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プロ野球ニュース 移籍の丸選手も…Ｇキャンプイン、明るい声響く - Duration: 1:32.
キャンプイン 、球場でラン ングする巨人 選手たち（１ 午前、宮崎市 ）＝浦上太介 影 プロ野 各球団の春季 ャンプが１日 宮崎県や沖縄 で始まった。 辰徳監督が４ ぶりに指揮を る読売巨人軍 宮崎市のＫＩ ＩＳＨＩＭＡ マザクラ宮崎 総合運動公園 キャンプイン
エースの菅野 之投手や坂本 人内野手ら主 選手に、広島 洋カープから リーエージェ ト（ＦＡ）で 籍してきた丸 浩外野手らも わり、５年ぶ のリーグ優勝 向けて、球場 は明るい声が き渡った
中日ドラ ンズのドラフ １位ルーキー 根尾昂（あき ）内野手（大 ・大阪桐蔭高 は右脚のけが ため、二軍ス ートとなった
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Paparazzi: Η Ελένη Μενεγάκη στη Ραφήνα με τον Μάκη Παντζόπουλο και τον αδερφό της, Θοδωρή Μισόκαλο! - Duration: 1:18.
Η Ελένη Μενεγάκη λατρεύει τις ολιγοήμερες αποδράσεις που θα την κάνουν να έρθει πιο κοντά με την οικογένειά της, ξεχνώντας για λίγο τις επαγγελματικές της υποχρεώσεις
Η δημοφιλής παρουσιάστρια και φέτος τον χειμώνα, ταξίδεψε αρκετές φορές στα Άχλα, προκειμένου να βρεθεί στο αγαπημένο της νησί! Ο φωτογραφικός φακός του FTHIS
GR απαθανάτισε την Ελένη Μενεγάκη στο λιμάνι της Ραφήνας, μαζί με τον Μάκη Παντζόπουλο και τον Θοδωρή Μισόκαλο
Ο σύζυγος, όπως και ο αδερφός της, έχουν κυρίαρχο ρόλο στη ζωή της. Δεν είναι εξάλλου λίγες οι φορές στις οποίες η παρουσιάστρια θα μιλήσει on air για την οικογένειά της
Δείτε τις παρακάτω φωτογραφίες…
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Facts: The Largehead Hairtail - Duration: 2:11.
The largehead hairtail can be found in coastal temperate and tropical waters around the world.
This fish goes by many other names
including, but not limited to, the beltfish, the ribbonfish
and the cutlassfish.
Hairtails have a thin, pointed tail and shiny metallic silver skin instead of scales.
These fish are carnivores that feed on invertebrates like squid and krill,
along with small fish like anchovies and sardines.
Their mouth contains long, barbed fangs.
When hunting, a hairtail will float vertically near the surface of the water
When a fish swims above them, they will lunge and nab the fish with their teeth.
Sometimes they will jump entirely out of the water after lunging for a fish.
Large adults typically feed near the surface during the day and migrate to the bottom at night.
Smaller adults and juveniles, on the other hand,
typically feed near the surface at night and migrate to the muddy seafloor during the day.
The largehead hairtail is fished commercially, especially around Asia,
using methods like bottom trawling.
In the US, they are primarily caught to be sold as bait.
However, in many countries the hairtail is considered a delicacy, so it is served in many different ways.
Hairtails usually become reproductively mature at 2 years old.
However, increased fishing pressure has been causing some populations
to mature earlier, at a small size, in order to compensate for population loss.
During spawning, females lay thousands of eggs during spawning that drift with the current and hatch within a week.
Adults can grow over 6.5 ft (2 m) long.
Hairtails are typically found at depths of zero to 1600 ft (488 m) deep.
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"Writing the Art of Armenia" Christina Maranci - Duration: 1:16:37.
I want to welcome you all here to the very first not only
of this year, but the first ever lecture in the Dumanian Lecture
Series, which focuses on the history and culture of Armenia.
We're very, very excited to be able to inaugurate this series.
And we want to particularly, on behalf of Near Eastern
Languages and Civilizations and on behalf
of the University of Chicago, to thank the Dumanian family
for their generosity.
Over many years, they have supported
a visiting professorship in the field of Armenian studies.
And this year they have very kindly
agreed to expand their support so that we can not only
have the visiting professorship, but also a series of lectures
related to Armenian life, history, and culture.
And so that's a great thing.
And it's a great thing to see all of you
here tonight, especially since we're
in the first week of the term.
And usually people, their hair's on fire,
and they're at sixes and sevens, and they
can't make it to an event.
So I'm thrilled to see everyone here.
Perhaps I should have said my own name.
My name's Holly Shissler.
And without further ado, I will ask Professor Haroutunian
to introduce this evening speaker.
Thank you so much.
[APPLAUSE]
Thank you, Holly.
Hi, everyone.
It's nice to see a nice group of people here
who are interested to hear everything about Armenian art.
So we are very much delighted and very
much lucky to have today Christina Maranci, who
is the most and the only one actually
in the field of Armenian art history at this moment.
And she works at Tufts University.
I learned that she's even the chair there of art and art
history.
So she is the Arthur Dadian and Ara Oztemel
Chair of Armenian Art and Architectural
History at Tufts University.
She has had visiting positions.
One of it was here at the University of Chicago,
I believe, in 2000.
She was also a visiting professor at Ann Arbor
University of Michigan.
She's the author of three books and over 60 articles
and essays on medieval Armenian art and architecture,
including most recently, The Art of Armenia,
an Introduction with Oxford University Press.
So that came out in the fall of last year.
So go to Amazon, get the book.
Her most recently published monograph
on the 7th-century architecture of Armenia
won the Sona Aronian Prize for Best Armenian Studies
Monograph from the National Association of Armenian Studies
and Research and also the Karen Gould Prize for Art History
from the Medieval Academy of America.
Maranci has engaged with the cultural heritage of Armenians
for over a decade, working on historically
Armenian churches and monasteries
in what is now Eastern Turkey.
Her campaigns for the Cathedral of Mren
near Ani in present-day Eastern Turkey
resulted in its inclusion on the World Monuments Watch
List for 2015, 2017.
So without further ado, let's welcome our guest speaker
today, Christina Maranci.
[APPLAUSE]
Thank you so much.
Thank you.
Can you all hear me?
Yeah.
Thank you, Hripsime.
Thank you, Holly.
Thank you to Near Eastern Languages and, is
it Cultures or Civilizations?
It's civilizations.
Civilizations.
Thank you so much.
[INAUDIBLE]
And a very big thank you to the Dumanians
for sponsoring this lecture series.
Hripsime is correct.
I was here.
I taught here for a quarter back in either 2000 or 2001
with the Dumanian Visiting Professor Series.
And I was amazed at the quality of the students.
You guys were so smart.
And it was really important for me
because I was just finishing my doctorate.
And to have the opportunity to teach such smart students
but at such a prestigious institution
meant so much for me as my career went along.
It was really important to have that opportunity.
So I'm so thankful to the Dumanians
and to the University of Chicago four for having me.
That was just really a career-building moment for me.
So thank you.
Thank you.
What else?
So who am I?
Yes, I teach Armenian Art at Tufts University.
And I wrote this book, which I'm going to talk about today.
So I'm going to talk a little bit about it, why I wrote it,
and what it's all about.
It's called, as you can see, The Art of Armenia.
And yeah, so I've been teaching Armenian art,
I would say, at the University of Chicago,
so going back 18 years.
I've been teaching it for a long time.
And one of the things that I found
was that it was really hard to give students
readings on Armenian art.
Like, what is there to give them?
And so that was one of the reasons that I wrote it.
I wrote the book also just because
after teaching Armenian art for how many years,
I thought it's time that I have my own voice.
I teach this subject in my own way.
I didn't have a mentor in grad school
who was an Armenian art specialist.
He was a Byzantinist.
And I was very glad to learn from him.
But I didn't learn from someone who
presented the material in a particular way
that I inherited.
So I kind of was making it up as I went along.
But it's been 20 years.
And you have your own--
you start to sculpt your field in a particular way.
So I wanted a book, an accompanying textbook.
And looking around, there really wasn't anything
that I could use.
So there are-- and forgive me if you know this already,
but there are two surveys of Armenian art that were produced
and both of them in the '80s.
They were both written originally in French
and then translated.
And they are useful, each in their own way.
But particularly the bigger one, that I did
try one semester to assign readings from,
and it did not go well.
That one assumed a level of familiarity
with the material that was way beyond what
a typical American undergraduate would know.
So I'm going to give you an example.
Let's see where you are.
Oh, yeah.
So on the 6th-century basilica of Yererouk
in the Republic of Armenia, a beautiful, big basilica,
an example of early Christian architecture in Armenia,
this is what you read in that book.
And if you're an undergraduate, and you
read "the general aspect of Yererouk
evokes the large Syrian basilicas of sixth century,"
in parentheses, Turmanin [INAUDIBLE]."."
That's not going to mean much to you as a sophomore in college.
So I really saw a need to just sort of explain this material
in a basic way, in a basic, accessible way,
but at the same time to do something else,
to incorporate all the wonderful scholarship that
has happened since the '80s not just in the field
of Armenian art and archeology, but also just generally
in the discipline of art history.
Art history's changed a lot since the '80s.
And so how could I write something
that would both be accessible to students
and also capture these new discoveries and new approaches,
new methods, new monuments that we've found or excavated?
So that was what I had in mind.
The other thing I wanted to do is
I thought that for the Armenian community, which
I'm a part of in Boston--
those are my people.
I thought there was a real need to explain Armenian art
within the discipline, the context
of the discipline of art history,
because we all love Armenian art.
This goes without saying.
My parents had their Armenian art books at home.
And I looked at them.
But why?
Who paid for this art?
What does it mean in its own context?
Why does it look too different from that?
All the questions that we ask as art historians,
I didn't know about.
And I think that there was a way that I
could give to the Armenian heritage readers, something
about where Armenian art fits into the discipline of art
history, into the discipline of medieval history
that would be useful.
So that was the plan.
And all of this, of course, as you
know, in a world in which there's really
a vacuum in terms of teaching Armenian art in the States,
for sure, but it was a fun process.
And for those of you who are engaged in writing projects,
you know it can sometimes be lonely.
But this one, It took me about three or four years on and off.
I was not on leave while I did it.
I worked my way through.
But I learned a lot.
You might think, oh, it's just an introduction.
How much can you Learn but it's amazing
how much you can learn as a specialist in your own field.
And it made me more convinced than ever,
and I hope to convince you tonight,
that this field has so much to offer.
And it's criminal that American students don't get
more exposure to this material.
It really is outrageous to me.
