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- Morgan Stanley CIO and US equities chief Mike Wilson says the record-high concentration of returns among giant tech stocks will change later this year.
- Slow economic growth is one reason mega-cap tech has outperformed, and Wilson says other parts of the market offer bigger returns today — especially if that growth improves.
- Apple, Microsoft, and Alphabet are all valued at more than $1 trillion, and Amazon also briefly surpassed that mark last year and remains close to it.
- Click here for more BI Prime stories.
Now that the stock market's Club Trillion has three members, it might be getting a little crowded.
Google's parent company Alphabet is now valued at more than $1 trillion, joining Apple and Microsoft as the only US companies above that milestone. Amazon traded at that mark briefly last year and is now valued at about $938 billion.
Combined, the four companies and Facebook — the next-largest company at $632 billion — are valued by investors at well over $5 trillion. Mike Wilson, chief US equity strategist and chief investment officer for Morgan Stanley, says that's a staggering 18% of the total value of the S&P 500 index, and that this share can't last for very long.
"This is the most extreme this metric has ever been, including the tech bubble of the late 1990s," he wrote in a note to clients.
"We fully expect to see powerful rotation to other sectors and stocks at some point this year."
While the tech bubble comparison might be worrying, Wilson isn't calling the stocks a bubble today, and says their dominance makes sense in a climate where economic growth is slow, central banks are easing, and yields are weak.
But he thinks it won't last much longer, and not just because of the eye-popping dollar values of the mega-cap tech companies. It's because over the last few months, their stocks have rallied even though profit forecasts have stayed flat. That makes the gains "speculative," in his view, and makes a sell-off possible if those earnings don't materialize.
"This doesn't have to correct itself immediately but it is an unsustainable development in our view especially if net income concentration doesn't keep pace," he said.
Wilson backs up that argument with this chart. The yellow line tracks the performance of tech stocks compared to the broader S&P 500, while the blue line compares the relative earnings of the sector and the index.
Wilson says tech stocks could "melt up" for a while longer, but there are two basic ways the situation can resolve itself. In one, investors start to flee the sector in response to those weak profit trends, which would be a bearish signal that deprives the market of leadership.
In the other, investors decide to diversify and market leadership gets broader, which Wilson views as bullish.
"The bigger opportunities are away from big cap tech but it will require a greater belief in a bigger growth rebound," he said. He writes that these three trades should work if that evidence materializes.
1. Buy financials over real estate
Wilson says there are broad, positive earnings revisions from banks, which is a sign that their performance is improving and should give a lift to their stocks. And banks have meaningfully outperformed real estate investment trusts since recession fears started to fade last year.
Investors who find that view compelling can enact it through an exchange-traded fund like the Shares US Financials ETF.
2. Buy industrials over semiconductors
Semiconductor stocks have outperformed most of tech and the broader market in recent months, and Wilson says they've outperformed industrials for a long time as investors reacted to weakening global economic data. But he says chipmakers' edge is shrinking, a sign industrials could pull ahead in the near future.
One way to gain exposure to industrial stocks is through the Industrial Select Sector SPDR Fund.
3. Buy energy over utilities
This, too, is a bet on stocks that are more tightly linked to the performance of the global economy. Wilson says the relative performance of these sectors has been flat, suggesting that more cyclical energy stocks could beat the defensive utility sectors if investors are convinced growth is improving.
"We think it is still too early to make a big bet on cyclicals but a good entry point may be approaching after this final test is finished and there is more evidence of a real rebound in manufacturing and inflation expectations," he said.
Traders can put that strategy into play with the Vanguard Energy Index fund.


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What is Social Media Marketing?
Social media marketing is the act of using these various external platforms as a way to build relationships with new and existing customers through content and social interaction. As with any marketing activity, a strategy should be in place that outlines the specific goals, KPIs, and tactics the brand is going to use in order to track and measure effectiveness of each channel.
How Does Social Media Marketing Work?
Basically, social media sites like Twitter, Facebook and LinkedIn have aggregated an audience that you can use to distribute your content, build awareness for your brand, and develop ongoing relationships with your passionate fans.
Your social media strategy should work to connect your business directly with new and long-time customers on these platforms, who in turn, share their opinions about your products and services with you and their connections, thus expanding your reach, brand equity, and influence.
Paid VS Organic
There are two main ways you can use social media to improve your marketing: by paying to reach people quickly, or by investing your time into organic growth. On some channels, organic growth is extremely slow-going, especially for brands in "unsexy" industries.
Social media sites like Facebook and Twitter make all of their money through selling advertising to people who want their message to be seen, so in the past few years, social media sites have put a cap on the level of reach any one brand can achieve organically. Profiles with a large number of followers will have less trouble generating impressions for their content than profiles with low follower counts, which is why account growth is usually an important part of social media marketing. The more followers you have, the better your chances at them seeing your content and engaging with you, which improves your organic reach, and so it goes.
The basic rule is that if you want to expedite the growth of your accounts and reach more people, you'll need to incorporate a paid component into your social media marketing strategy.
Of course, content is the backbone of social media marketing, so squaring away your content strategy (what is your message, who is your audience, what are their biggest pains that you can solve, what are they searching for, etc) and how it will work with your social media marketing (where does your audience hang out, when are they the most active, what do they engage with the most...) should come before investing in social media growth if you want to see good results.
Channel Breakdown
There are several channels that fall under the umbrella of social media, some more widely used than others. Depending on the audience for your business, certain channels might be more preferable to explore than others. Our team of social media marketers can help you determine the best platforms for your business and budget, but for reference, the main channels are:
- Youtube
- Snapchat
Introduction to Facebook Marketing
Twitter: A great channel for content distribution
Twitter is another channel that is extremely useful for brands in all industries, but most specifically, Twitter is a great place to build relationships and thought leadership through conversation, as well as distribute your written content to a large audience. Twitter works well to promote events, webinars, blog posts, you name it.
Twitter is also great for influencer marketing, and has the added benefit of being a channel that can grow rapidly with the right amount of time investment.
LinkedIn: The quintessential B2B channel
LinkedIn is, as everyone knows, the professional channel. The users of this platform are people who have careers and are generally interested in what is going on in the business landscape. Advertising capabilities on this platform are strong for brands looking to target people at specific companies, in specific positions, etc - but, it is a lot more expensive than advertising on Facebook, Instagram, or Twitter.
If your brand has long sales cycles and sells high-dollar services or products to business leaders, LinkedIn would be a good channel to test.
How Can We Help You?
We create and monitor your entire social media strategy and keep track of the latest developments and tools in the field, saving you time, money and effort.
- Develop an effective social media marketing campaign
- Design a blog, maintain a Twitter account, create ads on Facebook that target specific groups or update your LinkedIn profile
- Streamline the entire process into one comprehensive plan, so that you spend less time on branding and more time making sales
With the latest advances in technology, building and engaging with a loyal fanbase and potential customers on social media is now more easily accessible for businesses of all sizes.
- Industry-Specific Strategy: We tailor our strategic approach based on your industry and needs.
- Integrated Approach: As an integrated agency, we never look at organic social media in a silo. Instead, we look at it as a key piece in furthering brand awareness, creating brand loyalty, and reaching KPIs.
- Grow Together: We help you understand the social landscape by educating you through reporting and trends. We love trying on new social media trends to get the results you desire.
- Local Leverage: We have access to all types of tools and resources, which means San Francisco Bay Area's largest media powerhouses are backing your brand. We utilize tools and data from resources nationwide in a local landscape. We love working with local companies!
Social Media Management from Hearst Bay Area: How It Works
1. Discovery
- Your Brand: Content on social media should match your brand. We start our work together by gaining a deep understanding of who you are, your goals, and your brand's look and feel.
Your Competitors: We analyze the social media presence of competitors or aspirational brands in order to determine where we can outperform others in the industry, and where we can adopt successful tactics.
