – Akomfrah passes through the seasons to depict nature inland and outlying, through close-up shots of birds and butterflies, as well as showing the ways in which man has used the landscape, past and present, through activities such as work and hunting. The film is both beautiful and horrific, politicised through the inclusion of slavery and migration – Akomfrah uses footage of Vietnamese boat people – and topical: time is subverted by the inclusion of constantly ticking clocks. It can't help but make you contemplate the horrors that are done to humans by humans – and think about bigger human impacts such as climate change.
2016 was a bittersweet year for the Manchester art scene, as gentrification got real – out goes the ramshackle artists' colony of Rogue Studios, in comes the neon pink-on-chipboard branding of the property developer circling round one of the few remaining undeveloped city centre mills. The end of an era has been marked by artists coming together to respond to the uncertainty of the situation, celebrate the creativity that's been incubated there, and to forge new and overdue collaborations with the small-scale textile producers who also just about cling on – one of the highlights was Sam Meech's Unique Editions, which created knitted portraiture of the workers at Unique Knitwear, as well as limited edition scarves and jumpers.
Manchester Left Writers' Launch Pad show, themed around the Northern Powerhouse, was a real challenge but a rewarding experience and an opportunity to try something new and different ways of working and collaborating, including creative writing and performance. The programme at the Holden Gallery also got stronger and stronger in 2016, culminating in From Slow to Stop Stop, a well-chosen collection of photos of videos exploring mobility (or lack of).
Exhibition Centre for the Life and Use of Books.
Room was one of the first films I saw in 2016, and I immediately decided it should win all of the Oscars. The film's storytelling and performances were exceptionally powerful, making me feel the whole repertoire of human emotions – fear, anger, disgust, sadness, disbelief and despair, but also somehow hope and even a bit of joy.
Room set the standard, but 2016 continued in the same calibre. Icelandic fable Rams, with its portrayal of obstinate and isolated brothers, was another powerful depiction of human relationships, throwing into question individual decisions and moral judgements.
Another tale of obstinacy, deception and betrayal I enjoyed was Australian film The Daughter, with its complication of the already fraught period of growing up and parent-child relationships. Likewise, I thought Julieta was classic Almodóvar, a sophisticated and lingering tale of wrong steps taken and the consequences of decisions made years in the past. Mustang was an eye-opener, combining teenage spirit, sisterly solidarity and tragedy in a patriarchal Turkish family with nascent friendship and desire for freedom.
I, Daniel Blake also had emotional resonance, depicting the futility and pointlessness of the administration of the benefits system, but also the ways in which people pull together for support. In addition to its immediate emotional impact, it's a reminder that Daniel's story is just one out of countless private tragedies that take place behind the headlines.
Nostalgia for the Light, by Chilean director Patricio Guzmán, was one of my favourite films of recent years, but I thought its follow-up, The Pearl Button, was even better. The Pearl Button focuses on the Patagonian archipelago and the indigenous tribes who lived alongside the water. It lulls the viewer into a false sense of security with beautiful natural footage, before introducing the oppression that befell them, then following on by discussing Pinochet's dictatorship and the plight of the desaparecidos and their families. The film is powerful, moving and emotionally charged, and also has space and stars running through it, in reference to Chile's astronomy programme. Embrace of the Serpent similarly benefited from the spectacular scenery of its Latin American setting, intertwining the history of the people of the Amazon with the story of one man, the explorer and scholar Theo von Martius.
Fire At Sea brought together individual and collective storytelling to explore the impact of the ongoing refugee crisis on the remote Italian island of Lampedusa, focusing on friendship, family, childhood and growing up, as well as the plight of those attempting to cross the Mediterranean.
I absolutely loved Greek film Chevalier's tense and absurd exploration of masculinity, set around a luxury boat and involving bizarre and pointless tests of one-upmanship. The scene where the underdog character dons a feather boa and unexpectedly breaks into Minnie Riperton's Loving You in pitch-perfect falsetto was my favourite moment of any film this year. The Coen Brothers' latest film, Hail, Caesar!, featuring a guest appearance from Herbert Marcuse in a modernist-loving communist secret circle, was also very camp and silly, and made me laugh more than any other film this year.
My favourite animated film was April and the Extraordinary World, a dystopian tale of a girl scientist and her talking cat stuck in a world suspended in the steam age.
I saw lots of documentaries in 2016 but particularly enjoyed In the Company of Joan, a documentary about the theatre director Joan Littlewood shown at the Working Class Movement Library in Salford. The film used interviews and talking heads to give a sense of Littlewood's strong personality, and her links and friendships with figures ranging from the singer Ewan MacColl in the 1930s to young actors. The film explored Littlewood's Marxist/communist political convictions, and her mission to take theatre out to the people by touring theatres in working-class industrial areas before setting up a permanent theatre in Stratford in the east end if London. One of the best things about the film was the wide range of activity it conveyed: Littlewood's impact went far beyond theatre to include involvement in bombsites, fun palaces and avant-garde bubble cities.
Another documentary I enjoyed was Huw Wahl's Action Space, which focused on a 1970s collective who set up travelling inflatable play sculptures, believing in the power of art to educate, inspire and change the world.
I enjoyed Nick Jordan and Jacob Cartwright's Last Acre, a short documentary about the alternative lifestyles of people living on the edge of the world in Barrow-in-Furness. I also enjoyed Clara Casian's Bird Song – Stories from Pripyat, which revisited the scene of the nuclear disaster with new interviews and vintage film, plus an evocative and understated score from Dutch Uncles' Robin Richards.
When We Were B-Boys succeeded in depicting not just the early 1980s breakdancing scene in Nottingham but friendship, resourcefulness, eccentricity and family ties – both by birth and those based around shared culture and community.
If more television was like Charlie Brooker's Black Mirror I might watch far more of it. Like Rachel MacClean's show at Home, Black Mirror is excruciatingly of the present-day; much of it is set in a future which could conceivably be just around the corner, creating a sense of unease and horror that stays with you.
Featuring six episodes, from the touching San Junipero to the pastel-hued suburbia of Nosedive, that could have each been a feature film in its own right, the series touched on big ethical questions and topics such as war, otherness, social inclusion/exclusion and punishment and retribution. The relatability of much of the narrative and its characters meant the twists were genuinely surprising.
Beyond Caring at Home was one of the best pieces of theatre I've ever seen. Set in our precarious times, it brought to life the topical issues of zero hour, low-paid contracts and lack of workers' rights. The small cast were completely convincing in their portrayals of power, desperation and frustration, and small moments of friendship and madness.
I took my dad to see Sunny Afternoon at Manchester Opera House as his fathers' day present. The musical tells the story of the Kinks, telling tales of fraught family relationships and love stories yet portraying them as simple boys made good. Sometimes sweet and often hilarious, it's a cautionary tale about the perils of fame.
Cycle rides
I visited some more British cities for the first time in 2016, including Nottingham, which feels and looks very much like a city of the north. A visit to Nottingham wouldn't have been complete without a trip to Beeston to see Owen Jones' vast, modernist Boots factory, but I also enjoyed walking around the city, from the tree-lined sweeping private streets of the Park, a centrally located community of mansions, to Nottingham University's lakeside campus. I also went inside a Rough Trade record shop for the first time in several years, and found it to be a very different beast to the Rough Trades I visited as a teenager – far from the cramped, underground Rough Trade in Covent Garden, with layers of competing stickers on every surface, Rough Trade nowadays looks more like a lifestyle emporium, selling not just records but coffee, beer, books, DVDs and clothes, and even containing a novelty selfie booth.
Lincoln also felt like a city of the north, both in its geographical distance/isolation from the rest of the country, and in its cultural distance: it felt like stepping back in time several decades. Lincoln cathedral, with its Duncan Grant murals, is wondrous, and it's pretty around the aptly-named Steep Hill area. However, my favourite thing about Lincoln is Imperial Teas, a purveyor of exotic and unusual loose leaf tea (I took home coconut tea, black tea blended with big flakes of coconut). It wasn't cheap, but was worth it: Imperial Teas is the only tea shop I've been to that rivals my favourite place to buy loose leaf tea, J Atkinson in Lancaster.
public sculptures of Harlow, and saw a large number of sculptures in the centre, the highlight of which was William Mitchell's Water Gardens fountains. Such was the scale of the town that I didn't make it to any of the residential estates. I did, however, visit the outskirts of Harlow for architect Frederick Gibberd's magical, enchanting, riverside garden. Soon after my visit the Twentieth Century Society ran a tour of Harlow by bike, which makes a lot more sense than attempting to see everything on foot.
Silver End, a little island of modernism deep in the Essex countryside, was worth an afternoon's wander around its estates of flat-rooved, Crittal-windowed houses. The bigger houses had seen much better days. Similarly, Bataville was planned uniformity for workers in Tilbury, a subtle hierarchy apparent in the semi-detached managers' houses.
I continued my trips to the new campus universities of the 1960s by visiting the famous ziggurats of the University of East Anglia in Norwich, a landscaped campus that comes complete with its own broad and is full of sculptures.
I finally visited Hungarian architect Ernő Goldfinger's modernist home at 2 Willow Road, Hampstead. Featuring the Goldfingers' impressive collection of mid-twentieth century artworks (my favourites being Max Ernst's painted pebbles), it was well worth the wait for a glamorous glimpse of artistic life in 1930s suburban Hampstead, as well giving an idea of Goldfinger's interests and practice. Unusually for National Trust properties, the experience was surprisingly intimate and his house, which included a nursery and wooden toys, actually felt like a family home.