And the more I learn, and maybe I'm a fanatic,
but the more I learn, the more I think, yeah.
You're shaking your heads.
So that's good.
Moving on-- you know what?
Can we turn the lights down a little bit.
[INAUDIBLE]
I'm just going to go to Starbucks.
I'll be back in a little bit.
No, I'm just kidding.
That's pretty good.
[INAUDIBLE]
See you later.
No.
That's much better.
Yeah.
There you go.
There you go.
[INAUDIBLE]
Don't fall asleep.
[INAUDIBLE]
[INAUDIBLE]
You'll get used to the dark.
That's better.
So I wrote a very timid email to the person
at Oxford University Press.
And I'm telling you that 20 years ago, if I'd
send such an email, I would have gotten no response
because things are changing in Armenian art,
in the field of Armenian studies, too.
I don't know.
Maybe.
But she wrote back, and she was thinking,
yes, this might be a good thing to do.
Let's pursue it.
Write a prospectus, and we'll talk about it.
So what I envisioned was a book that
dealt with Armenian art broadly speaking, sort of material
culture from the beginning of time
to the 17th, early 18th centuries, which is pretty
much within my comfort zone.
I'm a medievalist.
And so the modern, for me, I felt like the modern world,
different, other stuff going on, I
would leave that to maybe a second volume for someone else
to write.
And yeah, so I got the reviews back.
That's always fun to find out what people really
think of you.
And one of the reviews said, she's a medievalist.
She really shouldn't be talking about ancient.
No, she can't talk about that.
And, of course, that made me angry.
Whenever you hear things like that,
like, why are you telling me what I can do?
And I felt, too, that ancient, the pre-Christian material
was really important to include.
I am-- it's true.
I'm not a specialist in this material.
I'm a specialist in Christian and beyond.
But to start with the fourth century, to me,
felt really artificial.
Because people in historical Armenia, the lands of Armenia,
had all around them the pre-Christian landscape.
And that whole thinking about the memory of the past
is something that was studied so well
by Adam Smith and [? Lori Khatchadourian, ?]
who were here at Chicago maybe before your time.
But anyway, it's wonderful the work
that's been done by archaeologists
in working in the Republic on the pre-Christian past.
And it would, to me, seem really wrong to ignore all that,
particularly when you look at it.
This is Van Fortress, so in the Van region, in the sort
of southern part of what's now Turkey,
about southeastern part of what is now Turkey,
part of the Urartian world.
This was certainly not--
it hadn't vanished during the fourth century, when Armenians
converted to Christianity.
It was there still.
So why are we ignoring this early material culture?
Plus, some of the most exciting discoveries have been made in,
let's say, Bronze Age Armenia.
Remember the shoe that was discovered and the wine?
And so why ignore all that?
It just didn't seem right to me.
So I indeed-- my first chapter is on--
I call it-- ancient Armenia.
And it's a kind of convenient term
for me to use for everything from paleolithic, which
can get really tricky to date, to into the period
on the eve of the conversion to Armenia of Christianity.
That's a long period.
And it's so complicated, and it was the hardest chapter
I wrote, for sure, because it was really something that
wasn't even art history, as much as anthropology and archeology.
So what I tried to do in this chapter
was I looked everywhere to find a good comprehensive study
in English of ancient Armenia, to no avail.
So I realized there is a real need for something like this.
And so what I looked at was things like studies
of Urartian fortresses.
The chapter runs the gamut, talking
about the different periods.
But for example, this plan of a Urartian site
in what is the Republic, [ARMENIAN],,
has been studied really interestingly,
again, by Adam Smith, who's worked on spatial
analysis to show that essentially Urartians were
really into storage.
They loved storage.
They really did.
It would kind of fit right in with the--
anyway.
And also they liked to control movement.
So if you kind of look through this plan and you look at the--
you don't get to make too many choices when
you're moving through this plan, which
is really interesting, too.
So to what extent this tells us something about the way
they were controlling and even surveilling the people,
the subjects within their fortress is very interesting.
So I'm trying to give readers both a general sense of what
is Urartu when is it, but also what the newer scholarship is
saying about it.
That was important.
I also wanted to insert always a little bit
of my own sense of these objects, pre-Christian objects,
as an art historian.
This is a beautiful example of a bronze work from Urartu
and speaks very much to connections
with the Assyrian world and Assyrian visual traditions.
And maybe just looking at this, you think of the lamassu
that we know of from the Assyrian palace context.
And so it seemed to me a very interesting moment to ask,
thinking about the way art history
is moving now, to ask well, OK, yeah, we
can see connections here with the Assyrian world, but why?
What does it mean?
How would it have been received in a local context?
And they're questions beyond just,
oh, all they did was copy Assyrian traditions.
We've moved beyond that, thankfully, in art history.
So then it sort of allows us to meditate on, well,
what were the attractions about this Assyrian tradition
that drew patrons, makers to integrate
those forms into Urartian and visual culture?
I would say the most interesting thing for me
in the pre-Christian chapter was what it used to be considered,
again, kind of like great, but now we're thinking differently
about the ancient world, and that
is that we find a culture, a material, a corpus of sites
and objects and images that don't
fit into tidy categories of Mediterranean
or the ancient Near East.
It doesn't work.
And you can really see that very well if you look at these two
[ARMENIAN] or [ARMENIAN],, [ARMENIAN]..
On the left one, that is evocative of Persian,
particularly think of Persepolis, [INAUDIBLE],,
A relief sculpture.
And on the right, you can see a [ARMENIAN]
with its repousse designs, which is connected
to the Hellenistic world.
Look the barefoot figure with the drapery and so forth.
And we can see that sort of connection
to the ancient Mediterranean also when
we look at this wonderful statuette that
was excavated from [ARMENIAN],, which
speaks very clearly about an interest,
a desire to see Hellenistic forms.
This is a beautiful example of kind of Hellenistic sculpture,
wet drapery, contrapposto.
It has it all.
But it doesn't form part of study
for classical art historians.
If you look in a book on Hellenistic art,
you're not going to find this.
And one could say the same about some
of the objects that connect with Achaemenid art.
I'm being a little provocative here.
But what I'm trying to say is ancient art of Armenia
is sort of both looking towards the Mediterranean
and looking at the ancient Near East
in ways that defy easy categories of here's
your Near Eastern art, here's your classical art,
and let's move on.
Armenia's both and neither, in a way.
And I thought that was very exciting and something
instructive for students to see.
It's not a drawback.
In fact, I think it's something that
shows how we need to rethink art history to accommodate
this tradition.
That maybe art history as it stands
now doesn't work for a subject like Armenia.
Just a famous example, when you go to Armenia,
you go to Garni, the ionic structure of Garni,
which again speaks to that connection
with the Mediterranean.
I was surprised, as a non-ancient specialist,
how little scholarship there was on these, what I thought
were very famous objects when you start looking.
I didn't find a whole lot, which was kind of disappointing.
I thought there should be more.
So moving on.
Where are we?
Oh, yeah.
So now we get into my comfort zone a little bit.
We move into the Christian period.
And this drew very much from my own previous book
on the seventh century, so that was fun.
And in fact, this was my sample chapter,
which seemed to go over well with OUP.
So that was nice.
But what you're looking at here is a really fine example
of the building tradition of 7th century Armenian churches.
And what's very typical of this moment in Armenia is that--
and when I speak of Armenia, I'm talking here
about historical Armenian, the Republic,
what's now Eastern Turkey, Southern Georgia, Azerbaijan,
Northern Iran, this large swath, in its largest swath.
But the churches built in the 7th century
are astonishingly abundant, diverse,
refined, and tell us a lot about the people who made them
because many of them are inscribed.
And they also have sculpture, and they're also painted.
So there is a corpus, hundreds of churches,
that belong to the seventh century,
a moment where in Byzantium, broad brush for a moment here,
you don't have this kind of level of productivity
or this level of surviving monument.
And look at them.
I think you can see yourself.
These are carefully designed buildings,
and they seem to emerge with fairly few preparatory steps.
So in my previous book, lot there's
been a lot of wonderful work cataloging
the various types of plans and the construction technique
and this, sort of, big study done, catalogs,
I would say, of the architecture,
but less work that kind of hones in on specific monuments
in huge, painstaking, painful detail,
which is what I did in my previous book
because I wanted to know who built these, why.
And I found it really--
for me, it became, then, a more interesting project
because I like architecture.
I like the formal qualities of architecture.
But I also like the social questions
and the economic questions and the political questions.
And we know that the 7th century was
a moment, sort of an unparalleled moment in history
where you have in the area of historical Armenia,
you have the Byzantines, and you have
the Sasanians and the end of the Sasanian world,
and then you have the Islamic conquests, all of this
happening in the 630s, 640s, and in the area where--
Armenia.
So it's a moment of tremendous upheaval.
And it's also one of tremendous productivity in terms
of architectural culture.
And probably my favorite monument
is this one from the 7th century.
Obviously one of the problems with writing this book
is you have to choose.
So I was given, oh, I don't know--
I don't know how many words I was given,
not a lot, maybe 80,000.
So it's really more about what you cut
rather than what you include.
But I had to include Zvartnots, which is essentially
a rotunda from the seventh century.
It's a round church.
But speak so much to this moment when Armenia
was in the midst of not just conflict,
but in the midst of these political powers
and their confrontations.
And the churches are part of that.
And if you dive deep into the history of the churches,
and you look at who built them, if you
look at their inscriptions, if you look at their sculpture,
if you look at their painting, if you look at their designs,
you can see they were not this kind of insular or backwater,
but rather the monuments and their programs
and their patrons were connected.
They were connected to Byzantium.
They were connected to the Islamic world,
which was rising.
They were connected to the Sasanian world.
They were part of this larger moment
that was so important at the time, still is.
And so that's what I tried to do.
I tried to bring in some of my earlier book
and put it in this chapter.
I also wanted very much to talk about the visual culture,
manuscript painting and sculpture.
Here I should say, too, as with ancient art,
there has been tremendously good work done
on Armenian manuscripts in the Republic
and also here for the past several decades.
And so I was able to draw on all that.
This on the left is a famous painting,
four of the earliest Armenian manuscript paintings
we have from the 7th century.
It's called the Echmiadzin Gospels.
And on the right is a sculpted stone stele.
And if you go to The Met--
have any of you been to the Armenia show at The Met?
OK!
A few people.
So you saw you saw a stele like this one.
These are large quadrangular obelisk-like structures
that were set up outside, carved with relief,
probably meant for veneration, commemorative objects.
And they're fascinating because they
show not just sacred imagery--
you can see-- this is maybe hard to see.
It's also been somewhat battered.