Your Social Presence: We conduct a social media audit of existing social media channels:
- Profile info
- Channel selection
- Audience
- Engagement
- Content
2. Foundation
During the foundation stage, Hearst Bay Area will document a strategy to achieve your business goals on your social channels. Prior to launching this strategy, we will also ensure that the channels are in tip top shape for new content to be posted!
3. Growth and Monthly Management
- Monthly Content Calendar: We begin each month by outlining the date, theme, platform, and concept for each post we will create. This spreadsheet is shared for approval.
- Weekly Scheduled Content: Next, we draft each post in Sprout Social for approval. Once approved, the posts are scheduled to go live at peak times. We monitor all engagements.
- Monthly Reporting: A monthly report is presented to recap performance and opportunities for growth.
Based on each of the required phases, here is a sample of a timeline that we'd implement for your brand:
Challenges with Social Media
Many brands have come to us and said "social media doesn't work for my business" or "Facebook ads don't generate leads for us," but the truth is, these companies failed with social media because they didn't understand how to set up, manage, and optimize the strategy.
The bottom line is that social media marketing is more likely to work for your business if considerable effort is invested into the strategy, growth, and maintenance of the channels. When you have a dedicated person (or team of people) managing the effort, the results are better because social media marketing is requires a lot of love.
Social media is just as much about relationships as it is about promotion. You can't have success on social if you don't invest the time into nurturing and developing those audience relationships, which is powerful, albeit time-consuming, long-term strategy that pays off in the end.
Tired of posting on Facebook and seeing zero engagement, let alone sales?
We'll take social media marketing off your hands so you can spend your time running your business.
That's why they pay you the big bucks, after all.

subset: commoncrawl


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JD Malat Gallery - Online Exhibition
Abstraction and The Natural World
1 April – 8 May 2020
JD Malat Gallery is proud to present the best of its abstract painters in Abstraction and The Natural World. This online exhibition aims to demonstrate the multifaceted nature of painterly abstraction that the gallery programme has to offer.
From the ethereal mountainous landscapes by Swiss artist Conrad Jon Godly, to the mesmeric swirling paintings by Californian artist Andy Moses, this online exhibition embraces many dialogues within the history of painting, from nature, landscape and science to abstraction. As such, this online exhibition engages with the theme of the natural world and its influence over abstract painters.
In an attempt to underline the wide-ranging influence of nature over abstraction, this exhibition juxtaposes such representational paintings by Conrad Jon Godly with the fluid and expressive paintings by Icelandic artist Katrin Fridriks.
Working from memory and using impasto brushwork, Godly explores how his painterly medium evokes the tangibility of rocky Swiss mountains with dynamic gestural brushwork; by comparison, the work of Katrin Fridriks - so profoundly impacted by the landscapes of her native Iceland - reveals how the fluidity of nature's elements are emulated through splashes of paint.
Through this series of contrasting works, Abstraction and The Natural World also highlights the range of responses from artists dealing with the interrelationship between their technical process and the natural world.
JD Malat Gallery also hopes to demonstrate the breadth of our artistic programme by presenting brand new works by Colombian artist, Santiago Parra and Japanese artist, Masayoshi Nojo, as well as newly acquired works by Victor Vasarely, Yayoi Kusama and Marlene Dumas.
By combining each artist's unique perspective on their natural surroundings, this online exhibition aims to unveil how artists utilise the infinite variety of natural elements and forms as a wellspring of creative abstraction.
JD Malat Gallery specialises in contemporary art and champions a broad spectrum of emerging and international contemporary artists. The programme consists of an array of exciting artists supported by year-round exhibitions and contemporary art fairs.
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Vilen Künnapu
Vilen Künnapu is an architect and an artist, born in Tallinn in 1948. He graduated from the Estonian Academy of Arts in 1971.
"I am spending more and more time in the territory of dream. When l am flying with the birds l feel that l am one with everything - trees and bushes, see and islands, birds and animals, stars and sky. Sometime l feel that dream is more real than so called reality. When l am one with the sun everything is absolutely perfect.
I am developing a new style in painting. Experience of Modern art is mixed with the magic."
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Carole Schilbach
Carole's life has been one of interest and curiosity for landscapes, cultures and their different colours and shades around the world. Born in Amman, Jordan in 1965 she has initially been a fond and proud observer of her native Middle Eastern landscapes and architecture, a seemingly immovable still life of mostly natural stone formations and sand colours. The sun, however, provides these colours with a wealth of different tones during daytime, and at night, the moon and stars over the desert offer a sheer endless range of blues and greys. The Jordanian Wadis of Rum or Mujib remain her definition for the beauty of Earth and inspiration for her creativity.
This piece is called Waves and is made of acrylic paint with sand. The size dimensions for this piece is 140cm X 75cm
This piece is called Sand and is made with all different types of materials and acrylic paint
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Instagram - @caroleschilbach_art
Né Barros
This new series (collection) of works by the plastic artist Né Barros transports us to his imaginary world of the small, works on mixed media where acrylic, plaster, glue, resin and other materials come together and interconnect like a true alchemy. The artist becomes a chemist. The world of the cell, of the atom, has always fascinated the artist Né Barros, the small cellular world and the great beauty of the images obtained through the microscope led the artist to create his new series of abstract works. His work are in Large format on wooden board.
Layer by Layer Né Barros takes us to worlds of fantasy and imagination, creating a complexity of textures and transparencies.
the artist's said "I'm abstract artist looking for new forms, new concepts and aesthetics in the approach of the canvas" . Né Barros chooses 2020,nº7 – mixed media on wood, 100 x 100 cm because it is the culmination of his search for the "little" of what is not seen with the naked eye.
Né Barros is an award-winning, born in Almada/Portugal /1964
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Hawai'i Contemporary 2020
Viewpoints Gallery Maui is proud to present "Hawai'i Contemporary 2020," an exhibition by Danielle Nelisse, on display from 27 February 2020 to 16 April 2020 in Makawao, Maui, Hawaii.
"Bamboo Passage" presents a new series of work inspired by Hawaiian landscapes. In the past, Nelisse's abstractions drew inspiration from the colorful streets of Havana, Italian graffiti of Rome, and holiday escapes to tropical Puerto Vallarta. But now the vibrant colors, graphic lines, and texture displayed in her artwork are in sync with the Hawaiian islands in the Pacific Ocean.
Danielle Nelisse was born in Michigan, USA and graduated with a Bachelor's of Arts and a Juris Doctorate in law. As a law student Nelisse studied abroad in Europe. Even though one of her law professors was US Supreme Court Justice Scalia, every moment she could, she spent in a European art museum studying art masterpieces.
In addition to exhibiting internationally, Nelisse's artwork has been exhibited by Fortune 500 companies and is sold as wallpaper and murals by two companies in the United Kingdom. The University of Melbourne and University of Western Australia also obtained three of Nelisse's artworks for their permanent collection and to promote academic research. Most recently, her artwork is exhibited by the US Embassy in Bahrain and at the Schaefer International Gallery in Maui, Hawaii.
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JD Malat Gallery is proud to announce our group show of 2020, The Contemporary Human Condition.
Wednesday, 19 February 2020 to Saturday, 28 March 2020
The title of the group show, The Contemporary Human Condition, presents the best of JD Malat Gallery's international artists who engage with the theme of contemporary life. This exhibition attempts to underline the importance of international dialogue focussing in particular on the artistic response to changing global conditions, political events and the impact of contemporary life on the individual.
In an attempt to tackle this series of complex connections, the exhibition is framed by the question; how does this selection of artists explore and express the many facets of the contemporary human condition? To answer this question, this exhibition responds to themes of conflict and escapism by juxtaposing such politically charged portraits of world leaders by Chinese artist Li Tianbing with the atmospheric and ethereal landscapes of Swiss artist Conrad Jon Godly. The Contemporary Human Condition highlights the range of responses from artists dealing with the complexities of contemporary life.
Li Tianbing and Zümrütoğlu draw upon their personal experiences to reveal the profound impact of global political issues and conflict. Li Tianbing's work is framed by post- socialist issues in China which have led to a number of protests and ideological confrontations by attempting to capture the transient nature of conflict between contrasting groups in society. Moreover, Turkish artist Zümrütoğlu alerts us to the baseness of the human condition through a powerful and highly expressive display of work.