In complete contrast, I was absolutely fascinated by the Haven plotlands museum, based in the sole remaining plotlands house at Laindon, near Basildon. Intended as temporary holiday dwellings, whole communities and generations decamped from East London to Laindon in the war and lived for decades on small plots of land, growing fruit and vegetables, keeping chickens out the back and cycling to the train station for work. Eventually, the residents were moved out to the new town of Basildon in the late-1970s. The area was retained as a nature reserve, and the houses were allowed to return to nature. A 76-ear-old volunteer who was born and raised in a plotlands house gave a tour, and pointed out details such as the rag walls and rag rugs.
I loved exploring another old railway line in Lancaster, lined with wild raspberries and cherries, and seeing the river curve round dramatically at Crook O'Lune. Nearby is Halton, with its eco-friendly riverside co-housing development, and a mill co-operatively run as a creative space.
pitmen painters collection at Woodhorn, documenting everyday life, work and leisure in the north east.
I spent some time in 2016 exploring more of the British coastline, from Ravenglass and Grange-over-Sands up in the North West to Newbiggen-by-the-sea in the North East to the estuarine seasides of Southend-on-Sea and Canvey Island, which felt like part of London, with its sea walls with murals depicting natural life in the Thames estuary, as well as local legends Dr Feelgood.
Folkestone Downs made me realise how wrong I was. It took me years and years to get round to visiting, but now it's one of my favourite places in Folkestone. Also in Kent, I enjoyed walking off into the marshes at Faversham creek.
Hastings is one of the few places on the south coast I could ever imagine living, and its appeal was increased by my discovery of a wooded, cliff-top country park. I spent a very satisfying two hours rambling to the suburban, nondescript village of Fairlight, past reservoirs and with a detour scrambling down a hillside for a brief for a onto a rocky, secluded, nudist beach.
my favourite piece of writing on architecture this year, by the Guardian's Rowan Moore.
Swimming in Southend felt like swimming in the Thames, with the traffic of the river going past. Another swim with a spectacular view was at Dovercourt, with its two antique lighthouses, overlooking the huge container boats and cranes of Harwich.
In the quiet Kent hop town of Faversham the lido seemed to be the busiest place, with its fake rapids and impromptu diving contest.
The sandy, shallow waters of Pickmere were a welcome break on the cycle ride to Northwich, but down the road I stumbled across my new favourite lido, the elegant, cold pool in the middle of wooded Marbury Park.
Indoors, I visited the shabby, eccentric, wiggle-shaped pool in the basement of Sunlight House, with its mural giving the impression of being on a retro cruiseliner, and pools in old mills/warehouses in Sackville Street and Broadstone Mill, Reddish.
My favourite song of the year was Up to Anything by the Goon Sax, jangly indie-pop that I could just listen to over and over again all day.
Every time I heard Charles Bradley's world-weary You Think I Don't Know (But I Do) it made me stop and wonder where I'd heard it before – which I think is the idea. This sounds familiar both in its classic soul sound and the experiences behind it.
David Bowie kept on reinventing himself until the end: I kept hearing Blackstar on the radio and thinking it was by Scott Walker. With its stately, muted, strange, restrained vocal over ethereal, beating, synthy electronica, Blackstar also brings to mind Kid A, Radiohead's foray into dance-pop.
Hope Sandoval, one of the greatest rock voices of the 1990s, teamed up with one of this decade's most distinctive voices, Kurt Vile, for Let Me Get There. Sandoval's smooth, sultry, sexy, frail otherworldliness is placed next to the rough and rasping, down to earth, countrified tones of Kurt Vile, and it works – like all good collaborations, each enhances the other. The swirling organ, tremolo guitar and woozy chord changes of the Warm Inventions makes Let Me Get There feel a little like an updated version of the romantic languor of Neil Young's Harvest Moon which is, coincidentally, one of my favourite songs of all-time.
I also enjoyed the day-glo powerchord pop of Taco Cat's I Hate the Weekend, a bratty sentiment I can definitely agree with, Scott and Charlene's Wedding's raw, rickety, straightforward, catchy, feel-good punk, and the bouncy, bleepy electronic fun of Go Ahead by Pillow Person.
Requiem by extraordinary Swedish six-piece psych-folk band Goat is a full-on, multi-layered collage of tribal drums, polyrhythms, field recordings, hand claps, reverb, nursery rhyme-esque melodies, flutes and twisty, spindly, bagpipe-esque guitar solos. It's a complicated, messy noise, but it's pop. One of the highlights is Union of Sun and Moon, with its chanting and deliberately untuneful (and thus life-affirming) recorder duet.
Whyte Horse' Pop Or Not is sassy, full-bodied retro-pop in the vein of Broadcast. Highlights are Promise I Do and the French-language La Couleur Originelle.
I enjoyed the portentous, theatrical, flamboyant marching post-punk pop of Tim Presley's the Wink – and one of its quieter moments, the Big Star-eque Morris.
Meilyr Jones played the part of the pop star at Sounds From the Other City in Salford, hiding in and out of the nooks and crannies of beautiful St Philip's Church.
Electric 50, an eclectic 50th anniversary tribute to Bob Dylan going electric at the Free Trade Hall in Manchester, with highlights including Thick Richard, Vampire Dub and Vocal Harum, was a special birthday treat.
Manchester band Pins covered the Bunker in Salford in tinfoil and played Velvet Underground covers in a cage in a tribute to Warhol's Factory: there was an illicit, underground and very arty feel about it.
Sitting on a tree stump in Range Road Community Garden in Whalley Range on a late spring/early summer's night, eating home-made chilli, was a perfect venue for the avant-garde folk and country of Joshua Burkett, Crystalline Roses, John Collin and the Gamecock.
On the other hand, the Albert Hall always oversells its gigs, resulting in a venue that is horribly, stressfully crowded. Goat just about made it bearable, with two gold-caped singers jumping around like animals and tall feathered headdresses. With Grace Slick-esque singing, and the use of percussion such as agogo bells, they stay just the right side of prog.
JD Taylor's travelogue Island Story, an epic journey surveying the country and its inhabitants and trying to understand its political and cultural inclinations, made me want to set out on my bike (read my review for Manchester review of books here).
Nick Dunn's Dark Matters: A Manifesto for the Nocturnal City, captured the distinct pleasures of urban walking in poetry and prose, rendering the familiar places of Greater Manchester remarkable and the ordinary extraordinary (read my interview with Nick here).
Owen Hatherley's Ministry of Nostalgia brings together a series of critiques of the ways in which the aesthetics of the post-war period – or a certain nostalgia for it – influences twenty first century culture at a time of austerity. Hatherley shows how history is written to suit our own narratives, portraying Britishness as a powerful composite of imagery and symbols.
I expect I'm similar to many people in that hearing the Jesus and Mary Chain's Psychocandy for the first time as a teenager was an arresting, transformative moment that changed what I knew and felt about pop music. Paula Mejia's Psychocandy is the latest in supremely nerdy series 33 and 1/3, in which writers take on seminal albums in academic detail. Mejia's in-depth analysis of Psychocandy convincingly sets the scene for the album in the Reid brothers' home town, bleak Scottish new town East Kilbride, eight miles outside Glasgow yet seemingly of another world, at the same time as drawing out the links between their wall of noise and pop precedents such as the Ronettes. It's also interesting to read an American's take on post-war reconstruction and rebuilding, and the political and economic context of Thatcherism and miners' strikes.
Artist Tirzah Garwood's autobiography Long Live Great Bardfield, republished by Persephone Books in 2016 more than 60 years after her death with a new introduction by her daughter Anne Ullmann and illustrated with photographs and etchings, is a weighty and satisfying read. Born in 1908 and brought up in an upper-middle-class family in genteel Eastbourne, it's a glimpse into a different time, when middle-class women's main role was to marry well. Often snobbish in her descriptions of those she meets, and strange and apparently naïve in some of the ways she looked at the world – for example, Garwood was keen to have children in order to stop the monthly inconveniences of menstruation – at other times Garwood writes about sex and relationships with a surprising frankness, even going as far as to liken the birth of her third child to orgasm. She also writes honestly and maturely about her husband, Eric Ravilious' love affairs. The book is made poignant not just by Ravilious' loss in a plane over Iceland in 1942, but by Garwood's documentation of operations for recurrent breast cancer, from which she eventually died at the age of 43, leaving behind three young children. Though Garwood writes little about her practice as an artist in her own right – she was too busy being a wife, mother and lover – her autobiography places her at the heart of an artistic circle that included the Great Bardfield group of artists in Essex, as well as the friendship group based around Peggy Angus' country cottage the Furlongs in East Sussex.
I also enjoyed Modern Futures, which brings together personal and creative engagements with modernist architecture and Jonathan Hoskins' Own De Beauvoir!, a semi-fictional account of gentrification, protest, regeneration, creativity and untold histories in one small area of North East London (read my review for Manchester review of books here).
I enjoyed Bob Dickinson's bewildering Three-sided Football on BBC 4, exploring the game's Situationist roots as well as the teams that still play it today.
Katie Puckrik's Power Pop on Radio 6 Music played lots of shiny, radio-friendly power-pop hits, playing some of my favourites at the same time as introducing me to lots of previously unknown bands.
Posted by The Shrieking Violet at 22:03 1 comment:
Labels: 2016, Art, Books, cities, Daniel Fogarty, Daytrips, Documentary, Essex, exhibitions, Film, Kent, Lincoln, Liverpool Biennial, Manchester, Music, Nottingham, Photography, Public art, Seasides, Swimming
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This email was created by [MemberName] <[MemberEmail]> who thought you would be interested in the following Article:
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text:
Have you ever been to that place?
The place where....
You don't know what you want anymore?
Is that a good place?
Or is it bad place?
I'm still smiling though,
Still standing strong,
Still loving it.
I miss you...
I miss you...
You are so near,
I feel as if you are miles away...
I miss you.
x deez x
p/s: I longed for the smile, the smile that always makes my heart burn, that always make me melt, that turn me into jell-o. I love you. :)
Tipah betul betul tertipu ni !
56 minutes ago