But there's a Virgin and child and two angels.
But you also see a figure we think is the first Christian
King of Armenia, Tiridates, because if you look carefully,
you see he has ears, and he has a snout.
And it speaks to his transformation
after he converted to Christianity back
into human form.
He was very naughty before that and was turned into a boar
for being bad.
This is very simplistic.
But then he converted-- and it's also--
it's a bridge, and it's also cleaned up.
But when he converted, he was given human form again.
Here you see him kind of in between.
I just want to show you this beautiful, beautiful--
so I love this manuscript.
I think these faces are adorable.
That's not a professional thing to say, but I love their faces.
I love Gabriel.
You see Gabriel peeking out from behind the throne on the right
and the Christ child.
But this is just a wonderful manuscript
that speaks to this 7th-century moment.
Mineral pigments are being used here,
which have retained their intensity, as you can see.
A wonderful image over here of a magus, magi.
Magi, that's plural, right?
Yeah, anyway.
And you can see him.
If you compare this to contemporary Sasanian seals
or coins, you can see the same profile,
same almond-shaped eyes, same drop-pearl earrings,
same fluttering scarf.
It's amazing.
So really here you have in this image, a Christian image,
but it's very much about the old religion
of Armenia, Zoroastrianism, paying homage
to the new religion.
So it's a it's a wonderful--
I mean, this really, I think, speaks so well
to how Armenian art-- it's not just about pretty pictures.
But is giving us this immediate, incredibly rich, complicated
window into a past.
And that's another reason that it should be studied.
How are we doing on time?
OK.
So the first chapter, ancient Armenia, second chapter
was on early-Christian Armenia, roughly fourth
to seventh centuries.
And then the third chapter was on what
I call the Age of the Kingdoms.
And so in the seventh century, you have the Islamic conquests.
So Armenia becomes part of the Islamic world
politically until the 9th century.
And in the 9th century, you have a kingdom
that emerges in Armenia, the Bagratid Kingdom.
And they establish their sort of territory
in the north, capital city Ani.
In the south you have another kingdom emerging
called the Artsruni, and they have Van.
Remember we saw Van Fortress?
That's sort of their region.
So this was a period after a couple
of decades where we don't have a whole lot of information.
I'm talking about the period of the Islamic conquests.
Things kind of slow down in terms of artistic production,
we think.
Although, that period is being rewritten now by historians.
It's very interesting.
But in terms of an architectural production
and manuscripts, et cetera, we start
to see a resurgence in the 9th but really more
the 10th century with royal patronage.
And so this is a picture of Ani, the city of Ani,
medieval city of Ani.
How many of you have been to Ani?
All right!
Oh, my gosh, look at this!
All right, great.
So you know where this is.
This is Ani looking from the citadel, which
is the oldest part of the city, down to this kind of peninsula.
And you see there's a church.
See, there's a church right up there,
probably 10th, 11th centuries.
You're not really supposed to go there.
So I hope none of you did.
It's actually kind of off limits.
I got in big trouble for going there.
I got a police car ride back to Kars after that.
[LAUGHS] Anyway.
So this is the cathedral, Ani Cathedral.
And again, what struck me is many of us know Ani.
It's one of the very few deserted medieval cities,
uninhabited medieval cities that there are.
There are some others, but it's one of the very few.
And if you've been there, you know.
This is a staggeringly beautiful site, massive site.
Hard to take good pictures.
I mean, this is a good picture.
But I always look online to find better pictures
than my own pictures of Ani.
But there's very little in English
that's really good enough, to my mind,
on Ani because this architecture needs, I think, careful--
it needs to be carefully communicated.
So this is the cathedral.
It was built 989 to 1001 by the Bagratid King Simbot
and then finished later.
But it is a beautiful example of the architecture
of the Bagratid period in the Age of the Kingdoms.
And I want you to notice really how refined the masonry is
and how carefully designed the exterior is.
It's hard to really do justice to it.
But here I'll show you the inside.
And the plan, too, I think, is really instructive.
So you have this plan of the structure,
which itself is a kind of interesting two-dimensional
work.
I mean, obviously this was made in the modern period.
But it's very symmetrically and carefully laid out.
And in the interior, you can see those profiled piers.
There's no reason to make them.
You don't have to make the building stand up.
But see how carefully they're profiled
and how they, again, kind of create
this very sophisticated, muscular space that
is expressive.
And so I very much wanted to introduce the student
to this aesthetic, to an architectural aesthetic
and then maybe ask, well, why?
Why is there this aesthetic?
Where does it come from.
I mean, one thing I do, again, try
to do in my book is ask questions
and to give students possibilities of maybe pursuing
those questions.
So why do we get this wonderful vertical aesthetic
at this time?
And how does it relate to what we know
about architects at the time?
And in fact, we do know who the architect was.
We know he went to the Hagia Sophia
and repaired the Hagia Sophia in the 10th century.
What did he learn there?
What was it like to go to the Hagia Sophia,
work in the scaffolding on the dome
there and work on this structure?
So what did it mean in terms of ambitions?
So there's so many interesting questions to ask.
And I really did hope that my book would
allow students to do that.
Another piece of what I did in this chapter,
and then I'll talk a little bit more about this at the end
in terms of cultural heritage--
just looking at the time--
is talk about the monuments outside of Ani
but in what is now Eastern Turkey that are abandoned,
in perilous condition, and mostly inaccessible.
So my last trip to the region was in 2016
at the time of the attempted coup.
I haven't been back since.
But I felt like already things were tightening up
in terms of what you could see and what you couldn't see.
This was a monument called [ARMENIAN],, which is again--
the aesthetic, I think you can see,
having seen the cathedral of Ani,
you can see the same kind of aesthetic
here, very, very carefully designed.
Those attached collonnettes creating a kind of web
around the structure.
But you also can notice that it's in terrible condition.
We think it was dynamited from the inside, which would explain
the holes blown out from the outside,
as opposed to like falling rocks.
But it is still a structure of staggering beauty
and staggering in part because of the landscape.
So there is this attention in Armenian architecture
to the setting, the sighting of monuments.
And so how can we understand that?
To what extent can that be read, for example, theologically?
There are lots of interesting questions to ask.
What does it tell us about the relationship between the church
and the land on which it was sitting?
But again, a difficult church to get to.
So one hopes that a church like [ARMENIAN] and many others that
are all around Ani but are on the Turkish side
will be accessible, in part so that they can be stabilized.
This, as you can see, is in very bad condition.
So is Ani Cathedral.
So one other piece here is to raise awareness
about monuments at risk.
And that's what we're dealing with here.
So another thing I did was talk about the Artsruni.
I mentioned the Kingdom of the Artsruni
in the south, where the Van Fortress was.
And one has to talk about this most famous
of churches, anybody?
Akdamar.
Akdamar, thank you.
Akdamar, yeah, which is an amazing church
on an island in Lake Van.
And so it was fun for me to work on this because I could kind
of browse all the wonderful-- there
has been wonderful English-language scholarship
on this monument.
And I should say, again, general remark about the book,
that I chose for this book, to try to stick as much as I could
to English and broadly European language scholarship
so that students who were not proficient in Armenian or
Russian, and those are the two big languages in which
a lot of the scholarship is in, so that they could at least do
some preliminary research.
And then maybe they would want to keep going
but to give them a start so that it wasn't like just a closed
door.
That seemed important.
So Akdamar's a great example where
we have lots of work that's been done on this church.
And I was able to sort of really talk about that
and talk about the scholarship and the scholars
because that's important too.
This book is really a celebration
of the scholarship that's been done
for the past several decades.
And just some details of Akdamar and the relief sculpture,
a very different architectural style, but roughly
the same time as what we saw at Ani.
But here down south they do it differently.
And you have figural scenes, like this wonderful scene
of the whale.
This is the whale vomiting Jonah up.
Jonah's right here.
It's not very whale like.
But if you think about the fact this
is made in the 10th century, that you have trade
of textiles, and you think about textile motifs
at this time in the Islamic world
and in the Byzantine world, there
are these wonderful motifs that really transgress
geographical traditions of manufacture,
the [INAUDIBLE] of this wonderful creature
is part of that, the traveling motif
vocabulary of traveling motifs.
So we can do some wonderful--
I do a lot of wonderful comparisons
with textiles in my classes.
You're probably wondering, well, where's
all the rest of the stuff?
Why is it just architecture and manuscripts
and stone sculpture?
And traditionally Armenian art kind of
is about the big three, churches, manuscripts,
and stone sculpture.
But there's a lot else, and I really
wanted to highlight the other kinds of material cultures
that we have.
So we have textiles.
We have wood sculpture.
We have metalwork.
We have ceramics.
There's so much.
And so I wanted to be as inclusive
as I could be about that.
So a wonderful capital, which is now in The Met Armenia show.
I think this one is in The Met Armenia show.
So a censer, an incense burner, on the right,
with scenes of the Annunciation and the Visitation,
gospel scenes.
And then this wonderful wooden capital
that speaks to connections with the Abbasid world,
most likely, in terms of its designs.
So again, we're looking at art that is connected
to its neighboring traditions.
The other thing I wanted to do in this book
was speak about how these objects would've
been experienced.
And so when we look at an incense burner,
or we look at a lot of the that throne ornament
from the Urartian world, how would somebody have seen them?
We see it in a PowerPoint.
But that's like so many times removed
from how it would have been understood and seen and felt,
experienced by a contemporary viewer.
So thinking about, for example, the movement
of when we go to church.
Or you see an incense burner being swung around,
you're not looking at it statically, like this.
You don't get a chance to do that.
But you smell it.
You hear it because it has bells on it.
And you have more of a vague sense
of how it's working maybe.
So there are a lot of--
I wanted to give--
this is, of course, a piece of what we do as art historians
now.
We think in terms of what's the phenomenology of this object?
So I wanted also to open that methodology up
to an object like this.
But it could be done for many.
So manuscripts-- how are we doing on time?
I'm going to speed up a little bit.
Manuscripts from the Age of the Kingdoms,
we start seeing more and more manuscripts at this time.
It was important for me to say that you
have a multiplicity of styles that emerge in painting.
Sometimes I feel like art historians
and non-art historians sort of are like,
eh, we don't need to talk about style.
Style's boring.
And what is style anyway?
But actually it's really interesting
to try and describe what's going on to create, for example,
the roundness of that neck.
So I love doing that.
I love talking about, for example,
the modulations of tone that lead us to see this as a round
neck and how this work is connected,
for example, to Byzantium traditions of the same period.
And that's very clear.
We can do that.
On the left is an image of the Virgin and Child
from a tenth-century manuscript that also is in, I would say,
the same kind of Byzantium or Byzantinizing style.