Similarly, the effects of the relationship between the individual and the urban environment are explored through the work of British realist painter Darren Reid as well as Irish figurative artist Ian Cumberland. Their focus on isolation brings forth an assessment of the psychological state of loneliness; a condition touched upon in the dreamlike paintings of Henrik Uldalen. Together, these artists reveal how this series of figurative work can present a more contemplative look at one's surroundings.
Colombian artist Santiago Parra, Icelandic artist Katrin Fridriks and American artist Andy Moses bring explosive and colourful works to the space. Collectively, they provide the viewer with natural and expressive forms, illustrating how art can alleviate the afflictions of contemporary society. As artists who undertake meditative approaches to their medium and subjects, Parra, Fridriks and Moses reveal how art can be a creative and meditative force, both for the viewer and the artist.
By combining each artist's unique perspective on the contemporary human condition, this exhibition aims to unveil the artists' mutual ambition to engage with the pressures of contemporary life through the creative process. In so doing, this exhibition hopes to strengthen the dialogue between international artists and make evident the connective and encompassing force of art.
JD Malat Gallery specialises in contemporary art and champions a broad spectrum of emerging and international contemporary artists. The programme consists of an array of exciting artists supported by year-round exhibitions and contemporary art fairs.
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JD Malat Gallery is proud to present 'Under the Moonlight', the first solo exhibition by Japanese artist Masayoshi Nojo, on display from 16 January 2020 until 15 February 2020.
'Under the Moonlight' presents a new series of work entitled "Mirage". Inspired by natural phenomena and Japanese landscapes, Nojo fuses contemporary visual languages with Japanese aesthetics to explore the themes of memory and the passage of time. His use of silver foils on top of a marbled acrylic base creates an array of dark and reflective passages, deeply resonating with the atmospheric mirage one may feel when under moonlight.
Nojo's new series is highly motivated by the relationship between light and dark in natural scenery. The multi-layered images with both dark and light shimmering passages present an array of grayscale tones in constant flux, allowing the viewer to traverse the complexity of the surfaces and be transported to a landscape in the distant memory of the viewer.
Born in 1989 in Kanagawa, Japan, Masayoshi Nojo completed his MA in Japanese Paintings in 2015 from the Kyoto University of Art and Design. Rooted in Japanese art history, Nojo's use of silver is reminiscent of Ogata Kōrin's celebrated work during the Edo Period in seventeenth-century Japan. Drawing upon contemporary methods of creation and traditions in Japanese art and culture, 'Under the Moonlight' explores themes of memory and time.
'Under the Moonlight' is Nojo's first solo show outside of Japan. Nojo has shown in many galleries in Japan, such as Tokyo Arts Gallery, Tokyo and the Gallery Art Composition, Tokyo. The widespread acknowledgement and admiration of his work has been marked by his awards, most notably the Grand Prize, Tadasu no Mori Dessin Contest (2009) and the Grand Prize Turner Award (2013).
JD Malat Gallery in conversation with Masayoshi Nojo
JD Malat Gallery: What is this exhibition about?
Masayoshi Nojo: This exhibition shows, "Mirage", a unique series of works inspired by natural phenomena and Japanese art. In this series I explore the relationship between the perception of time and memory and visualise such themes through disassembling and reconstructing my photographs with metal foils on panels. This way, the photographs, affected by both light and space transform into forms of faint existence, abstracting the factuality of photography. The viewer can feel immersed in this scenery in the grand-scale works, most notably in Mirage#48, my main piece which measures 250cm by 600cm. The stillness and silence evoked in each work may generate an eerie feeling of loneliness. Like the relationship between light and shadow, I hope viewers find beauty in such feelings, beauty found under the moonlight.
JD: How is this different from what you have done in the past?
MN: I majored in Japanese painting at Kyoto University of Art and Design. It was a very meaningful period of my study as I became familiar with Japanese culture and its tradition in Kyoto. However, I began to feel that what I wanted to express was a little different from what I had learned there. During my studies, I started to become interested in contemporary art, which was completely different from the art world I knew. I visited galleries, museums and art fairs in London and Hong Kong as a student. It was an exciting and unforgettable experience which contributed to the current style of my work which fuses contemporary Western artistic techniques and Japanese cultural references.
JD: Can you go through your technique in detail?
MN: The method I use is unique, informed by academic methods and a combination of contemporary visual languages with Japanese aesthetics. When I create new works, I start by imagining the complete vision of the work. I then work towards this vision through thinking about the materials and methods that are required for the work. The artworks in "Mirage" are predominantly made of silver and aluminium foils. First, I create a layer of marbled acrylic paint on the panel. Secondly, I reconstruct my photographs and imprint them onto the base layer through silk-screen printing. The overall effect creates multi-layered depth on the screen. I came up with this process following my interest in traditional techniques used for creating patterns and design on kimono. Through my process, a range of grayscale and multiple forms expand across the screen, resulting in "mirage", a phenomenon in which areas of photographic realism and flat reflective surfaces coexist.
JD: How would you situate your work in the history of art? Both Asian art and Contemporary art in general.
MN: This is a challenging question as it would take a long time to situate my works in the history of art. I believe my work presents a connection between the Japanese and Asian context of art and its trend, with a wider contemporary scene.
JD: What and who are your main influences? Artistic or otherwise?
MN: The Japanese environment and its culture resonate deeply with my current works and is often the starting point of my creation. I incorporate elements influenced by the environment to some extent. I have been influenced by many artists. For example, Olafur Eliasson, Rudolf Stingel, Anselm Kiefer, Michael Borremans, Hiroshi Sugimoto, and On Kawara.
JD: How do you feel about exhibiting here in London at JD Malat Gallery?
MN: I feel very honoured to have a solo exhibition. This is my second time visiting London. I first came here as an art student six years ago. But this time, I am happy to come back to London as an artist. This exhibition is the biggest one I've ever had and will be an important milestone in my career.
JD: Your work is very focused on time and memory. Can you elaborate more on this?
MN: As a series influenced by natural phenomena, the images can change depending on the environment, lighting and weather. For instance, the images on the screen can vary from morning to night and rainy to sunny days. It means that the artwork is under the influence of time passage as we all are, making the time specificity of each image blurred. Viewers can project their memory of nature unconsciously onto the image as their eyes wander across the screen.
JD: Does silver hold a particular significance as a colour for you? It is by far the most predominant colour in your work.
MN: The images on the screen are all made of foils. For me, these are not "colours" but "shadows". Light and shadow are like two sides of a coin, their relationship is inseparable. Sometimes that "shadow" accentuates the presence of the work, but other times its presence can be more ghostly.
JD: Can you discuss the absence of colour in your works?
MN: As the marbling of acrylic and creation of grayscale imagery is inspired by sceneries only I've ever seen, the marbling on the panel represents the ambiguity of memories and our unsettling mind. Grayscale and absence of colour serves a complimentary role for the viewer's immersive experience. The absence of colour and varying tones of the grayscale emphasise the relationship between light and dark as well as the ambiguity of time in each piece, allowing the viewer to contemplate the passage of time and reflect on their memories of different landscapes.
JD: Do your landscapes reflect anything about Japanese culture?
MN: The atmosphere emulated by my works evoke the idea of "wabi-sabi", a view in Japanese aesthetics centred on the acceptance and beauty of transience and imperfection of form. Nothing in this world is permanent. Therefore, the appreciation of impermanence and change is reflected in my materials and process.
JD: Your landscapes appear idyllic. Is this your desired interpretation?
MN: Many people find beauty in my artwork, but some people may feel scared of the silence evoked by the absence of people, flowers and other living creatures in my pieces. I would be delighted if viewers discover this duality in my artwork.
JD: What can we learn from this exhibition?