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Javiera Estrada
Javiera Estrada was born in Acapulco, Mexico on Aug. 6. making her a Leo Rooster with a Scorpio Moon. Creative from day 1, she was always getting into trouble for drawing on the walls and sometimes on her face with nail polish.
Throughout her educational years she was classically trained in piano and violin, an influence which can be glimpsed in her work if you squint hard enough. Her track record of exploring a cacophony of arts from dance to healing eventually led her to the art of photography. Living at the time in the mayan village of Tulum, Mexico, Javiera's hours of hammock dreaming came to a halt with a a little encouragement from Sheila Metzner to obtain formal training. She packed her bags and headed to L.A enlisting in Santa Monica College's photography program, ranked one of the top photography schools in the country. In school she was one of 3 chosen to receive a grant as an award of excellence. In addition she was honored a coveted mentorship program given to one student every 3 years.
Javiera has exhibited in numerous galleries such as the Robert Berman Gallery, Ethos and 508 Gallery. Recently Javiera exposed new work in a juried show at SmashBox Studios among some of L.A's top photographers and won second place.
She currently lives in Los Angeles with her dog-cat names LOVE.
Selected Exhibitions:
2014 Javiera Estrada + Emma Ferreira (Feb.-March) "Union" Silent-Gallery, SM, CA
2014 Group Show (Feb.15) "I Art You" Create Fixate, L.A CA
2013 Group Show (Oct. 12-Nov.12) "Buddha" 508 Gallery, SM, CA
2013 Group Show (April 11-May 11) "Horses" Ethos Gallery, L.A CA
2013 Mopla Group Show (April 10-June 10) "Pin-up" Robert Berman Gallery, SM, CA
2013 Photo L.A (Jan. 17-21) Smashbox Studios, L.A CA
2012 Photo L.A (Jan. 17-21) Art Capitol, L.A CA
2012 Juried Group Show (April 28th) "Snap Flash" Create Fixate, L.A, CA
2011 Juried Group Show (Dec.8)"Face-Off" Smashbox Studios, Hollywood, CA 2nd Place
2011 Juried Group Show (April 9) "Rise" Create Fixate, L.A, CA
2011 Group Show (Jan. 28-April. 1) "Human Curve" Whole 9 Gallery, Culver City, CA
2011 Juried Exhibition by Craig Krull Jan. 23-Feb.23) "Photography" Topanga Art Gallery, Topanga, CA
2010 Solo Show (Dec.11-Feb.23) "CROWNS + VEILS" M2 Gallery, L.A CA
2010 Solo Show (Oct.15-Nov.15) "Crowns + Veils" SMC Gallery, L.A, CA
2010 Juried Exhibition (August 26) "Pro'jekt LA" Lucie Foundation, L.A CA
2010 Juried Exhibition (April 29-May 29) "MOPLA Group Show" SmashBox Studio, L.A CA
2009 Group Exhibition (Oct. 25) "Unique Techniques" The Whole 9 Gallery, Culver City,CA
2009 Group Exhibition (Sept. 26) "Snap Flash", Create Fixate, L.A, CA (3rd Place for Best in Show)
2009 Group Exhibition (July1-31) "Live Nude Girls", Tracy Park Gallery, Malibu, CA
2009 Solo Show (May 1-August 1) "Wind Series" A Song in My Heart, Venice, CA
2009 Group Exhibition (May 3-29) "Dirty", Cathexis,Trim, Abbot Kinney, CA
2008 Group Exhibition (May 31-June 6), "Cathexis", Venice, CA
2nd Place Smashbox "Face-Off" 2012
3rd Place Best in Show Create Fixate 2011
Color Finalist Photographer's Forum for Emerging Photographers 2010
Recipient of SMC's tri-annual grant for one year mentorship program 2009
Award of Excellence Recipient of SMC's Student Grant in Photography 2008