But then this is very different.
This is a manuscript that is actually in the States.
It's the oldest Armenian manuscripts
that we have in the States.
It's called the Walters Gospels of the Priest.
And when I show this, sometimes my students laugh at me,
like why are you showing us this when we just
look at those elegant figures?
But what it shows is that there was
room in the Age of the Kingdoms to produce in both ways.
You could connect this to economics as much as you want.
Or you could talk about the training of the artist.
But the fact is this exists.
People looked at it.
It was part of their visual world.
And so why?
Why does it look this way?
I found that to be a very interesting.
And the other piece of what I did in this book was I
paid a lot of attention to texts.
I wanted students to realize even though I'm not giving them
the Armenian scholarship, the footnotes
on the Armenian scholarship, we need
to look at the inscriptions.
We need to see what things say in order
to understand their meaning.
That's important.
So what does this say?
And for those of you maybe who were Hripsime's class,
you can start to read these things.
And this says [ARMENIAN].
It's [ARMENIAN].
It's about the Virgin, what do you say, Hail Mary, right?
Hail Mary, full of grace, right?
It's be joyful, be joyful because you are
going to bear the Christ child.
And then in the colophon to this,
which is the sort of scribal note,
it talks about the [ARMENIAN] of the congregation.
So this was made for the enjoyment, same word,
enjoyment, of the congregation.
So to me, I look at this image.
And it's not-- maybe it's silly.
I don't think so.
But I can see that.
I can see that the joyfulness, maybe even more than I
can see it in this image.
So I think that what's wonderful about this subject
is it sort of forces you to open up a little bit your idea
of what is worthy of study.
And so, yeah, so that's the Age of the Kingdoms.
We should move on now.
Oh, my gosh.
I wonder how we're doing on time.
It's getting late.
We're going to go to Cilicia next.
So one chapter's devoted to a kingdom
that the Armenians started in Southwestern Asia Minor,
just north of Cyprus, in 1199.
And this kingdom's called "Ka-lee-kee-ah" or "Sa-lishah."
And it lasted until 1375.
And it is a kingdom that was famous in terms of material
culture for its fortresses.
You see the example of Anavarza here.
And these fortresses have churches.
And this, you can see, this is actually--
these are photographs by Gertrude Bell.
Did anyone see that Nicole Kidman movie?
Or maybe you know Gertrude Bell by other means.
But anyway, she was a wonderfully important
pioneering traveler, archaeologist,
art historian in the late 19th, early 20th century,
early 20th century?
Yeah.
And she took these photos.
I think this is 1901 or something.
She went to Anavarza, and she talks
about how she was taking pictures there,
and snakes were falling on her head.
She had disrupted a den of vipers or something.
And they're all falling with thuds on her head.
But she took these amazing photos.
But the reason I wanted to show you
this is because this is actually spolia,
reused material from the Byzantine town below Anavarza.
This is reused.
And actually there's an inscription here in Greek
that you can't read now.
But we know it because it was recorded.
And again, it speaks to connecting this with what
scholars are doing now.
There's such interest in reuse and recycling
of materials in the past.
So what were the Armenians, this new kingdom, thinking
when they're gathering up this Greek stuff
and putting it in their own churches?
And not in a haphazard way, they actually
do this very carefully to create this arch.
And in fact, the Greek inscription
still makes sense, even though they've actually taken
out several of the stones.
This is not a semicircle, you can see.
So there's a lot of really, I think,
wonderful work that could be done exploring the material
culture of Cilicia with the question,
how do you create a new kingdom?
What's the material?
What should the expression of that kingdom look like?
And Cilicia is so famous for its manuscripts.
So I'm going to kind of run through this a little bit fast.
This is the famous artist T'oros Roslin,
who, again, I loved doing the work for this
because there's been wonderful scholarship on T'oros Roslin
and Cilician manuscripts.
But T'oros Roslin was obviously well
versed in medieval painting styles from Europe,
as well as Byzantium.
Best of all, though, he really knew his Bible.
So when you look at one of his paintings,
you can't understand it all unless you know all the gospel
texts he's drawing from.
So that door on the right shouldn't make sense
in terms of the logic of the image, right?
It's some sort of mountain setting.
The door has to do with another gospel.
This is the Gospel of Luke.
That's what the texts are.
But the door is from the story of the Incredulity of Thomas,
which comes from another gospel.
And then Zacharias is in the background, the prophet,
holding a text.
That's another text from another part of the Bible.
It's talking about some who doubted.
And so what T'oros Roslin is doing
is bringing together the idea of doubt, of showing wounds
into this single image.
He's doing a kind of visual exegesis himself.
And so it's so interesting, again,
to see how rich this material is, how you can teach with it.
It's not just about sort of visual sophistication.
But it's about and interesting theology as well.
T'oros Roslin is fun to teach with, too, because of the way,
though, he uses the page.
So the Last Judgment-- this is from, again,
from the Walters, which has a wonderful collection
of Armenian manuscripts.
Last Judgment-- and you notice these poor ladies
that are being ejected from the kingdom of heaven.
And they are the foolish virgins who did not light their lamps.
Yes, and T'oros Roslin is telling you this.
He's saying they were so bad, they
are going to be ejected not just from the story,
but from the entire composition.
We're going to push them to the outside.
So you see them.
Here they are over here.
And the apostles are here.
And there's a door here, and they're saying, no, no, no,
you're not coming in.
So Roslin is very sensitive to the page
and to the design of the page and the way he
can use that to make meaning.
We're going to go forward.
So my favorite moment, I would, say in Armenian art
is the late 13th century.
We don't know the names of these artists.
But they are producing some of the most
flamboyant, astonishing painting,
sort of hyper expressive, hyper sophisticated, hyper lavish
that you can imagine.
I can't get enough of this.
And I always show my students this
and say, why do you never see this in an intro to art class?
This is crazy.
This stuff is so beautiful and interesting.
I mean, look at the angel and the way
he's turned in so many different directions.
It's amazing to me.
And then even look, just take an example, the shine
on the knee of this figure.
So again, I guess in the book I was really
trying to ask the reader to look carefully, to look really
carefully with me.
The cover of my book, but also one
of the most brilliant, I would say,
examples of the way the art of Armenian Cilicia
expresses a kind of worldliness, a connectedness
to, in this case, East Asia.
We know this was produced during the Yuan dynasty
when the Mongol Empire reached China.
We can think of all kinds of ways
in which this painting makes sense in terms of connections
with trade routes.
We can think about it in terms of maybe diplomatic gifts
of ceramics and textiles that would
lead to these wonderful creatures that are affronting
the bust of Christ.
But at the same time, we need to be aware of what the text says.
Again, I asked the reader to look at the text with me
because the text is from the reading for the Annunciation
to the Virgin.
And it tells us--
it's a reading from Zachariah that
tells us that all nations shall take refuge in the Lord.
So when you think about it, this is
kind of a wonderful visual representation not just
of trade capital, and not just of kind of cosmopolitan-ness,
but also of the text itself.
And then my favorite, one of the very few times
you get nudes in Armenian art, but here they are.
Maybe you can find them for me, this guy.
Oh, yeah, how are we doing--
were you raising your hand?
Oh, OK.
We've got to finish up.
OK.
And then there's probably Adam and Eve, Eve over there,
Adam much more obvious over on the right.
But I just love that.
I'm going to move forward to we talked about Cilicia
in the 13th century, moving back to greater Armenia, which
we call sort of the traditional homeland,
we have an explosion of building.
Mostly what we have are monasteries,
monastic complexes.
In this chapter, I try to give--
so this is yet another chapter I try
to give the reader a sense of the intellectual environment
of these monasteries, as well as the culture that was
built and sculpted and written.
So that was important to me.
But they're so interesting in terms,
again, of architectural style.
It's a moment where you have a kind of experimentation
and innovation with vaulting techniques, tremendously
complex designs.
You have a fascinating, and really, it
should be studied more, appropriation of Islamic forms,
like this wonderful muqarnas vault. That's that central,
almost looks like, honeycomb vault
in the center of this structure, which is at Ani,
13th century structure at Ani.
But again, you see those massive rib arches.
So the 13th century in greater Armenia is a period of,
I think, like in the 7th century,
it's a period when you start seeing
just new things just emerging.
And in the 13th century, I think it's about connections
with other cultures.
And I should say that in the book
I also try to give the reader, as best I can,
a sense of the history.
And 13th century's very complicated.
Armenia is going-- the number of different spheres of control
over Armenia just change all the time.
But you can see maybe that out of that, you have--
and maybe not in spite of it, maybe
because of that, you have these tremendous visual expressions.
This is from Gandzasar, which is in the southern part
of Armenia.
And you have sculpture that is both in relief, those birds.
You have perforations into the wall.
You have polychrome.
This is kind of this wonderful maroon and silvery circles.
Can't really say enough about it.
And the other piece with the monasteries
is their landscape, the physical setting.
All of these structures are built with tough stone, which
is like a volcanic-- or some of them are basalt.
But they're all volcanic rock.
And if you've been to Armenia and seen the monuments,
you know how they change over the course of the day.
This is Noravank in Syunik in the Republic of Armenia.
And depending on the time of day,
the sun lights up the cliff walls and the church
in this remarkable way.
And it's an interesting observation.
But again, you want to think, how was that understood?
How did that inform the way people saw their monuments,
see the world around them?
You couldn't have a book on Armenian art without khachkars.
So we're getting to the end here.
You couldn't have a book of Armenian art without khachkars,
which are these stones stele that are carved with crosses.
And The Met Armenia show, happily,
has many examples of them.
Again, why?
Why does it look this way?
Incredibly intricate designs.
It was a fun but arduous task to try to describe them,
which I did try to do carefully for each object, describe it.
But this is-- if you start looking at it,
you realize how hard it is to describe.
And it has so many different surfaces.
It's not just one surface.
It's multiple surfaces, designs within designs.
Nothing is, sort of, regular.
And so I very much wanted to speak about it
as a formal phenomenon but also how this helped the mind
to meditate on God because that is what you were meant
to do before these khachkars.
They were sites of commemoration and veneration.
So how does this extremely formal, extremely minute design
help you, lead you in your meditations?
We're going to move a little bit faster, go to early modern.
I know there's so much.
And one wants to talk about it all.
But early modern, it's always hard to say, well,
when does modern happen?
And I follow pretty much the standard division
that art historians have done before me
for Armenian art, which is 17th--
I put it into the early 18th century,
when I think modernity for Armenian art kind of works.
But I don't even like those categories anyway
because they don't really mean anything to me.
But in any event, I had to create chapters.