MN: I hope that my series "Mirage" embodies and evokes the shifting moods one may feel when under the moonlight. By immersing oneself in the shifting tones of my grayscale and shimmering pieces, I hope that one can also explore the ambiguity of time and memory while being simultaneously transported to these mysterious landscapes.
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Acts at the Crossroads by internationally acclaimed, Nigerian-born artist, Otobong Nkanga
Video credit: Zeitz MOCAA
Thursday 21 November 2019, Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA) opens an exhibition titled Act at the Crossroads by internationally acclaimed, Nigerian-born artist, Otobong Nkanga.
Nkanga has been the recipient of numerous awards, most recently the inaugural Lise Wilhelmsen Art Award (2019) from the Norwegian Henie Onstad Art Centre, and the Sharjah Art Foundation Prize (2019) in the United Arab Emirates.
Acts at the Crossroads is a significant survey exhibition, and the first museum exhibition on the African continent of the artist's work. It includes works from the last two decades - a multidisciplinary practice that considers humanity's connection to the environment in complex ways.
Rather than present us with an instructive method of documentation and observation, Nkanga grounds her work in a familiarity of encounter between viewer, artist, and object and asks us to consider the earth as an extension of the physical human body, to understand that it too is undeniably alive.
"Exploring environmental damage and the politics of land, her practice becomes a conduit, a voice for these raw, organic materials. Acts of labour, mining, commodification and trade have an impact on the earth that is also mirrored in the ways we treat the body," says Curatorial Assistant, Precious Mhone.
Acts at the Crossroads explores a host of potential outcomes that present themselves at points of convergence. An agreement or understanding between two parties, a merger of ideas, thoughts, belief systems, cultures, histories and narratives. Connections become created, bonds are formed and solidified or broken. Differing ideologies are confronted, things are torn apart or brought together.
The exhibition invites viewers to connect with themselves and each other at these points of awareness and reflexivity, through a range of media including drawing, painting, photography and video works, geological matter and decayed minerals.
"I thought it was interesting to be able to think about these ideas, especially in South Africa, which for me has been a kind of crossroads. Or the acts or pacts that have been very much related to land and landscape," explains Nkanga. "So, when I was really thinking about the title, I wanted to allude to entering into the realm of matter and material and its effect on different groups of people."
"I am thrilled – and honoured – to host Otobang at our museum. I have known and worked closely with her for many years and celebrated her success each step of the way, says Zeitz MOCAA Executive Director and Chief Curator Koyo Kouoh.
"Her far-reaching practice echoes a globalisation that suggests we bear a true and honest connection with each other that transcends the notion of borders and emphasises the shared human condition. She gives voice to a need to reconnect and rethink our relationship to the earth, both personally and globally – a message that is never more pertinent than right now."
Nkanga's most recent solo exhibitions include From Where I Stand at Tate St. Ives (2019), A Lapse, a Stain, a Fall at ar/ge kunst, Bolzano (2018), and To Dig a Hole that Collapses Again at MCA Museum of Contemporary Art, Chicago (2018).
Exhibition name: Acts at the Crossroads
Exhibiting artist: Otobong Nkanga
Venue: Level 2, Zeitz MOCAA, Silo District, V&A Waterfront
Run dates: 21 November 2019 – 23 February 2020
Exhibition curator: Koyo Kouoh, Precious Mhone
A conversation betwwen Otobong Nkanga and Precious Mhone
Precious Mhone – Curatorial Assistant, Zeitz MOCAA (PM): I'd like to start by talking about the title of the exhibition, Acts at a Crossroads. A crossroads, an intersection of two or more roads. A lot of connotations come to mind as well when thinking of crossroads. I think of gestures of action, being active physically, mentally or verbally.
Otobong Nkanga – Artist (ON): I thought it was interesting to be able to think about these ideas, especially in South Africa, which for me has been a kind of crossroads. Thinking of the pacts and acts that have happened here, with or without a certain group of people. Or the acts or pacts that have been very much related to land and landscape.
So, when I was really thinking about the title, I wanted to allude to entering into the realm of matter and material and its effect on different groups of people.
PM: Then you also think of the mythology of crossroads and this idea of meeting a spirit, a figure, something or someone ancestral. Being part of something other than yourself and giving yourself over to that.
ON: [Laughter] Yeah, like making a pact. Sometimes, or most times, those acts that happen at the crossroads are intimate experiences that don't involve other people, they involve you and the other entity. So, I was thinking it could be interesting to think about a space where many things meet, but it's not a fusion yet, it's just a place where...
PM: ... they can come together but not necessarily be symbiotic...
ON: Not necessarily. It's almost like you are entering into a realm of the spiritual world and of giving your soul, but you know that certain parties have given something away and something which belongs to them has been taken away from them and they are not part of the pact, they are just around it.
They're almost like the landscape, which is dug out, which is used, which is extracted in many ways. So, I think it was a title that could have very subtle ways of being read, but has a very strong relationship to acts that have happened within a certain space. But, I mean, you can go in many directions. And that's why I didn't chose pacts, cause when we talk about pacts...
PM: ... it seems so finite and mutually agreeable...
ON: Yes, and acts enter into the kind of gestures of the performative... act one, act two. There's a kind of systematic structure which leads you into the next space or way of thinking. That's why I thought it could be interesting to use acts instead of pacts. It still works to bring you to places, take you on a journey.
I remember when I was discussing it with Koyo [Kouoh, Zeitz MOCAA Chief Curator and Executive Director], she preferred pacts, but I decided on acts instead and it's because it brings you to think of pacts without me explicitly having to say it.
PM: I think it's natural that when one thinks of a crossroad, you think you have to make a decision, to go left or right, this idea of opposites in a sense or this tension between...
ON: ... right, wrong, forward, back...
PM: Exactly. This idea of being conscious or present, you can't just observe, you have to participate, even if it is involuntarily.
ON: You're still participating even though you don't have a say, but you're participating because in a way you're involved, the consequences of those acts touch you. So that's the idea around the title and it has a great way of being about to touch on different works in the exhibition.
PM: I was thinking about that today, after we went over the exhibition floor plan and the narrative it creates. This idea of stitching things together or destroying things to make something new. This violent act that takes place in order to create a union. It's beautiful, but its violent, certain things shouldn't be together but you force them to be.
ON: You can look at various works from Double Plot (2018) or you can look at Taste of a Stone (2010).
PM: Yes, you bind them. I was thinking about that earlier and how bodies, people in the same way are bound by histories.
ON: Landscapes, borders, different groups of people are forced together within one boundary. So, the earlier works that I did were really looking at that.
We can also see it in the video Surgical Hits – The Needle (2003), where the needle is trying to puncture the body. And that's why we have this very complex grappling with the ways in which perceptions are understood. Depending on perspective, one group of people can believe that their intention is to create something with another group of people. Seeing it as though they are putting things together and making something good, meanwhile the other group feels as though it is being punctured. And yet you don't realise that that needle - that bond - is also the thing that is destroying everything, and you don't necessarily want to have it on your body but it's going through you. It's cutting you, it's making you bleed and it's forcing you to enter into a kind of coalition with another, which you didn't ask for. But now your paths and your histories are interwoven. So, it was interesting really thinking about the work in that way.
PM: Do you feel as though you are speaking to yourself? To your audience? Reflecting maybe on how the world moves through you or how you move through the world?
ON: I feel that it's more or less a reflection, let's say a vision, sometimes of something that becomes discernable within the exhibition space and then it's translated into a work. Maybe to render that a bit more obvious through a visual material, through sounds, through performances and things like that. Because I feel like within an African context, there are all kinds of partial fragmented histories, many things we are not aware of.
I find that interesting in the context of food, for example. If you consider many places and its people, Nigeria as an example, there's always been a direct relationship to the plants, to the material that's there and the food that they eat. But over time, you start seeing national dishes that are not endemic to that place. So, what happened to the plants and materials that you could eat that are endemic to it? Then you realise that those stories are forgotten and lost somewhere along the line.
So, for me, it's always interesting to try and understand and excavate different histories. It's not only that but to find ways that one can work with it in the present and think through it for the future.