text:
MATLAB Newsgroup
Hi. I'm having trouble using the Data Acquisition Toolbox to collect data using a NIDAQ USB-6009. With the command,
ai = analoginput('nidaq','Dev1');
I receive the error message,
Error using ==> analoginput.analoginput at 99
Error using ==> analoginput.analoginput>localCreateAnalogInputObject at 191
Failure to find requested data acquisition device: nidaqmx.
Here are the software versions that I'm running:
Matlab R2007a
Data Acquisition Toolbox 2.10
NIDAQmx driver: 9.0.2f0
Using the command,
I receive the error message,
'nidaqmx.dll' not found. Make sure it is on the MATLAB path.
I'm sure that the 'nidaqmx.dll' file exists, and I've tried entering the entire filepath instead of just the filename. I've opened the mwnidaqmx.ini file in a text editor and have seen that the USB-6009 DAQ is listed, along with its properties. Using the command,
daqhwinfo('nidaqmx') or daqhwinfo('nidaq')
gives the following error message:
Error using ==> daqhwinfo at 98
Failure to find requested data acquisition device: nidaqmx.
I've used the daq to successfully collect data using LabView. Any help would be much appreciated. Thanks
Hi Ryan,
Did you ever find a solution to this? I'm having the same problem.
Are you running on Vista or Windows 7? you may have a UAE issue. Launch MATLAB in administrator mode, and then do daqregister('nidaq')
"Rob Purser" <email@example.com> wrote in message <email@example.com>...
> Are you running on Vista or Windows 7? you may have a UAE issue. Launch MATLAB in administrator mode, and then do daqregister('nidaq')
> -Rob
Hi there Rob,
I too have this problem. I have a PC running Windows 7 and I am running MATLAB 2011a from a network licence. We have the Data Aquisition Toolbox ver. 2.18. I have read a few of your posts on this topic and have tried the following:
- Opening Matlab as an Administrator
- Typed daqreset, and then daqregister('nidaq'), (I have also tried to register the sound card, daqregister('winsound')), and the same error message appears:
'nidaq.dll' not found. Make sure it is on the MATLAB path.
- Tried reinstalling the Data Acquisition Toolbox
- Tried reinstalling Matlab 2011a
One other thing. After first installing 2011a, I could not even start a session;
s = daq.createSession('ni')
After contacting support I was advised to set my File Path settings to Default. After doing this, the Data Acquisition Toolbox suddenly became visible and I could use the basic commands. However, now I cannot see any devices, (i.e. using:
Any ideas?
Are you running 32-bit or 64-bit MATLAB? 64-bit Windows 7?
Can you send the text of the error messages you're getting?
Do you have NI-DAQmx installed? What version?
Can you see your devices in M&A Explorer?
"Rob Purser" <firstname.lastname@example.com> wrote in message <firstname.lastname@example.com>...
> Are you running 32-bit or 64-bit MATLAB? 64-bit Windows 7?
> Can you send the text of the error messages you're getting?
> Do you have NI-DAQmx installed? What version?
> Can you see your devices in M&A Explorer?
> -Rob
I'm having similar troubles communicating with a NI USB-6229 box. I have 64 bit Win 7 with 64 bit MATLAB 2011a. I have NI M&A Explorer version 4.8.0f0. I can see the device in M&A and run test and get expected voltages out of the box.
Within MATLAB I can daq.getVendors to get:
Data acquisition vendor 'National Instruments':
ID: 'ni'
FullName: 'National Instruments'
AdaptorVersion: '2.18 (R2011a)'
DriverVersion: '9.3 NI-DAQmx'
IsOperational: true
But when I daq.getDevices I receive:
ans =
No data acquisition devices available.
Please help,
Also is there a guide or tutorial any where of how to use the session-based interface with Simulink? I'm sure there are ways to use a MATLAB function block and write a user made function but it seems strange to make a user function where a session is created, data put onto a channel and then data sent all within one use function that will run with each (fixed) time step of the Simulink execution.
Thank you for any help you may provide.
> I'm having similar troubles communicating with a NI USB-6229 box. I have 64 bit Win 7 with 64 bit MATLAB 2011a. I have NI M&A Explorer version 4.8.0f0. I can see the device in M&A and run test and get expected voltages out of the box.
Support for these devices in 64-bit MATLAB was added in R2011b. You'll need to install that.
On Simulink, the session based interface is not accessible at this time. You'll need to install 32-bit MATLAB on 64-bit Windows to have the Simulink interface work.
All the best,
Hello everyone
I'm having the same problem and would like to hear any suggestions you have.
I'm running matlab 2011a on a windows 7 64 bit machine, NI MAX version 5.0.0f1 is installed and i'm using a NI USB-6009; testing the device on MAX gives me a clean performance.
When I type daq.getDevices I get
ans =
No data acquisition devices available.
I typed daq.getVendors and got
ans =
Data acquisition vendor 'National Instruments':
ID: 'ni'
FullName: 'National Instruments'
AdaptorVersion: '2.18 (R2011a)'
DriverVersion: '9.3 NI-DAQmx'
IsOperational: true
I referred to the troubleshooting tips and tried all of those (verifying the device in NI MAX, reinstalling the toolbox) to no avail.
I've tried running matlab with admin privileges and typing daqregister('nidaq') with the following results
>> daqregister('nidaq')
ans =
'nidaq.dll' not found. Make sure it is on the MATLAB path.
Am I missing something? I hope you guys can help me, right now all i can think of is getting myself a 32-bit machine and work with that.
Thanks to all of you for your attention.
To get the NI boxes to work with Simulink I had to use a 32-bit version of MATLAB/Simulink. If you are planning to use the box just through MATLAB your configuration should work, I used one similar.
What do you get when you run the command:
"Garrison " <email@example.com> wrote in message <email@example.com>...
> To get the NI boxes to work with Simulink I had to use a 32-bit version of MATLAB/Simulink. If you are planning to use the box just through MATLAB your configuration should work, I used one similar.
> What do you get when you run the command:
> daqhwinfo('nidaq');
thanks for answering!
When i run daqhwinfo('nidaq') I get an error message:
>> daqhwinfo('nidaq')
??? Error using ==> daqhwinfo at 42
To learn about using data acquisition devices on the win64 platform, see
the documentation on the session-based interface.
since i'm using a 64-bit windows i can't use the legacy interface: analoginput, analogoutput and so.
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text:
Health insurer WellPoint Inc. has settled a lawsuit that Indiana Attorney General Greg Zoeller filed last October alleging Anthem Blue Cross and Blue Shield in Indiana did not notify 32,051 individuals in the state, or Zoeller, of a large breach of protected information in a timely manner.
The breach followed an upgrade around Oct. 23, 2009, to a Web site used to apply for individual health policies. The breach enabled personal health information submitted by consumers to be viewed on the site, including name, date of birth, address, Social Security number, telephone number, e-mail address, and health and financial information.
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text:
Udinese linked with Maniero swoop
By Riccardo Burgalassi
Last Updated: 01/01/70 1:00am
The 30-year-old has bagged an impressive 18 goals this season, despite the club being relegated to Serie B, and is also reportedly interesting Roma and Torino.
Chairman Maurizo Zamparini values the player at around £7 million, however the club's press officer Alberto Minazzi has revealed that no firm offers have yet been made for the star.
"These are only rumours at the moment," said Minazzi. "The transfer market links you with every and any club."
"Zamparini has said that he wants to sell the club. We cannot sell or buy anyone at the moment."
Meanwhile, Udinese are also being tipped to make a move for Brescia's £14 million rated marksman Luca Toni.
However, the club are currently being put off the player's high transfer valuation.
President Giampaolo Pozzo may find the cash to buy Toni, if the club can offload injury-plagued Argentinian striker Roberto Sosa.
"I have been injured for a long time," said Sosa, who is rumoured to be interesting Spanish outfits Espanyol and Mallorca. "Obviously I could not score many goals."