So have a chapter that's essentially
15th to 18th centuries.
And it deals with things like the merchants.
So you have a new merchant network.
Starting in the 17th century, it's created.
The Armenians create this merchant network.
And in part what that does is it exposes Armenians
to so many different cultures, including European print
culture.
And so we have in Armenian art of the 17th and 18th centuries,
a strong sense or a strong connection
with print, European print culture.
I think you can see that here.
Here's an Armenian Bible made in 1666,
using your Dutch prints, Dutch engravings.
But then you have a painted manuscript
from the late-17th century, so actually probably
around the same time, made around the same time, that
is also drawing from European motifs, for example,
with the lily in the hands of Gabriel,
I believe, too, even in the style of the painting.
Like, there's no nostrils.
It's just there's really strong graphic design that
makes me wonder what would it have looked like
to see a print in the 17th century
if you were a painter, to see this new technology?
Wouldn't that be interesting in a way that maybe it isn't now?
Or would you feel threatened?
OK, it's a pop quiz.
I always do this in all my classes.
One of these is a Cilician manuscript.
The other is a 17th-century manuscript.
So which is the older one, the 13th century one?
You get an A. You get an A. Yeah, it's the one on the left.
The one on the left is the is actually 13th century T'oros
Roslin manuscript.
But it was known to an artist in the 17th century in Sivas,
Sepastia, where my own people are from.
And he, Mikhail, loved T'oros Roslin.
He dedicated his manuscript to T'oros Roslin,
which is an amazing thing in the 17th century for a painter
to do.
And he painted pretty much the same designs,
you can see-- not exactly, but similar.
So it's an interesting moment.
Again, the 17th century's a moment
where you have all these new things happening
with commerce, with politics.
You have the Ottoman Empire and the Safavid Empire.
Politically and economically and culturally things are changing.
But you also have a turning to the past
and looking at the past.
Both Mikhail did that.
And he did it actually-- he was also poet.
And he even looked at some 13th-century Armenian texts,
like [ARMENIAN] or 12th-century texts, [ARMENIAN],,
and wrote about them.
And he was fascinating.
He's not studied really.
He needs to be studied, fascinating guy.
All right, yeah, so you were right about that.
And then we get to this guy.
Sometimes things people work a little differently.
I wanted to include this because it's so different from anything
else.
This is a painter who was working--
itinerant painter working on the eve
of the deportations of Armenians to the Safavid Empire,
where they would set up their merchant colonies.
His name is Hakob Jughayets'i.
And he lived in his own world.
And this is the kind of thing he made.
And his life was not easy.
He wandered around from town to town in the Ottoman Empire,
trying to make money, holding his books with him to sell them
in order to move on.
And this is this was God for him.
This is an image of God.
This is an image of the creation.
And he shows God.
In every page of this manuscript,
God's face gets bigger and bigger.
Why God looks like this, I don't know.
My husband had this idea.
And I should say that I thank him
for all the ways he contributed to this book.
But he had the idea that maybe when your life is that bad,
maybe that's what God looks like to you.
I don't know.
But, yeah, Hakob is in there too.
And now I just I want to-- there's so much we could say.
I am actually going to close now.
By the way, though, I do talk about the new churches
of New Julfa for that are beautiful.
I get a chance to talk about women artists
as well with this wonderful textile
that was produced by a mother-and-daughter team
in 1448.
You can see it at The Met for the next two days.
But they don't mention that it's made by women artists.
We know that from the inscription.
It tells us their names.
And it's a wonderful image to think about
because of who they show.
This is Tiridates, the guy who turned into a boar, right?
This is Saint Gregory, the patron Saint of Armenia.
And this is Hripsime, who Tiridates
tried to have his way with.
And then he ended up--
she ended up preserving her innocence,
but he was so angry he killed her.
But look at how they're shown here, quite peaceably.
Imagine, these are a mother-and-daughter team
embroidering this.
How are they going to show this scene?
Why are they going to show it the way they are?
So lots of interesting things, lots of lots of potential
to work.
I could go on and on.
But I'm going to just close by saying that one thing that
was important to me, and I'll use this
as a kind of ending point, one thing that was important to me
was to convey not just the history of Armenian art,
but also the degree to which we are still
custodians of this culture.
It is still-- these are objects, they're monuments,
they're images that we need to take care of.
And so part of what we need-- and they're also part
of the modern political world.
We can't get away from that.
And there's been a tremendous amount
of scholarship on issues of trauma,
on issues of cultural heritage, on the relation of the genocide
with the monuments in places like Turkey and Azerbaijan.
And to study Armenian architecture and art
from the point of view of as cultural heritage
involves human rights.
It involves law.
It involves economics.
It involves diplomacy.
It involves bureaucracy.
It involves all of these different pieces.
And students can get involved.
There's room for other disciplines
to be talking about these works.
So that's sort of where I wanted to end it
because I thought that really one needs
to talk about the role of some of the modern world in the fate
of these monuments.
So you're just seeing here on the upper left,
I talk about these beautiful khachkars that were
made in Julfa, in Nakhichavan.
They were caught on tape.
The Azeri soldiers are destroying those khachkars.
We have that footage going back to the '90s.
So that whole cemetery has been eradicated.
We have the restoration of Akdamar, which was accompanies
with a lot of controversy.
We have the T'oros Roslin gospels.
That's in The Getty.
That was part of a lawsuit that was issued
by the Armenian Church because the manuscript was dis-bound
and sold during the genocide.
And then last, we have the work at Ani
on one of the churches that's happening right now.
And so there's a lot of--
this material is not just in the past.
It's very much in the present.
So I think I'm done.
[APPLAUSE]
[INAUDIBLE]
So I was very interested when you were taking about
the [INAUDIBLE] churches.
[INAUDIBLE] could you speak a little bit more [INAUDIBLE]
that?
OK.
I don't know if I could speak the semiotics.
But I can talk about it more.
So yes, it's so interesting to me
to think about what the land meant to those
who were working with it.
And when you see these very particular gestures,
putting monuments in particular places, why is it being done?
And I think you do need to do it site by site.
But there's certain things we can say.
For example, the landscape held meaning for medieval Armenians.
Ararat, the place was, of course,
for Armenians ever present on the horizon, as it is today.
But it also was the place from which we know from 5th century
tradition, was a quarry for the first Armenian churches.
So it's part of this tradition.
We know in the earliest history of the conversion Tiridates
goes, and he goes up to Mount Ararat
and quarries on his own back-- after he turns back
into a human, he quarries all these big stones
for the first churches.
So it has this sense, Ararat has this sense
of being a quarry for the sacred architecture of Armenia.
There's a lot of work, too, that could be done with,
that I've done myself with the liturgy,
like a foundation rite.
So how do you make a sacred precinct?
What are the steps to do it?
What do you read from?
What kinds of rituals do you perform?
And that's another thing that I think
needs more study is how do you found a church?
As I mentioned, what do you do?
What you learn is that there was a strong sense of sort
of the biblical, the theological meaning of a site of God,
the creator, of the site as Jerusalem.
I mean these ideas really come through when you do the--
you see what people were reading at the time
when the sites were being made sacred sites.
So it's a very interesting moment.
And the rite is perhaps as old as the fifth century.
So that's another way to think about it.
But I think just thinking in terms of why
is this church where it was?
Like [ARMENIAN],, when you look at that site,
and I won't talk too much about it-- let me just go back.
When you look at it, you can see that the church is built--
sorry, this is annoying.
But the church is built so that you can see the bedrock.
You can see pretty much the raw straited bedrock.
And then you get this kind of roughly processed masonry.
And then you get as more finished masonry as you go up.
And so there's a strong sense of a kind of--
yeah, like a continuum between the land and the built
structure.
And I think that's an important observation too.
It speaks to this idea of Ararat as not just a land form,
but as kind of part of that sacred world.
And that speaks, too, to the fact that Armenians were
performing veneration outside.
There was not a kind of inside--
as well as inside.
But there wasn't a sense of kind of
interior sacred, exterior secular, at least
I don't read it that way.
Yes, please.
It just seems so astounding that something
that [INAUDIBLE] precipice.
Yeah.
So I should say that I think there has been more falling.
When I look at old photographs, you can see there's been some,
I guess erosion [INAUDIBLE].
I don't know.
But in any event, nevertheless, it's
still very much-- it would have been dramatic even when it
was built in the 11th century.
And that's quite common.
Common isn't a great word.
But there's a beautiful example that speaks to the semiotics,
again, of a monastery in the Republic called Harichavank.
And at Harichavank, it's built right on a gorge.
And what's so wonderful about that is that in the church,
there's a tympanum, and it shows the wise
and the foolish virgins, so the story we just talked about.
And Christ is sort of expelling the foolish virgins.
And the direction he's expelling them in,
it would be just going right over the gorge.
So there's this connection between the site
and the imagery, creating this kind of logic of the site.
But that's what's actually wonderful, too,
about working on Armenian architecture.
You go to these staggeringly beautiful places.
I mean, most of the monuments are just so carefully situated.
[INAUDIBLE] eroding?
Well, yeah, it looks like--
I don't know if eroding is the right word.
I feel like I want to be a geologist to answer that.
But I'm sure that it is maybe slowly.
Unfortunately, this is one of those sites that hasn't always
been easy to get to.
It was actually off limits for many years.
So how much we can say about tracking its demise
is hard to do.
But it is a worry because that's really close to the edge
right now.
Yeah.
And it's also behind you, behind is another big cliff.
So there are rocks coming down from up above too.
This isn't too far from Ani.
Yes, please.
Could you talk about your process
of studying these, going to sites?
Oh, yeah.
It's a great question.
Yeah, it's a great question.
It's something I've learned over the years.
I had some good advice when I when
I started to do some fieldwork, like
take a picture of every facade.
It's always the things that you don't
take pictures of or record that are the things that you
want at the end.
But I think it also depends on what it's for,
what I'm aiming to do.
But I'll give you one dramatic example.
When I got to the Church of Mren, which is on-- it's
in the military zone.
It's on the Turkish side in the military zone.
And I knew I only had a certain amount of time there.
I knew that the soldiers were watching
because there's a big hill up above where they could see.
There's a watch post, I think it's called.
So I knew that I had to be really, really,
really careful and fast and get everything I wanted.
So I actually made a list beforehand.
OK, I want this.
I want this.
I want this.
I'd never been there before because it was not
easy to get to.
But I wanted to make sure that I did everything I needed to.
So basics would be you get every facade,
and you get the interior as much as you can.
But the fun parts are usually the surprises.
So when I got to Mren, and I actually
spent a fair amount of time in the church
because I didn't want to be seen,
that's when I started to realize, oh, my god,
there's so much more painting in the apse than I thought.