PM: Speaking about the textile work Kolanut Tales – Dismembered (2010) and specifically about the performance Contained Measures of a Kolanut (2012), can you elaborate on how you use food as a way of investigating fragmented history?
ON: Maybe it's good to have the picture in front of me. The work Contained Measures of a Kolanut was first conceived in 2012. A lot of my research investigated tropical plants, what they symbolise, their economical values and how certain plants become so banalised or so normal, entering into the stock market, while some resist. So, kola nut was one of those that had for me a very strange way of resisting and not resisting.
In Nigeria we use it a lot in different ways, from the spiritual, to ceremonies and connecting with people, the spirits and different ancestors.
I also discovered when doing the research that a lot of the people that were taken out of West Africa would take the kola nut with them, carrying it in their hair, and that is how it arrived in Southern America and also the United States. When eaten, kola nut gives you energy, but at the same time also cuts your appetite and cuts your thirst.
So, for me it was interesting to understand the notion of energy and what it meant in times of industrialisation and in times of slavery. Coca from South America and kola nut from Africa became ingredients in early Coca-Cola. The combination between these two energy giving plants enters back into our palate, into our memories. So, we drink Coca-Cola and it's already engraved somewhere in our DNA and we're connected to those plants, which connects us to our ancestries and all that.
PM: One thing I feel about your work is this idea of taking something as an object but imbuing it with a human quality or a physical, bodily quality and this idea of seeing something and having a personal relationship to it, but also understanding the larger, global context.
OM: I think it's really interesting to work with local materials as with this installation of Taste of a Stone. Materials that people are familiar with, but don't see in a certain kind of constellation together.
So even during this Cape Town visit, going to the botanical gardens, having a sense of the atmosphere – the air, the fog, the wind, the trees, the colours, the tones – these are things that should resonate in the installation's aesthetic. In its form but also in relation to its history, to local people, to people that have come in here and also out of the space because it's important that it doesn't stay claustrophobic or incestuous, let's say, and to have a resonance to other parts of the world. But most times, a Taste of a Stone is seen as a place of contemplation, where different worlds meet and where it calms you down and it allows you to think, if you give it that space and that time.
PM: I think what makes your work so interesting for the space is the way you're aware of all these different elements that come together. Even the way we're moving through the exhibition space, we have a starting point and an ending point, there is a connectedness. What is the importance of creating connection in your work?
ON: They have to weave together, one way or the other. They have to find a way of resonating. So even the way I'm thinking of the wall drawing for the exhibition has to connect the space before and the space after. So, it's almost like the tunnel or the area in which your brain is being recalibrated. So, I had to think of recalibration in certain spaces and other spaces that will be bodily immersive and other spaces that will make the brain work. I have to think of the whole exhibition as different parts of the body, that are being subtly and sometimes maybe more aggressively brought in to the space.
A lot of times we make separations, we've learned to enter into a place of thinking of things in a separate way. Say nature or culture and we're so distant from it. But if we look at it where exactly or close to all the components that we find in our surroundings and so how do we separate that? Even our bones are made of calcium, you see, we have iron, we have water. We're all of that. And then we completely separate from the landscape that we're working in and I think that's one of the most dangerous points of how we treat the landscape. Because if we have a child we try to protect them, if we have a family we try to protect them. We're born to protect those that we give birth to. But we seem to have distanced ourselves [from the land] because we have science and this and that...which takes you away from an intuitive way of feeling and doing.
So, I think that is the core to be able to change and to be able to think of climate disasters, a fundamental shift in a way of thinking. So even if we say let's stop doing this or stop doing that, it's not that. It's more about understanding that we should be in sync with the earth, so that if you do something you have to appease it, not just destroy it.
PM: When you're thirsty you have to drink water. When you've injured yourself you must rest. Being an extension of the very space that we embody or occupy and knowing that you're connected to it.
ON: I hope that the work is able to open up these kinds of spaces of thinking or understanding or at least trigger a part of that in a way. I hope.
Discover More
13 November — 12 December
Personal exhibition of Anna Miheeva
Truth is a process, not a one-time act of comprehending an object immediately in its entirety.
Truth is one, but it distinguishes the objective, absolute and relative aspects that can be considered as relatively independent truths.
Objective truth is a content of knowledge that does not depend on a person or on humanity.
Absolute truth is an exhaustive reliable knowledge of nature, man and society; knowledge that can never be refuted.
Relative truth is incomplete, inaccurate knowledge, corresponding to a certain level of development of society, which determines the ways of obtaining this knowledge; this knowledge, depending on certain conditions, place and time of its receipt.
The difference between absolute and relative truths (or absolute and relative in objective truth) in the degree of accuracy and completeness of reflection of reality. Truth is always concrete, it is always associated with a particular place, time and circumstances.
Not everything in our life can be assessed in terms of truth or error (lies). Sometimes this is a game …
What is your step? And for what?
3, Tverskaya street, Moscow, Russia, 125 009
The building of The Ritz-Carlton, Moscow hotel, -2 level
Cube is located on the -2nd level of the building of The Ritz-Carlton, Moscow hotel, you could get to us: through the hotel's parking and take the elevators up, or through the hotel's lobby and take the parking elevators down, as well as through the street entrance from the Ermolova Theater side and take the elevator to the -2 floor from there.
Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA) has revealed the details of an exciting new exhibition, presenting works from its collection in a new and reimagined format.
The Zeitz MOCAA Collection houses a unique and extensive body of works by some of the continent and its diaspora's most exciting established and emerging artists. The exhibition, which includes a selection of these works, will open on 7 November 2019, taking up all gallery spaces on Level 4. This forms part of a recent reimagining of the museum's galleries and spatial organisation, with exhibitions in this space changing annually.
Titled Two Together, the show is built around major themes explored by artists from Africa and its diaspora represented in the collection, and each gallery contains a pair: either two objects, or multiple works by two artists, or two major themes – either in dialogue, as counterpoints or in complementary ways. As couples do, in comedic duos or in romance, the exhibition embrace a rigorous engagement between objects and ideas.
"We wanted to explore what happens when two things come together," explained Senior Curator, Storm Janse van Rensburg. "Two photographers can subvert a gaze, while probing issues around representation, presence, omission, authorship and voyeurism. Speaking from contrasting geopolitical vantage points, two can highlight the perpetual and impeding undertone of violence still manifesting in present-day psyche. The numerous lines between collective memory, imagination and folklore are blurred when two artists use material to make visible intangible heritage."
The exhibition includes a diptych by Isaac Julien, as well as pairings of and conversations between works by Zanele Muholi and Mouna Karray; Njideka Akunyili Crosby and Joël Andrianomearisoa; Nicholas Hlobo and Taiye Idahor; Sethembile Msezane and Glenn Ligon; Leonce Raphael Agbodjélou and Athi-Patra Ruga, as well as Mishack Masamvu and Lungiswa Gqunta.
"This exhibition presents works from the Zeitz MOCAA Collection in a new way. Whilst some works will be familiar to regular visitors to the museum, the curation of the exhibition allows them all to be experienced anew," explains Koyo Kouoh, Executive Director and Chief Curator at Zeitz MOCAA.
"It feels like a fresh and exciting way to relook at our permanent collection. The goal of the museum has always been to build a cohesive collection that is as representative as possible of Africa and the diaspora, with strong political, social, environmental and personal messaging. This is demonstrated in this exhibition," she adds.
Exhibition title: Two Together
On view: 7 November 2019 – 25 October 2020
Venue: Level 4, Collections Galleries
Curators: Storm Janse Van Resnburg, Tandazani Dhlakama, Sakhi Gcina, Tammy Langtry, Precious Mhone
Discover More


text:
I hope
Silent night, broken night
among the stars
shattered to scar
the hope held
so close
....so close
Wanting to walk away from
begging desperately
to be answered
but never satisfied
you can't say
You don't know
you just don't know...
And I don't know.
It hurts to feel
the silence surrounding
my heart that beats
its voice calling out
to hear the echoes
crying for
to sing to it
love and truth
and understanding
The world steals
everything but feelings
like this.