text:
What about me?
Hi, my name is Yuxuan Bai, I'm living in Liberty Lake now. But half year ago, I was living in Shanghai.(The second biggest city in China)
I have a lot of friends. This photo shows some of my friends and me.
I'm good at basketball, technology, math and music. And these things are my favorite things too. I'm in the GMS basketball team now.
But I have some weakness too. I'm really bad at drawing and dancing. I was trying to do them better, but I failed......
Because I born in China and live in America now, I travelled a lot. I have been to a lot of places. But I never go to Europe. The place I always wanted to travel to is Europe.
I just say I like music. I like singing, I like listening music too. I like all kinds of music, but actually I like pop best. I like both American pop and Chinese pop. I used to repeat a Chinese song called "ta"(just how to say it in Chinese). If I translate it, it called "she". It's a really good song. If no one is listening, I will sing anything I want to sing.


text:
Band of Outsiders back for 2017
Band of Outsiders is making a comeback for Spring 2017.
The label ran into financial problems earlier this year (15), with designer and founder Scott Sternberg confirming he was departing in June (15). The fashion house was snapped up by Luxembourg-based holding company CLCC SA, which has now confirmed it will be re-launching with items for both men and women.
"We have recruited a collective of ambitious, highly skilled fashion designers as well as merchandisers, graphic designers and key support staff to launch Band of Outsiders for the spring 2017 season," Antony Verbaeys, CLCC's managing director, told WWD. "It is our aim to have our collections present in the best international boutiques, but with a strong anchor in Los Angeles for which we are exploring opportunities."
Few other details have been confirmed, and it is said to be highly unlikely that the company will confirm who the designers working on the new brand are. It is known that items from the new-look label will first be glimpsed in September 2016 though.
Sources told WWD that designers have been creating from both Europe and Los Angeles, and the finished articles will be "new (and) exciting".
Sternberg is not thought to have any involvement in the project, with CLCC admitting he hasn't had any input "for the moment". WWD writers spoke to the designer, who didn't want to comment on the label in any way.
Sternberg used Instagram to confirm he was parting ways with the label he founded in June (15), following weeks of speculation about the future of the label.
"The proverbial Fat Lady sings, at least for me and my time here at Band of Outsiders… the store should be open for at least another week so, like, go buy something cute," he wrote. "And enjoy it. That was the whole point of this thing after all."
Cover Media