This church is covered in painting.
And I'd never seen these paintings before.
All of a sudden, I'm seeing hands.
That helps you.
Then you think, oh, next time I go to a church,
I'm going to look for the painting.
And what's so amazing is now I see so much more than I did.
It's interesting in the case of Armenian art.
If you're not looking, you may not see it.
But once you start to look, now I go to the churches at Ani.
So many of them are painted.
But they're not published.
Or not a lot of them are published.
There's much more that isn't.
So it's kind of a round about.
But when I first started I tried to be as sort of regimented
as possible.
And now I'm starting a new book.
And I'm going to go back to that,
sort of be really disciplined about just
taking every side, every corner, because you never know.
You need a good camera, too.
Yes, please.
[INAUDIBLE]
The [INAUDIBLE],, you said that is being renovated.
It had been, yeah.
I was last there in 2004, I think.
Oh.
So is it since then?
Because it looks really beautifully--
sort of yellow and sparkling.
Yeah.
I don't know if inside there was a problem.
Yeah, so the renovations, they were in the early 2000s.
I don't know if it was before or after you went.
They renovated.
They did a lot--
they built some outbuildings in a very annoying way,
which mean that you can almost not get
good pictures of the astonishing sculptures on the west facade.
You have to stand on like this air conditioning unit
to do it pretty much.
But the other thing they did, which was more problematic,
was they cleaned the interior painting program.
And in doing so, they took off the outermost layers
of the wall painting so that you get now very strong outlines.
You're getting really the-- what's the word,
the thing they put down first that--
but, yeah.
You're not getting-- we've lost some things there.
It was a problem, too, because it was sort of seen
by some as a publicity stunt, too, because they did it,
and then they performed a [ARMENIAN],,
a Eucharist, Armenian Eucharist there.
It's an example that people are definitely ambivalent about,
I would say, in the Armenian community.
So that's another thing.
There's this sense that things are happening,
and [ARMENIAN], Ani.
And everybody's watching.
And now you can.
And so it's important for us to be educated as to what's good
and what isn't good, because there is good restoration.
The [ARMENIAN],, the church I showed you
that's half there in the scaffolding, that's good.
I think they're doing an excellent job with that.
But I think we need to know.
We need to be sort of informed as to what's appropriate,
what isn't appropriate.
Are you working with [INAUDIBLE]??
Do you work with a Ministry of Culture from Turkey?
Yeah.
Yeah.
You have to.
So they own all the monuments.
And so everything has to be done through them.
But my work has been done through the World Monuments
Fund.
And you need to have a kind of prestigious, usually
like an American-- although, I don't know anymore.
It used to be like, earlier, that you
had work with a prestigious organization
like WMF or UNESCO or [INAUDIBLE],,
and they would be the go-between between the specialists,
the knowledgeable specialists and then the money,
because the money comes from yet somewhere else.
And then they would also be connected to the Ministry
of Culture and Tourism.
So that would be a way to kind of keep it all organized,
to say the least.
It's complicated, which, again, is an interesting learning
experience for students to see how complicated this can get.
For example, what kinds of materials do you use?
What's the best way to join one stone to the other?
This is a church that's built in the 11th century.
But it's having problems.
It's a 19-sided building that's half there
with frescoes on the inside.
It's complicated.
So it was wonderful to see.
It was wonderful to see all these different experts working
together on it.
And Armenian specialists, seismologists, as well,
engineers, everybody trying to figure out what can we
do for this building.
I mean, so I think that's good.
[INAUDIBLE],, thank you very much.
[APPLAUSE]
-------------------------------------------
Cómo HALLAR LA MATRIZ INVERSA usando el MÉTODO DE GAUSS - Duration: 23:36.
Find the inverse matrix using the
Gauss method, here, right now in this
math channel called
Math with Juan.
[Music]
[Music]
How are you guys and girls? Let's go
right now to find the reverse matrix
using the Gauss method and the
matrix that I have prepared to calculate
its inverse is the following -4, 2 less
1, 2, 0, 1 and minus 2, 3, 1. Very good. Well, then
the inverse matrix can be found from
many ways. In the method of gauss lo
that is done is the following: we
we write the matrix
minus 4, 2, minus 1, 2, 0, 1 and minus 2, 3, 1 and their
right we write the unit matrix,
in this case three rows, three
columns, some on the diagonal and of what
it's about manipulating the rows of
convenient way so that after
to do this by a few steps
let's get something like this:
to the left, for after giving these
smart steps, we have to be
capable of expressing this here and of having
here the unit matrix and in this other
side, on the right, a, b, c, d, e, f, g, h, i, in this
the other side because we'll get another matrix and
this will be the one you want
inverse matrix. Well, let's go to
to start taking these smart steps
to turn what we have here into
something similar to this other and this will be the
inverse matrix.
Okay, first step.
The first row I have I'd like
that looks like this, of course it does, and
Here's a 1, so come on, I'm going to
to get,
I'm gonna try to get a 1 here.
And what do you have to do to get a 1,
when I'm a minus four? Guys,
girls if I want a 1 here I'm going to have to
multiply everything by at least a quarter. If
I multiply this row here by
minus a quarter I'm going to get what
next:
minus four for minus a quarter is 1. 2 for
minus a quarter is minus a half and
minus 1 for minus a quarter is a quarter,
a quarter, and here I'll have minus a quarter.
because one for at least a quarter is less
a room, here 0, 0 and here I do nothing of
moment, so I'll have this as it is and
this, too. I don't touch this. Okay, so
we've already taken the first step. Let's go to
for the second and we'll look,..., at our
objective will be to look at the second
row and get a zero, get a zero,
here's a two because I want a zero. And
How can I get a zero? Well, what
let's do is multiply, multiply
it
first row for 2,..., not for 2, for at least 2!
we're going to multiply the first row by
minus 2 and we're going to add it to the
and for that I'm going to erase this,
I don't need it anymore. I don't need it anymore.
I need and in this part of the board I will do
this little operation: I'm going to
multiply all this by at least 2,
I multiply the first row by minus 2.
minus 2, -2 by 1 is minus 2,
-2 by at least one means, that is 1 and minus 2
for a quarter is less than a half. And
I would therefore have less than 2 for less than a quarter
is
one half, one half. Here 0, here 0 and I said
that what's here I'm going to add to the
second row, I mean, I'm going to do the
next sum 0, 1, 0
I do the following sums, guys and
then here would have a zero here would have a 1,
here one minus one half, this is one half,
here I would have a medium too, here
I'd have a 1 and here I'd have a 0. So.
this, this, this, this, this matrix construct is going to
be as follows:
1, one down
a half, a quarter, minus a quarter, 0, 0
and instead of writing this I write the
equivalent, row, equivalent:
0, 1, a half, a half 1, 0. And this there is
here as it is because it is not yet
I've played so as, as it is, it's done.
Well, let's go for the next one.
step and in the next step we are
we'll lock on to the third row. Let's manipulate,
let's manipulate the third row now.
In the third row I'd be interested in having
also here a zero. And how can we
to get a zero here, as we can
to get some zero so that, so that
this look like this? It's very easy,
multiply this row by two and you'll get it.
we add to the third.
[Music]
We say it and we do it, we say it and we do it
we do. Let's see, let's see, let's see, let's see.
[Music]
Front row.
We add it up, we multiply the number 2,
i.e. the first row multiplied
by the number 2 will be
2, 2 by one is 2, 2 by at least one means is
minus 1, 2 for a quarter this is a half.
This will be less a half
0, 0 and here we put the third row: minus 2
3, 1,
0, 1 and add boys, add and then
summing up, I'll have the following: two,
I'll have a 0 here, I'll have a 2 here, here.
I'll have 3 means, 3 means, here I'll have
minus a half, here 0 and here one, very
All right.
This is the line, this is the line I'm going in.
to write substituting this other
and to do it,
and to do that I need to erase
obviously. I don't need this and I continue
here writing our...
our steps, our, our, our
matrix.
All right, let's go.
Here I'd have a minus one half, a
quarter, minus a quarter, zero and zero. Here
I'd have 0, 1, a half, a half again,
1 and 0 and finally this row.
I don't write it anymore, I write this one that
is 0, 2, 3 medium, minus one medium, 0 and 1.
144 00:08:27,740 --> 00:08:34,740 I'm gonna erase, I'm gonna erase things that already
I don't need to. Look what's here.
we already have in our head. I get rid of
and we don't need this either.
Let's go,
Next step, of course! Now
we're very, very, very interested in that
this two get the hell out of there.
Well, for this 2 to go away from us.
there it would be very convenient to multiply
this for at least 2 and add it to this
line, I mean,
the second row we are going to multiply it by
minus 2 and we add it to the third
row.
Let's do it here. Let's multiply the
second row for 2, for minus 2.
we'd have the following:
zero for minus 2 is 0, 1 for minus 2 is less
2, a mean by minus 2 would be minus 1 and
this would also be minus 1, this would be
minus 2 and this would be zero and this there is
here is the same as before
and what we're going to do now is add up
add, add this row multiplied by
minus two with this one. So adding up,
summing up we would obtain the following: three
means minus 1, 3 means minus 1 would be
equal to a half, okay? A half and
minus half minus one, minus one half
minus one would be equal to minus three means
and this would be minus two and this would be one.
So, boys and girls,
this next step, summarized, in
in a nutshell, we're left with the
Here's how:
this would be the first row, this would be the
first row, this would be the second row,
Come on, come on and this would be the third row:
zero, zero, a half,..., is this okay,
Right? Yes, this looks good. A
and this would be minus three means,
minus three means and this would be minus two,
and this would be 1, 1 olive. Okay, it's very
All right.
I'd love this to be a 1, then.
very easy Juan, very easy. I multiply everything
by 2, multiply all by 2. And multiplying
everything for 2 look what happens, look what happens.
All right, then.
In the first row and in the second row
It's okay.
1 - a half, a quarter, minus a quarter,
0, 0 and nothing happens here either. 0, 1, a half,
a half, a half here too, 1, 0. Multiplying
everything for 2 would have 0, 0, 1. All right, I've got something.
relevant!
Multiplying this by 2 would have
minus 3, multiplying this by 2 would have
minus 4 and multiplying this by 2.
I'd have a 2, a 2. All right, all right, all right, all right.
Let's make room, we don't need this anymore.
That's it. That's it. Well, let's see, let's see,
Let's see, let's see.
I'd love it, I'd love it here.
there would be a zero and this is easy to
to get, of course I do. So that here
there'd be a zero the only thing I'd have to.
to do would be to multiply all this by
minus one half
and add it to the second row i.e., the
third row I multiply by at least one
and I add it to the second row.