Steals everything
you wish.
And you can only
of things that cast light in
the morning
We were battle weary
I still am.
And I often wonder
about you too
and what you meant
and what you're going
to do.
I know how it feels
when you crush everything
no one seems to want
because you just want
to think good
of you;
of them.
But in the end
you're just a broken cup
unable to hold
anything good.
And it can break
even more
and you say
but I think
you know.
It can.
It's yours to guard
and yours to hold
and His to glue
back together.
He has seen
smaller pieces
and calmed
stormier weather.
So we live.
And we weave
our lives
together apart
with our colors
and our knots
and our holes.
And we hope
and we dream
and we cry
and we love
and we break
and we hold
and we fall
and we rise
and we live
our lives threads.
And I hope you know
and I hope you believe
and I hope you never forget
you can be.
Beautiful. Absolutely
Absolutely Beautiful!
Happy New Year!
"Sometimes even to live is courage."
Blogging away!
I don't think I ever commented on this one...
You know what I love, is that everyone always seem to be in a rush to answer questions. We want the love and the understanding and the dream and the truth. But I loved your willingness to just be, and to feel the pain of not knowing, not figuring things out, not understanding. It is vastly human. Sarah
on a clarifying spree
^ Also me.
Don't worry. I knew it was you...;)
"We have been created for greater things. Why stoop down to things that will spoil the beauty of our hearts?" ~Mother Theresa
How did you knowww? Lol. :D
How did you knowww? Lol. :D (jk)


text:
BWW Interview: Oscar Toeman Chats THE SUGAR SYNDROME at the Orange Tree Theatre
Oscar Toeman is the director of The Sugar Syndrome at the Orange Tree Theatre. He is the runner-up of the JMK Award 2019 and previously directed productions at Trafalgar Studios and the Finborough Theatre. Oscar spoke to BroadwayWorld about his career and the production.
Who inspired you most growing up?
My dad was an unconventional babysitter, in that he used to sit my younger brother and me in front of old VHS films he'd taped, regardless of how unsuitable or inappropriate. I guess I have him to thank for being a seven-year-old who could quote verbatim large chunks of Mel Brooks' The Producers, Eddie Murphy movies from the 80s, and The Blues Brothers. In hindsight, this is probably the best bit of parenting I can imagine.
What drew you to a career in directing?
I was a miserable teenager, and really hated school. I used to skive off and was fortunate that Shakespeare's Globe theatre was close enough that I could get to it, so I'd go watch shows there. Lucy Bailey's production of Titus Andronicus changed my life: it was wild, full-bodied and dangerously alive, and I was just completely hooked - looking back now, it was a proper addiction.
Later, I studied English, and loved interpreting plays under a brilliant, inspirational tutor, Hester Lees-Jeffries. This led to trying directing at university and working with actors to unlock the emotional truth of what was going on, and with designers to find a spatial form that might reflect and serve this. It sounds naive, but when theatre is good, I'm not sure there's anything better out there for me.
What can we expect from The Sugar Syndrome?
It's Lucy Prebble's first play. We follow Dani, a 17-year-old girl who's on a mission.
I think in all Lucy's work there is a desire to talk about huge, often uncomfortable "elephant in the room" type subjects; and in The Sugar Syndrome, we meet four characters, each of whom in their own way is ashamed of their bodies - two of whom form an unlikely friendship that exists in a grey area, beyond judgement.
It's a play about bodies and addiction; about shame, empathy and judgement. I think it's a mistake to define Lucy's work as simply "smart", although it is. I think that overlooks the depth of feeling and compassion for humanity that her work is filled with. It's powerfully sad, and darkly, savagely funny.
What's been the most interesting aspect of the piece for you to stage?
I've found The Sugar Syndrome enormously satisfying to work on, and there are several areas I've enjoyed: how do you tell the story of a conversation taking place online without screens or laptops? How do you stage a chatroom where characters can't see one another, but are connected? And how do you do this in the round?
It's a play with multiple scenes, several locations, and told at an electric pace. Conceiving a world with Rebecca Brower, Dan Balfour and Elliot Griggs which can do all the things we need it to (and a little more!) has been blissful.
Alternatively, there are hyper-sensitive, profoundly personal subjects raised within the play, and, together with the brilliant cast, movement director Chi-San, and our wonderful stage management team, working out how to honour each of these moments in a way that is truthful and engaging has been amongst the privileges of my career. I feel very grateful to Paul and Hannah and the whole Orange Tree team for entrusting me to direct it.
Why did you think this piece should be revived for 2020 audiences?
We live in a world of instant judgements, immediate condemnations; quick fixes and quicker dopamine hits. Though the term the "sugar syndrome" refers to something that "makes you feel better instantly" in an uncertain world, the play itself argues for something more compassionate. It feels quietly radical in its plea against knee-jerk responses and tribal judgements; its insistence on listening, understanding someone else.
By going beyond clickbait, the play dares audiences to empathise with characters with whom they might initially think they have very little in common. I think this notion feels urgent and necessary for us all right now.
Do you think the internet has changed society for the better?
I think my generation is in an interesting position: we were teens when the internet became commonplace. So, we grew up with it, but remember a time before it.
Obviously, in many ways the world has been immeasurably improved by it. At the same time, however, you don't have to look far to see how the worst aspects of humanity have also been amplified. Are we now more connected, or more atomised and lonelier? Or both?
What I do find interesting is that while we now Instagram filter and curate our online selves, in the early '00s The Sugar Syndrome characters reinvent themselves through anonymity in chatrooms. It's 180 degrees, but it feels like nothing's changed. I suppose we as a civilisation will always find ways to use the tools at our disposal for both good and bad, and all the shades in between.
Any advice for aspiring directors?
Nobody really knows what they're doing, and that absolutely includes me, so I'm wary of giving any advice about anything.
That said, I do think there's value in working out what makes you "you" as an artist: what concerns matter to you? How do you see the world? What do you think is important in both the stories you want to tell and the form in which you tell them? You can only ever be the best version of you after all - what might that look like?
On a practical level, it's a long game. Find yourself mentors and peers who you'll be able to check in with honestly, without competition; and work out how to foster your professional resilience and stamina.
Any other upcoming projects you can tell us about?
There's an adaptation of a classic film I'm working on, about profiteering in a country riven by division, which I think might have increased pertinence in the next few years; and a musical about Paul Gascoigne I'm collaborating on.
Why should people come to see The Sugar Syndrome?
When I first read The Sugar Syndrome, I was struck by how much I wish I'd seen this play in 2003, when I was a teenager.
I think it taps into feelings that are deeply specific to being a young person - where do I fit in? Why isn't my body like the ones in magazines? And these questions also run through you as you get older. I don't know if those insecurities ever truly go away. I think maybe we just learn to handle them better. The play speaks with profound empathy for this.
And then alongside that, the play compels audiences to really ask themselves: when does one's compassion become problematic? Where does one draw the line? It's up to each audience member to decide that for themselves.
It's a beautiful play - funny and sad, and human in its complexity and messiness.
The Sugar Syndrome at the Orange Tree Theatre until 22 February
Photography credit: The Other Richard


text:
This Account Creates Collages of the Travel Photos You See Everywhere
@insta_repeat is doing God's work. Their profile description sums it up aptly: "Déjà Vu Vibes 🌲 Wander. Roam. Replicate."
The account, which is curiously 'verified', makes 3×4 collages of common Instagram travel photos that you probably see clogging your timeline. As standalone images in your feed they can be beautiful, even inspiring (or envy-inducing); but as collages like these it reminds us that: originality is tough, social media isn't real life, and you're unique just like everyone else 🙂
Finally, it's just for fun. Please don't take this parody account—or social media for that matter—too seriously!