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Today I went with Kendall's class to Homestead Heritage for a field trip. The kids got to go on a horse drawn hayride, pet farm animals and see demonstrations of pottery making, blacksmith and woodworking. The place is beautiful and the people were so nice and knowledgeable.
All aboard! Watch out, these horses go zero to two in ten minutes!
Kendall has been begging for a hampster for months. After holding a goat she said, "Forget about the hampster, I want a goat!" I don't think our homeowners associations will go for that!
Crazy girls! Conjointal twins Kendall and Alexis!
Alexis & Kendall in front of the ice cream shop. See, I told you, they really are joined at the hip!
Two Kids!
Kendall with a baby lamb. She didn't find the lamb NEARLY as interesting as that goat!
Believe it or not she held a goat and a lamb, but was frightened of the baby chicks! The above reaction is NOT an "oh, how cute," she was really afraid!
Honestly, someone else had to hold the chick! She would barely pet it!
Overall, the day was great! Kendall's class had fun and the weather was perfect! I recommend next time you pass through Waco, definently stop by Homestead Heritage for some homemade ice cream! Yum-o!


text:
Question: What kind of igneous rock bodies are the light colored
What kind of igneous rock bodies are the light-colored rocks shown in Fig. 3.7?
View Solution:
View Solution:
Answer to relevant QuestionsA layer of granite 1 m thick is present in a sequence of sedimentary rocks, parallel to the bedding in the sedimentary rocks (Fig. 3.8). Is it a dike, a sill, or a stock?Igneous rocks are classified on the basis of texture (grain size) and composition (mineralogy). A general indicator of igneous rock composition is the color. Name the following igneous rocks by referring to Fig. 3.4:What are the rounded structures shown in Fig. 3.10?Figure 3.14 is a sketch of lava flows in the Columbia Plateau region of northwestern United States. What do the flows indicate about the viscosity and composition of the lava?What are the agents of mechanical weathering
Post your question