We're gonna do this, we're gonna do this.
here. Again. The third row is
I multiply by at least a half, that is,
zero,
0, 1 for at least a half. Well, minus one
medium. Minus three for minus a half
would be three ways. Minus four for less.
A half? Well, that would be two and two for less.
A half would be minus one, okay? And I'll add it to that.
the second row. The second row will be
0, 1 a medium and a medium, 1 and 0.
this little operation I'm going to get here.
0, here a 1 and here a 0 -remember that this is
the second row, this is what
we're gonna get here.
Three means plus one means, that is, three
means plus one means this is four
means but this is equal to two and here
I'd have three and here I'd have minus one.
Okay, okay, okay, okay. Well, I'll just stand over here and
we rewrote this little monster
matrix of
the following way, as follows: we have
here one, here less a half, here a
a quarter, here minus a quarter,
here zero and here zero. Here I have zero,
here I have one, here I have a medium, here
I have a medium too.
Ah, eh, he, eh! Careful, careful! I have to write this down,
that I was already sneaking in.
zero, .............................................................................................................................................................................................................................................,
1, 0, of course,
2, 3, 2, 3 minus 1 and finally this:
0, 0, 1, -3, -4 and 2. Now yes, now yes.
and now all that's left for us to do is to be
earrings from the front row. We will
analyze, let's analyze that we have to
do right now to have here a 1 and, ....,
sorry, to have here a 0 and
then to have already finished our
exercise.
Here, as I said before, here as I have
said before, I want a zero and here
I also want another zero. Good.
To obtain here a zero
what I'm going to do is
multiply the second row by, let me see,
by one half, I multiply the second row
and I'll add it to the first one.
Come on, let's do this.
The second row was multiplied by one
I mean, I have zero,
a mean, 0, this multiplied by a
half will be one, this multiplied by one
average will be three means and this
multiplied by one means will be less than one
and I add the
first row. The first row is
one, minus a half, a quarter, minus a
fourth,
0, 0. Well, by doing this little thing.
operation I'm going to get my new first
row.
One, zero,
a room and here I'll have a minus one
A quarter? A quarter to a quarter? Well, this goes
to be equal to three quarters, three quarters.
And three media plus zero. Three means and
I'll have less than a half here. Then, then,
then, then I can write, I can
write
this thing like, well, like this other one:
1, 0, a quarter,
here three-quarters, here three-half, here
minus a half. This as it is: 0, 1, 0. This 2,
3, -1 y 0, 0,
1, -3, -4, 2. That's good, that's good! Let's erase a
a little, let's erase this, like this, like this,
this also like this and let's close here this...
this, this matrix parenthesis. Okay,
then the next step and the last one goes
to be getting rid of this, ha, ha, ha, ha.
We're about to finish, what a thrill.
only separates us
[Music]
to conclude this exercise
to eliminate this that here, we have to
get rid of a room and the best
way to get rid of a room is to
multiply the third row by at least one
and then add it to the first one.
row. Come on let's do this very thing that
I'm saying here.
This row here is multiplied by
minus a quarter and I'll get the following:
0, 0, minus a quarter.
-3 for at least a quarter will be three quarters and
minus four for minus a quarter will be
simply 1 and 2 for at least a quarter is going to
be less
a medium
and this that there is here I add it to the
first row. The first row is 1, it's 0, it's a
fourth, ..., what else, is three quarters, is three
means and is also less a means.
Well, doing this sumita,
making this sumita -I'm going to write
here a little lower the result
because then I'll copy it here. Let's see,
making this sum I will have 1, 0,
this and this is canceled, zero fantastic,
we already have 1, 0, 0, 1, 0, 0. And 3 quarters plus three.
rooms...
Let's see, three quarters plus three.
quarters ... this is 3 and 3 6, 6 quarters equal to
three means. This is 3 means.
So this will be three quarters plus three
rooms is three half and one more
-let's see-, one more -I'm doing this one
operation-, one plus three means this is going to be
equal to 5, 5 half boys, 5 half girls.
Well, means here. And less a
a half minus a half? This is easy. This
is going to be equal to minus 1, -1, -1.
Oh, good! Well, I'll erase what's here, I'll erase
this that there is here and simply, for
finish, I still have to write this row in
your site -which is the first row, is the
first row. I'm going to write the matrix a
a little higher because you see? It's like my
morale was low and I'm going down, I'm going
downgraded. Well, here I would have
1, 0, 0,
here I would have three means, five means and less
one. Here I would have 0, 1, 0, 2,
3, -1 and here I'd have 0, 0,
1, -3, -4 y 2.
Well, it seems to be, it seems to be that we have
arrived at
the desired result. See?
On the right we have the matrix
identity, in this case 3 by 3, in the
diagonal all some, the other zeros and
then this here would be the
inverse matrix.
All right, all right, all right, all right, all right, all right.
All right.
Well, this is over.
All that's left for me to do is write this of a
the prettiest way. Let's do a little
cleaning, let's do a little cleaning and
let's finally write down what we have
obtained. What we have obtained is what
next: we start from a
matrix, of a matrix that was minus 4, 2,
minus 1, 2, 0, 1 and minus 2, 3, 1. We had this one.
matrix and we've come to get your
inverse matrix and its inverse matrix is
this one here:
three means, five means, minus one, what
plus, two, three minus one,
-3,
-4 and 2. Well, that's it,
that's it.
It only remains for me to say that if I
will multiply this matrix by this one.
I would get
the matrix identity, that is, it would obtain
what's in here.
B,ueno then nothing else, nothing else boys and
girls. I say goodbye to you, see you
in another video. Subscribe, come on,
See you soon!
Goodbye, goodbye, goodbye.
[Music]
[Applause]
[Music]
-------------------------------------------
SyFy's Deadly Class S01EP3 Review | CJDExplains - Duration: 8:46.
For more infomation >> SyFy's Deadly Class S01EP3 Review | CJDExplains - Duration: 8:46. -------------------------------------------
★Shamayne G★ Wonderful fashion Style & Looks - Summer fashion style - Value Fashion - Duration: 2:42.
★Shamayne G★ Wonderful fashion Style & Looks - Summer fashion style - Value Fashion
Model plus Fashion tips Plus size model Plus size fashion plus size Curvy model value fashion Street fashion Fashion model Fashion Bbw instatop fashion Blog Celeb Celebs Celebs fashion Celebs style Curve Curves Fashion blogger Fashion designer fashion nova Fashion plus
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Beware! AV Fees and Infrastructure Costs You Absolutely Need To Know - Duration: 3:31.
- There are a lot of AV fees
and infrastructure costs associated
with planning an event.
And if you don't know about them ahead of time
you could be in for a world of surprises
in extra costs.
(instrumental music)
Hey, I'm Katie with Endless Events.
And when you're planning an event
there are a lot of fees and costs
that you should be aware of
so that you can build them into your budget,
otherwise you might be in for a big surprise.
Cables are a normal part of events
but it's important to talk to your venue
about where you're allowed to run them
and think about if you're running them
a little ways from power to a speaker, for example,
or far away to a generator.
These are all things you can talk about
with your AV company as well.
And cable ramps are used to prevent people from tripping
but some venues don't allow them.
So make sure you talk to your venue
and your AV company so you can plan ahead.
Power is another thing that you will need
to connect to at your venue
but a generator is something that is up in the air.
If you're doing your event outside
or if you are planning to have a big production
in a small venue a generator is something
that you'll need.
Next up are infrastructure costs.
So scissor lifts are used to hang things
high in your event, like drapes or lighting,
and Genie lifts are used to hang things as well.
But they do have weight restrictions
and they can be visible throughout
the entirety of your event.
They can, however, save you money
as compared to rigging.
So rigging can incur the highest costs.
This is because of the labor involved
and also the rigger needs to be certified.
So it can't just be any AV professional.
Because of safety issues
a lot of venues are requiring that you use
their in house rigging service.
There are some venue AV fees you should be aware of,
like service fees.
If you see this make sure you get a detailed description
of what's included and if you think it's unreasonable
try to negotiate it.
Also, venues know that you're going to be using
their internet and they decided to start charging for it.
If you're going to be live streaming your event
this is an option that you'll need.
But otherwise you can look into other options
and see if you need to negotiate it off of your quote.
Similarly, power fees are negotiable.
Just make sure that you're paying
to have it connected safely.
If you're paying with a credit card
this is something that you could
get charged an extra fee for.
So make sure you talk to your AV company
about how they prefer to be paid.
And go with this option to make it easier
and avoid extra costs.
And if you're using an outside AV company
the venue will sometimes charge you
a babysitting fee.
This is having an in house tech watch over
your set up and make sure everything is going fine
and that you're not damaging any of the equipment.
This is something that you can negotiate.
And you should check out our guide to
removing in house AV restrictions
to learn more about that.
Other costs include deposits, like a damage deposit.
So always make sure that you're
taking good care of the equipment that you're renting
and keeping it locked up and secure
when no ones supervising it.
And permits.
You might need to have a permit
if you're using a generator
or if you're using things like CO2 or Haze,
you might need a permit and a fire marshal.
Also if you're doing something
that's going to be making a mess
like confetti or a balloon drop,
your venue might charge a cleaning fee
so check with them about that as well.
As you can see there are a lot of costs
associated with planning an event
so make sure that you are well aware of it
and have time
and you can build it into your budget.
If you wanna learn more about this
you can click the link and head to our blog post
where you can also download
our event AV budget template which is free.
Let us know in the comments below
if you have any questions
and don't forget to give this video
a like and to subscribe for more useful tips.
And I'll see you later.
-------------------------------------------
Fragrance Oil Friday - 2/01/2019 - Fragrance Oil Review - Duration: 8:30.
what's up everybody i'm Tim from Timber Ridge Gifts. Welcome to this week's
edition of fragrance oil Friday! The company we're checking that today is a company
out of Wisconsin called Candle Cocoon, which was actually suggested by a subscriber
of mine. When you guys share your good ideas with me I do my very best to
listen and bring you guys the content that you want to see. So today we're
checking out Candle Cocoon. So let's check out the samples that I got from
them. First we have Vanilla Voodoo.
It smells really good, it's a really rich type of vanilla. It's not quite baked goods
or cake vanilla and it's not quite super strong vanilla extract. It just kind of
falls right there in the middle, but it's a really really sweet, rich, creamy type
of vanilla smell. Definitely one you would enjoy if you were looking for a vanilla
scent. Next we have Lemon Blossom!
So that smells really good. It's really strong but it doesn't have that
traditional fruity lemon scent. It's more of a a candy lemon drop type scent.