Read more: https://twistedsifter.com/2018/12/collages-of-the-same-instagram-travel-photos/


text:
Intrepid Fallen Heroes Fund Receives $500,000 donation from the Military Order of the Purple Heart Foundation to jumpstart construction of Fourth Medical Center to treat Traumatic Brain Injury (TBI) and Post-Traumatic Stress Disorder (PTSD) in troops. Fort Bragg, NC NICoE Satellite Center to Break Ground Later This Year New York, NY (January 7, 2014) – The Intrepid Fallen Heroes Fund… Read more
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text:
Explore and Improve Your Watercolor Skills
January 21, 2017 @ 10:00 am - 3:30 pm$150 – $190
Whether you are just starting out or want to expand your skills, please feel that you are welcome. The setting is relaxed and all are encouraged to ask questions. The focus of the workshop would be creating a landscape painting with watercolor. I will go over my supplies and how I use them while demonstrating watercolor techniques for about 45 minutes. Students will apply the demonstration to either a supplied image from the demo, or one of their own photographs.
(Bring your lunch and beverages)


text:
We watch NASA astronauts in awe, day-dreaming of catapulting into space -- even if only for a moment of weightless existence. Most of us feel far removed from outer space, watching from the sidelines as the space agency shines a light on our mysterious universe. But we may not be as far removed as we think.
Since its inception in 1958, NASA's laundry list of accomplishments includes the first American in space in 1961, the first man to walk on the moon in 1969, a flight to Jupiter in 1972 and the installation of the International Space Station in 1998. (Read NASA's 10 Greatest Achievements to learn more.) Eight percent of all the world's inventions have come, in some form, from NASA research [source: NASA 360]. The organization's technology keeps the United States globally competitive in scientific research.
Much of the pioneering technology initially created for space travel finds new life in our homes. In fact, it may surprise you how many space-age technological advancements of the past now rest in your attic.
How has NASA affected the Dallas Cowboys? Find out on the next page.
Memory Foam
Launching astronauts into space at speeds of 17,500 miles per hour (7.823 kilometers per second) meant a rough ride until the invention of memory foam in 1966 [sources: Chang, NASA Spinoff]. NASA commissioned inventor Charles Yost to minimize impact and increase survivability of crashes aboard Apollo crafts. Today we use the technology in a host of applications, including that discarded mattress pad that sits idle in your attic until your out-of-town guests stop by for a sleepover.
This "slow spring back foam" became known as temper foam and is now found in mattress pads, orthopedic sitting pads, motorcycle seats, saddles and splint pads [source: NASA Spinoff]. It minimizes impact by compressing to 10 percent of its original size before springing back to its initial shape. It also wicks water away rather than absorbing it like other forms of padding.
Memory foam is especially helpful in the medical industry by providing added comfort to bedridden patients. The material avoids excessive pressure on certain points of the body, preventing bedsores. The technology even found a home in the Dallas Cowboy's helmets in the 1970s and 1980s.
Do we have NASA to thank for the cordless drill? Read on to find out.
Cordless Power Tools
That cordless power drill you gave dad years ago now sits lifeless in storage. Though today it seems insignificant, cordless tools were a crucial invention necessary for space travel. While NASA didn't actually invent the cordless power drill, a partnership with Black and Decker is responsible for many of the cordless tools we have today.
Well aware that outer space didn't come with electrical sockets, NASA joined with Black and Decker, which was already working on cordless technology in the 1950s [source: NASA 360]. Alonzo Decker came up with the idea for cordless tools to help workers installing storm windows in residential homes. While installing storm windows, workmen would plug into power sockets indoors. The process was cumbersome and inconvenient. Decker knew he was on to something. Conveniently, NASA urgently needed the technology in space, and so an alliance was born.
Together they designed the cordless rotary hammer drill for the Apollo 15 moon program. The cordless hammer drill extracted rock samples from the moon for testing on Earth. This early invention led to other cordless tools including the cordless vacuum, drill and shrub trimmer.
Read on to learn what automatic film advancement meant for space travel.
Nikon Automatic Film Advancement Cameras
We're obsessed with digital cameras. We view photos digitally before they're ever printed. Memories are no longer stored in photo albums, but instead we share them virtually through online social networking sites like Facebook and Flickr. But before digital cameras, Nikon's automatic film advancement camera changed the face of photography. While that clunky camera may not see the light of day today, the invention initially meant the space crew could record images of space in a weightless environment.
Nikons were first used in Apollo missions 15 to 17 in the 1970s [source: Nikon]. Astronauts could quickly advance to the next picture and tell a story through photos. This space-friendly camera came with special criteria. Its easy operation meant the crew could manage it while wearing gloves. It was also free of any environmental gases or toxins, which was critical in an air-tight environment.
The camera also had a built-in light leaver that adjusted automatically, making for clear images from space. Today, Nikon's partnership with NASA continues to generate stunning images from outer space.
NASA takes the nuisance out of the smoke detector, on the next page.
The Non-nuisance Smoke Detector
While NASA didn't actually invent the first smoke detector, it did come up with a more modern version of the invention after partnering with Honeywell Corporation in the 1970s [source: NASA]. Equipped with a self-recharging nickel cadmium battery, the Honeywell AC/battery backup smoke and fire detector was the most sophisticated alarm system ever invented [source: NASA Tech].
Non-nuisance smoke alarms protect us from the dangers of fire damage and smoke without continuous false alarms. We can cook foods at high temperatures without enduring the persistent beeping of an oversensitive alarm.
America's first space station, Skylab, prevented noxious gases from harming the crew using the invention. The new smoke detector had adjustable sensitivity so that the crew would be safe without unnecessary interruptions. And today, you likely guard your attic against fire dangers with a more modern version of this safety device. (For more details on smoke detectors, read How Smoke Detectors Work.)
What modern invention protects the space crew from extreme temperatures? Find out on the next page.
Smart House Radiant Barriers
You're probably wondering what a Smart House Radiant Barrier is, let alone why it would be in your attic. It's the most cutting-edge version of home insulation, and using the technology -- along with other advanced home-building techniques -- can amount to a 50 percent increase in heating and cooling efficiency [source: Smart Houses].
In fact, the Smart House Program, a business venture started by Guaranteed Watt Saver Systems, Inc. and Smart House Consultants, often guarantees a ceiling on your energy usage each month.
The technology was first used to create an airtight Apollo spacecraft. Efficiency has much larger implications in space, where outside temperatures range from 400 degrees Fahrenheit (204.44 degrees Celsius) to 400 degrees below zero Fahrenheit (minus 240 Celsius) [source: Smart Houses]. The advanced seal kept the temperatures inside the vessel comfortable.
The main component of the technology, an aluminized heat shield, translates to highly efficient residential construction. The barrier keeps warm and cold air out -- along with water vapors -- and reflects 95 percent of the sun's radiant heat [source: NASA Benefits at Home].
Is your interest in NASA beginning to reach new heights? You're in luck -- we have lots more information on the next page.
Revolutionary Camera Captures NASA's Most Powerful Rocket in Amazing Detail
NASA's HiDyRS-X camera was built for rocket science tests. Learn more about the rocket camera in this HowStuffWorks Now article.