text:
O'Neill not getting carried away after famous Irish win
Ireland manager Martin O'Neill refused to get carried away after his side claimed a famous win in Austria on Saturday evening.
James McClean's second-half strike gave Ireland a 1-0 success and their biggest away win in a qualifier since 1987 when another 1-0 win in Scotland helped Jack Charlton's men reach Euro 88.
O'Neill knows Ireland have only played four matches so far in this campaign, however, and he played down the importance of the result.
"It was a tough evening for us, particularly in the first half," O'Neill said.
"Austria started strongly, which we knew that they would do with the pressure on them to get a home win.
"We stemmed the flow of it at half-time and I thought we were very strong in the second half.
"I felt that we were starting to turn the tide, that the game was within our grasp and McClean comes up big with a great goal and naturally I'm delighted for him.
"I'm delighted that we've won and I'm not saying it's significant by any stretch of the imagination. There's a million miles to go but it's nice to win that game tonight."
"Naturally Austria will be disappointed because they've dropped home points again but I wouldn't discount anyone just at this minute."
Ireland will have to do without key man Robbie Brady in their next qualifier, at home to Wales, after the Norwich man picked up a soft booking for kicking the ball away but O'Neill believes Ireland have the strength in depth to cope with the suspension.
"It's a second yellow, I don't think Robbie was even aware beforehand. It was a soft one, considering he knocked the ball back.
"We have played the competition without Robbie at one particular time. We played without Jeff [Hendrick] in Moldova.
"We played without players every single time so hopefully along the way somebody steps up to the mark."


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Bryan Cole made some awesome saves when the hill side shot him sideways. He kept his cool and drove out of it.
offroad, 4x4, desert, crazy, grayrock, aetna, trophy, truck, hammers, guns, morris, mountain, king, sling, hardline, razr, mud, rover, ford, simple, automobiles, diesel, suzuki, save, life, easy, toyota, 4wd, nissan, amazing, range, f250, wheeling, cool,


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Patio Roof Panels
Saturday, March 4th, 2017
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Unfamiliar with machine learning and natural language processing? Time to get caught up. These new technologies will transform the digital marketing industry.
Andrew McLoughlin
Calling all #sales pros! We're looking for a driven sales associate to join our #business development team. https://t.co/qCLxWOG4vs
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RT @Moz: The Perfect Blog Post Length and Publishing Frequency is B?!!$#÷x - WBFhttps://t.co/Xh9jlWZFcp By @randfish https://t.co/404s3xHiP7
Lookalike Audiences' new value-based tool is like cloning your customers, but no scary Jurassic Park side effects. https://t.co/Brau9ScfLz
The only thing you can count on when it comes to #Google is constant change. Case in point: their new homepage. https://t.co/jCdwgK3Gvo
Conversions are confusing - especially when sites do them differently. Check out our breakdown of Google and FB. https://t.co/dDg2Ab1IYg
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#Google is taking a stand against hate speech and changing their policies - how will this affect #SEO companies? https://t.co/D49ddWv7pl
Visual search has been a thing since 2010. So how does it affect the modern e-commerce market? https://t.co/EsQZp4DYeB
So honored to announce that Perfect Search is on the #Inc5000 list this year! https://t.co/NrMnuY5mR4
RT @JobsforCats: Chicago digital marketing agency @Perfect_Search has a variety of internships in CareerCat, incl. a fall copywriting internship; ID 143538!
Whether you're launching a spaceship or a website, you want things to go smoothly. Avoid these six simple mistakes. https://t.co/Mw6QPqVmz1
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We love a good pun and #Lyft delivers that (and more) in their newest partnership with #Disney #MinnieVan. https://t.co/xkoHeqauiK


text:
Sorry, you cannot send any messages to this user, send a friend request, comment on his pictures or videos, or post on his wall.
Content Partner
(353 Videos)
|Blowjob 11,841 videos , Cumshot 9,543 videos , Blonde 46,812 videos ,
|2,232,924 ADDED May 27, 2013
|Mia Magma +
|Featured July 12, 2013
|Couple , Oral Sex , Blonde , Caucasian , Blowjob , Cum Shot ,
I dig it with the weird jazz tune. they redubbed it to something more like Beyonce for you soundtrack sissies
We need more god blow job movies where the chick looks like she actually enjoys it.
I just loved the way she she lick and sucked on that gorgeous cock of his :) Whoever she is she's simply beautiful and so sensual ....
The head of his cock swells so sexy, nice smooth cock, would love too
fucking hot girl :)
What a pitiful load. She was worth so much more.
Lucky guy..
They meant jazz blows :)
my twat is so wet after watching that flick
Arrrrgh! That fucking annoying music
I didn't make it through 2 in a roll.....huge load....got a smoke?
that got my dick so hard
I need constant supply of cum = cum what may
belle fellation !!!!!
Что за музыка? Дерьма кусок. Уроды.
The worst jazz composed piece ever i listen. LOL!
Regina you are very hot
Put on some Miguel, muted the video, problem solved.
she's fantastic but the music really sucks!
fuck her all day all night! I WISH!
nice witch
Beginners saxophone lesson is a an interesting choice of background music ;-)
She's fucking hot. Wish she was sucking my dick.
Oh god you are so sexy,the way you tease with your tongue and lips before getting down to the business of sucking. Wish it was me who was the recipient of that bj
Technical problem!
Sorry, you cannot send any messages to this user, send a friend request, comment on his pictures or videos, or post on his wall.


text: I cannot get these lights to work. Both bulbs ok, fuse (38) ok. Am i right in thinking the switch for the lights is the one on the boot latch or is there another?? Also the manual says fuse 38 is luggage compartment and central locking. Which part of the central locking does it supply?? Any other suggestions?? Fuses to check??