Related Articles
- Black and Decker. "Dusting Off a Bit of History." (March 10, 2011)http://www.blackanddecker.com/dustbuster/dustbuster_innovation/default.aspx
- Chang, Kenneth. "Space Tourism May Mean One Giant Leap for Researchers." The New York Times. Feb. 28, 2011. (March 6, 2011)http://www.nytimes.com/2011/03/01/science/space/01orbit.html?_r=2&pagewanted=1&ref=science
- Consumer Home Recreation NASA Web site. "High Tech, Low Temp Insulation." (March 8, 2011)http://ntrs.nasa.gov/archive/nasa/casi.ntrs.nasa.gov/20020064734_2002103728.pdf
- Energy. "Smart Houses." (March 10, 2011)http://electra.ihmc.us/rid=1J205DDXJ-27ZRJZ9-1ZFZ/insulation.pdf
- Marshall Space Flight Center Web site. "At Home With NASA." (March 10, 2011)http://techtran.msfc.nasa.gov/at_home/home3.htm
- NASA Spinoff. "Forty-Year-Old Foam Springs Back With New Benefits." 2005. (March 8, 2011)http://www.sti.nasa.gov/tto/Spinoff2005/ch_6.html
- NASA Spinoff. "Home Insulation." 1994. (March 8, 2011)http://www.sti.nasa.gov/spinoff/spinitem?title=Home+Insulation
- NASA Spinoff. "NASA Podcasts" Aug. 25, 2008. (March 8, 2011)http://www.nasa.gov/multimedia/podcasting/nasa360/nasa360-0101.html
- NASA Spinoff. "Spinoff Frequently Asked Questions." (March 8, 2011)http://www.sti.nasa.gov/tto/spinfaq.htm
- NASA Tech. "25 Years of NASA Tech Briefs." (March 10, 2011)http://www.nasatech.com/Features/timeline/timeline.html
- NASA Web site. "NASA Benefits at Home." July 29, 2004. (March 10, 2011)http://www.nasa.gov/audience/foreducators/k4/features/F_NASA_Benefits_at_Home_prt.htm
- Nikon Web site. "Vol. 12. Special titanium Nikon cameras and NASA cameras." (March 7, 2011)http://imaging.nikon.com/products/imaging/technology/history/rhnc12ti-e/index.htm
- Otto, Sasjkia. "Apollo 11 moon landing: top 15 NASA inventions." The Telegraph. July 22, 2009. (March 7, 2011)http://www.telegraph.co.uk/science/space/5893387/Apollo-11-moon-landing-top-15-Nasa-inventions.html


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me, so I am in a very good mood now. If you hit my account, I will remember it for a while. If there is something that offends me and Lin Ge and Lin Biao in the future, I will count the new account together Did you hear it Chapter 334 Uninvited The few dog legs suddenly nodded like chicken and rice. They can see it, and it s a bad thing for Wang Dong. Now, with Lin Xiaojin, who is still a lot more than Wang Dong, they have to be tailed in the future. Wang Dong saw that they were still standing there and didn t kids spurs shirt move. They suddenly shouted at the door What I am working with Lin Ge, are you looking at it After listening to the dog legs , I quickly wiped the table and wiped the window, and wiped the window to clean the window, for fear that Wang Dong would see them idle and nothing to do. In addition, the students also moved happily, sweeping the floor and sweeping the water. 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In the afternoon, the teacher who supervised the mathematics, the ear also smashed into the office analysis meeting of the juve away kit morning, so Lin Xiaojin also paid juve away kit special attention. Similarly, he was also scared by Lin Xiaojin s answer speed. However, he also had to stand on the sidelines and did not dare to make further moves. When Lin Xiaojin finished, he did not check it, and he handed it over. All the students were shocked again. They looked at Lin Xiaojin s eyes, which was like watching the gods in the sky. When she left the classroom, Lin Xiaojin smiled back to Wei Ruolan. And Wei Ruolan s look at Lin Xiaojin s eyes is also softer, but his eyes are still full of doubts. The mathematics invigilator learned the lessons of the Chinese language invigilator. He suppressed the urge to file an objection and did not mention arsenal soccer ball the doubts about Lin Xiaojin to the mathematics scoring teacher. There is another more important reason for Lin Xiaojin juve away kit to hand in the volume so early he is going to the hospital to visit his grandfather. He is now a rich man. In order to save time, he actually spent 20 yuan to get a taxi. Therefore, it is only 3 pm when I go to the brain hospital. The end of the afternoon exam should be 3 30. That is to say, when Lin Xiaojin arrived at the Brain Hospital, man city football socks the students of Haitong Yizhong High School were still thinking about their mathematics exams. It was a coincidence that due to the hospital s admission of a critically ill patient in need of surgery in juve away kit the morning, President Wang could not get away from the body, which led to Lin Minsheng s heart bypass surgery postponed to the afternoon. When Lin Xiaojin arrived, the operation was underway. Lin Guoqiang and Liu Cuilan are eagerly awaiting the results of the operation outside the operating room. When they saw Lin Xiaojin suddenly appearing, the two first stunned. Then, Lin. Guoqiang, who was originally irritated, broke out on the spot. He immediately violently thundered How come you Is it not an exam in the afternoon I will let you go through the exam.
Juve Away Kit not read at all, just placed there to install the facade. Therefore, these newspapers and materials are very new, and Lin Xiaojin feels as easy as touching the new books of Xinhua Bookstore. After touching all the things that can be touched, Lin Xiaojin took a sip of tea and left the Jintai Futures Sales Department. Then, Lin juve away kit Xiaojin painted the gourd and ran several futures companies. Fortunately, these futures companies are very competitive, so they often set up the sales department in the downtown area of each city, so that customers can open accounts and go thro. ugh the formalities. In addition, the opening of the sales department in the office buildings and office buildings in the city center is also the embodiment of the strength of these futures companies. This has greatly facilitated the visit of Lin Xiaojin, a fake customer. Similarly, with the reason of being a beating station , Lin Xiaojin ran all over the seven or eight business offices in the city center. These sales offices also received him enthusiastically like the sales department of Jintai Futures. Lin Xiaojin is the meaning of drunkenness is not in the wine. england away socks He perfunctors the official england football shirt warm reception of the staff, and touches real madrid shirt 2018 the internal reference materials placed in each business department. Throughout the afternoon, Lin juve away kit Xiaojin did not stop, and basically completed his task of learning futures. On Sunday morning, Lin Xiaojin did not go to the Xinhua Bookstore. He went to other small bookstores in the city, and found it in the corner corner. He touched the composition books that could touch. Of course, I saw that there were books about futures that I hadn t touched before, and he didn t miss it. In the afternoon, he visited several futures companies that were far from the city center, and they also touched the paper materials that could be touched by these futures companies. Then he returned home with satisfaction. These days, he completed his review plan step by step in full accordance with the plan, waiting for tomorrow s exam. As for the futures, his gains are of course rich. He found that every futures company has its own research variety. For example, Jintai Futures has a deep research on metals, and the original data o.$k = 0;
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text:
If you thought you had seen the future
Would you tell anyone?
If you dreamt of boundless happiness
Would you believe it's possible?
The comfort of a warm bed on a cold evening
The answer to an SOS
The joy of discovery
The safety of belonging;
This feeling makes a scientist a poet.
It bubbles within, uncertain of it's existence.
The journey I take in my mind
I wish to take in reality
Occasionally apprehensive that if imagination was pushed
It may crack.
Meanwhile, nourished by fantasy,
My withered heart blooms pretty pink
A new Spring is born.
The urge to sing out loud
Would burst my lungs if I don't indulge.
When the fisherman feels the tug
Who is hooked?
No other fish will do for this
Old Man and the Sea.
Every instant is for jumping off
Expecting to fly
Am I wise in waiting to make sure
I do indeed have wings?
It's all in the mind.
Nothing is real.
I will enjoy this play
In my Mind-Theatre.


text:
Travelling from Toronto to Montreal is about to get a whole lot quicker, thanks to Hyperloop One, the company building the first hyperloop high-speed travel system.
After reviewing all possible major cities, Toronto and Montreal have been chosen as one of the top contenders to home the high-speed transportation system.
If the system is built, the following routes would be available:
- Toronto to Montreal (640 km) in 39 minutes
- Toronto to Ottawa (450 km) in 27 minutes
- Ottawa to Montreal (190 km) in 12 minutes
Hyperloop works by loading passengers or cargo into the Hyperloop pod, which is accelerated gradually via electric propulsion through a low-pressure tube. The vehicle quickly lifts above the track using magnetic levitation and glides at airline speeds for long distances due to ultra-low aerodynamic drag.
The Canadian team, Hypercan, won the global challenge to have Hyperloop One engineers visit the view the Toronto/Montreal route to assess its viability. If it materializes, the normal five hour, 640-kilometre trip could shrink to just 39 minutes with the new technology.
Of course, this won't happen over night, if everything goes as planned, the train would still be decades away. But it's still an exciting advancement to think about!