text:
Letter from Terry Davies to Joshua Lederberg
- Authors
- Publication Date
- Source
- Legacy
- Disciplines
NATIONAL RESEARCH COUNCIL COMMISSION ON NATURAL RESOURCES 2101 Constitution Avenue Washington, D. C. 20418 ENVIRONMENTAL STUDIES BOARD August 15, 1974 Dr. Joshua Lederberg Department of Genetics Stanford Medical School Stanford, California 94305 Dear Dr. Lederberg: I am writing to invite you to participate in a study that the National Research Council is undertaking at the request of the U. S. Environmental Protection Agency. The purpose of the study is to examine and recommend improvements in the processes by which decisions are made regarding the regulation of chemicals posing environmental hazards. More specifically, the study will focus on the assessment of social benefits derived from chemicals, how to balance risks and benefits, and how the regulatory mechan- isms available for controlling chemicals affect the risk-benefit equation. A focus on these problems is considered by EPA as a next step in its efforts to develop a framework for making sound decisions as it carries out mandates to regulate hazardous chemicals and protect the environment. An earlier effort in these regards led to a study in 1973 under the aus- spices of NRC and directed by Dr. Norton Nelson of the New York University Medical School. That study focused on risk evaluation and was conducted as a one-week working conference in San Antonio, Texas. The report of the study is titled Principles of Evaluating Chemicals in the Environment and will be published late this year. The present study will be initiated with a two-day symposium on September 19-20, 1974 at the National Academy of Sciences in Washington, D.C. The Symposium on Principles of Decision-making for Regulating Chemi- cals in the Environment is designed to explore the state of the art of decision-making, to reveal gaps in knowledge, and to decide if a more intensive effort such as a working conference can and should be structured to productively address additional issues. I invite you to attend the symp


text:
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Pnina Tornai 'Danielle Caprese' is a fit to flare, strapless, light ivory silk, drop waist pleated bodice that laces up the back and is hidden with covered buttons and a tulle under coat. The dress pins up on side front with rose pin but can be replaced with crystal brooch.
- Condition: preowned
- Profesionally Cleaned: no
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- US Street Size: 06-08
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Once you have placed your order the Seller will be notified to pack and ship the gown. The seller will then ship the item to us and our inspection and authentication team will check that it is authentic and matches to the seller's description. The item will then be shipped to you upon approval.
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text:
More players withdraw from games
The Jakarta Post
The Jakarta Post
Following the withdrawal of China's two-time Olympic champion Lin Dan and Indonesia's men's single defending champion Simon Santoso, more players decided to follow suit in the 2013 Djarum Indonesia Open Super Series Premier tournament that kicked off on Monday.
'In total there are 6 players that have withdrawn from the tournament,' the tournament's head of organizing committee F. Koesdarto Pramono announced.
Lin Dan withdrew from the tournament due to an injury suffered during the Badminton Asia Championship and Simon due to his hip injury. Both had also confirmed to skip the Singapore Open later this month.
Among the late withdrawals were mixed doubles defending champions Sudket Prapakamol and Saralee Thoungthongkam of Thailand. The others were Srikanth K of India, Chan Yan Kit of Hong Kong and Scott Evans of Ireland.
There were no details about their withdrawals. Prapakamol and Thoungthongkam won last year's mixed doubles event after defeating Indonesia's All England winners Tontowi Ahmad and Liliyana Natsir.
Lin Dan, whose world ranking slipped to 68 after his eight-month hiatus from international badminton tournaments, was supposed to have played Indonesia's Dharma Alrie Guna in the qualifying round. He was replaced by Japan's Kento Momota.
The withdrawal of the 29-year-old Lin Dan quashed the prospect of the much anticipated match between him and either Indonesia's 2004 Olympic gold medalist Taufik Hidayat or world number one Malaysia's Lee Chong Wei in the second round.
Simon, who won last year's tournament after defeating China's Du Pengyu in the final, was to have played Dane Hans Kristian Vittinghus in the opening round. He has been replaced by Indian Sourabh Varma.
South Korea's Lee Yong-dae will defend his men's doubles title with a different partner after Jung Jae-sung retired from badminton at the end of the 2012 London Olympics. Yong-dae is now pairing with Ko Sung-hyun, with whom he won the 2013 Victor Korea Open after beating Danes' Mathias Boe and Carsten Mogensen 19-21, 21-13, 21-10 in the final.
The pair advanced to the final later at the Malaysia Open but they lost to Indonesian pair Mohammad Ahsan and Hendra Setiawan.
With two defending champions pulling out of the tournament and one with a new partner, new faces are expected to become champions in the tournament.
More than 200 players from 23 countries vie for a total of US$700,000 in prize money, a $50,000 increase from last year.
' JP/Irawaty Wardany
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- ExxonMobil wants US$121 million for its JTB field ownership
- Sri Mulyani claims tax revenue target realistic
- EDITORIAL: Boring, yet realistic budget


text:
I Wish I Could Stay Sober
Personal Stories, Advice, and Support 13 People
You Can SsYou can stay sober..... I used to drink every night or on my days off. I am proud to say that I have now been sober for 3 years and it feels great. Know what really got me this way? My 4 boys. Along with my 2 daughter-in...
duehonk 46-50, F 0 Apr 5, 2008
I Cant Do It. Just Cant Do ItI am 18 years old. I am an alcoholic addict. I have been to treatment twice. The first time I got kicked out and the second time i was there for 7 weeks. I had 63 days sober and screwed it up then recently i had another 74 days sober and i screwed it up about 3 weeks ago and i...
tsafbrat 18-21 2 Responses 1 Apr 1, 2011
][=-Ive drinking since 14 due to **** life experiences...a few years on i feel like im starting to pay for it and i wish i could be happy or even have fun sober so i can stop drinking but i feel like thats just not gonna happen.
username13 26-30, M 1 Response 0 Nov 1, 2008


text:
Last week, May 11th, I got a forwarded email from our club's secretary from a man in Coralville who had a neighbor who had a lot of bees going in and out of a black composting bin. The owners were interested in having them removed. I called the neighbor and set a time to come take a look. I spoke with Jeff, the neighbor, again before I went and he said there was also a small swarm on a young tree near the compost bin.
Unfortunately, I don't have any photos of the colony in the composting bin. It was huge. They had drawn out about 8 combs, about 10 inches in length. It was a much larger group of bees than the swarm in the tree. I had only brought one box, so took the bees out of the compost bin. It was easy removing the comb and most of the bees, but hundreds were still in and around the bin. I decided to leave the box near the compost bin and pick it up the next day, as well as an extra nuc in case the swarm was still there. It was. I removed it successfully and brought that home. I'll either keep it as a nuc or combine it with hive #4, which has one capped queen cell as of this past weekend. I'll have to see if a queen develops there. Or I may just go ahead and combine anyway if I find a good queen in the swarm.