Real sugary and sweet. It has a distinct lemon smell but it's real sugary and
sweet. Smells really good though!
Next we have Lavender Lullaby. This one actual smells really good. I'm generally
not a big fan of the florals, but this one doesn't have that typical lavender
smell at all. It's more of a musky spicy type smell.
You can smell a little bit of the floral but it's overtaken by the musky
and spicy notes. It's got more of a woodsy type scent than an actual
floral scent. It actually smells really good I'm pretty surprised. Next we have
Sage and Chamomile.
Again, it smells great but I don't really know how else to describe it other than
Sage and Chamomile. It's a pretty accurate scent and I just picture like a
smooth relaxing a chamomile tea with just a little bit of spice in it.
It's definitely one those scents that's true to name. Next we have Winter Woodlands Whisper.
It's a really good Christmas type scent. It's basically your typical evergreen or
balsam or cedar type Christmas tree scent. I'm not really picking up much else
in it. But the thing about it... it's a lot smoother than the average
Christmas tree scent. It doesn't really have that a sharp Christmas tree scent,
where you're like "whoa that's Christmas Tree!" but it still has that exact smell.
It's just not as strong. If I pick my own name for it I would call it like Mellow
Christmas tree. Next we have
Fairy Dust and Twinkle Toes. Some of these
names are pretty cool. Let's check this out.
This one is definitely my least favorite so far. I don't really know how to even
describe it. Out of the bottle it doesn't really smell good. It may be one of
those that develops a little bit more in the wax. But to me it's just kind of a
mango fruity chemical type of smell. It's almost kind of a real plastic smell.
I don't know, maybe it's the bottle. Maybe once you got out of the bottle and into
a candle it might smell a little bit better. But just fresh out of the bottle
definitely one I would pass on. Alright next we have Brewed Jasmine!
It smells really good! Once again it's one of those floral smells that you can
actually like, even if you don't like floral smells because it doesn't really
have that overpowering distinctive flower smell. You can definitely smell
the Jasmine but it's more toned down. It's more like something you would
find in a beauty product like lotion or hairspray. Just more of a toned down
Jasmine. I'm noticing that with a lot of their scents they still have the
traditional notes that you would expect from that scent, it's not too
overpowering, but at the same time the fragrance oils are still really strong.
If I knew how these were made, I could tell you how they're doing that, but I don't,
so all I can really say is that the oils are really strong without having single
notes that just overpower everything else. They all blend together very well
and create a good mix. Let's check out what's next!
We have Crushed Strawberry and Rhubarb.
It smells good. It's a really good earthy vegetable scent. I'm not picking up a lot
of the strawberry. I'm picking up on what I'm guessing is the rhubarb.
It's a really sharp vegetable type scent. To be honest with you I've never really paid
attention to what rhubarb smells like. I've only ever tried it a couple of times.
I know it tastes gross, but I've never really paid much attention to the smell.
This smells really good, it's definitely not a floral scent,
it's definitely not a fruity scent. It's more of an earthy, spicy, vegetable
type scent. Definitely a pretty cool combination though.
Next we have Sunflower and Sea Mist.
I'm definitely picking up the ocean breeze. I'm not getting a whole lot of the
sunflower. Although that might be just because their notes are mixing so well
together. It's got a real earthy ocean breeze type of scent. You don't really
get the sunflower. There's just more of an earthy type scent in it's place.
But it mixes really well with the ocean breeze and this actually smells pretty good.
Next we have Sun Worn Sandalwood. This one smells really great! It's a got the
traditional sandalwood scent that you expect. But it has a real smoky scent
as well. So it's kind of like a sandalwood and campfire mixed together.
Definitely makes for a unique combination. Last but not least is the half
ounce freebie they sent me with my order. Let's check it out.
It is Melon, Fig, and Apricot.
It smells really good. It's definitely a great spring or summer type scent.
I't smells very similar to a cucumber and melon. The melon notes are very strong you can
smell a little bit of the apricot and the sage hiding in there, but the melon
definitely overpowers it and takes over the scent. It's a great spring or
summer scent though. A great combination that definitely smells really good.
Im hope you guys enjoyed the review of Candle Cocoon. I'll leave their website link in the
video description. Feel free to hop on their website, check out their scent
descriptions, and see how they compare to what I was smelling today. If you do happen
a place in order while you're there today, let them know that Tim from
Timber Ridge Gifts sent you there! If you enjoy fragrance reviews make sure
you subscribe my channel, we do one of these every Friday. Feel free to like and
share this video. Make sure you check out my playlists. Thanks for watching
everybody, and I'll see you next time
-------------------------------------------
ADVANCED Controller Fortnite Shotgun Aim Tutorial! (PS4/Xbox Fortnite Shotgun Tips) - Duration: 10:32.
Hey what is going on guys, in this video today we're gonna be going over how to improve your
shotgun gameplay in Fortnite.
About a month ago I made an aim tip video that was mainly focused on how to properly
take advantage of aim assist.
And at the end of that video, I asked you guys to share what specific aspect of aiming
you most struggle with in Fortnite.
So, I read over a bunch of those comments and probably the most common thing I saw,
is that a lot of people struggle with shotgun aim specifically.
And, I can totally understand why that's something that so many people want to improve on.
Close range shotgun fights are without a doubt the most important and most aim-dependent
fights in all of Fortnite.
No matter how great your IQ, positioning, and building are, you're simply gonna have
to be able to win a 50/50 shotgun fight every once in a while.
And especially if you land in super populated towns with a lot of buildings like tilted,
retail, or pleasant, you're gonna really struggle to even survive the first couple minutes of
a game if you aren't to hit shotgun shots.
So, hopefully this video will help you guys do exactly that, and without further ado let's
get right into it.
Alright, so if you've watched any of my aim tip videos or just shotgun tip videos in general,
you've probably heard some of the more basic/common shotgun tips.
You don't really ever want to aim down sights, you always want to position yourself to where
you can take advantage of left-side peaking, always aim for the head, try to stay mobile
at all times in those close range fights, and try to avoid as many 50/50 shotgun fights
as possible by using your builds to block shots.
Even though those tips are basic, I don't want to make it seem like they aren't incredibly
important.
What I commonly see with my friends who are just casual players trying to improve, is
that, for the first 2-3 games after I tell them, they'll make an effort to implement
tips like that into their game.
But, after those first 2-3 games, they'll kinda forget to keep doing it, and it'll eventually
just fade out of their gameplay entirely.
So, even though those things may seem super basic, don't just gloss over and forget about
them.
Because if you don't have the fundamentals down, the more advanced shotgun tips I'm about
to share won't really help you as much.
Alright, so as I'm sure you guys know, one of the most important skills to have to be
a great shotgun player is the ability to consistently hit headshots.
Especially now with any pump blue rarity or higher pump shotgun doing 200+ headshot damage
at point blank range, it's now more important than ever to prioritize headshots over body
shots.
But, obviously that's much easier said then done.
Here's a really simple tip that if you guys can get master, I guarantee it will help you
hit more shotgun headshots and also just generally be more accurate.
A mistake that soooo many players make, is that they keep their crosshair positioned
way too low whenever they're running/walking around in-game.
I'll explain what I mean by that in a second, but first, I want you guys to watch this clip
from my friend that I think illustrates the problem very well.
I'm going to zoom in and slow the clip down a bit so it's a little easier to follow.
I want you to really focus on the positioning of his shotgun's crosshair here, and also,
what he does when he goes to take the shot.
What you just saw in that clip was basically a textbook example of how that bad habit of
keeping your crosshair too low while moving, will have a MAJOR negative impact on your
shotgun aim as a whole.
Because that player kept his crosshair so low while running forward, he was basically
lined up with his enemy's foot when he ran through the door and they first came face
to face.
Now, I've told my friend about a million times that he should be going for headhosts in every
shotgun fight he gets into, so, instead of just shooting the foot, he instead goes for
a last second semi-flick shot towards the enemy's head.
It was a valiant attempt, but as you guys saw, that play ended up resulting in a 21
damage shot with I believe 2/10 total pellets hitting.
If you keep your crosshair positioned too low when engaging in shotgun fights, you're
going to be forced to make a choice between 2 less than ideal options every single time.
You can either keep your crosshair low and just go for body shots, or if you want to
go for a headshot, you'll do the same thing my friend did in that clip, and basically
gamble your life on a last prayer second flick shot.
Also think about it like this.
If you keep your crosshair at body level or below, when you see an enemy you're going
to need to first: adjust your aim left and right so you're lined up horizontally with
the enemy, and then second: adjust your aim up and down to try to hit a headshot.
However, if you can get into the habit of always keeping your crosshair at head level
even while you're moving, you only need to worry about adjusting left and right.
This not only makes aiming with shotguns easier and leads to more headshots but, it also makes
it so that don't need to do those split-second flick shots, which are very difficult to consistently
hit on controller/console.
So now here's another clip from the same player that was in the first clip, but this time,
he is going to keep his crosshair at head level even while moving.
And again, pay attention the crosshair placement and also, just how much easier and smoother
it all looks compared to the first clip.
This issue of keeping your crosshair too low while moving is way more common than you probably
think it is.
I've noticed that it's pretty much a natural thing for the majority of players.
It's finny because whenever I give people this tip to instead keep it at head level,
I get told that it feels really weird, and almost like you have a new line of vision
that makes it harder to see in front of you.
That's okay, if you're doing it correctly it will seem annoying at first, but eventually
you will get used to it.
And keep in mind, a lot of you guys have probably been playing Fortnite for over a year now,
which means for over a year you've been running around with your crosshair at leg/feet level.
So, it's going to take a lot of focus and effort to correct that problem.
You can't just pay attention to it for 2-3 games and then expect your muscle memory to
be fixed just like that.
So now that we've fully covered that super important tip for shotgun aim, let's talk
about the tfue classic/tfue special.
This technique is another more advanced type of shotgun tip, thats so important to learn
when it comes to taking that next step as a Fortnite player.
For those of you guys that don't know what the tfue classic is, it's basically a technique
done when you have about 2-3 levels of high ground over a player, and you want to shoot
them with your shotgun.
And how you do it is you take a shotgun shot while jumping forward, and then place a connected
floor piece under your feet so it catches you and stops you from falling.
And there are 2 main reasons why this is so effective.
1: because you're able to get off shots while still keeping high ground and 2: it enables
you to shoot from angles which may not be possible by just sitting on top of that high
ground.
My explanation of specifically how to do it may not have been the best, so here's a quick
little clip thats a solid example.
So yeah, the tfue classic is something that you'll see me do in my gameplays all the time.
It's probably a little easier on PC but its definitely totally doable on controller as
well with a little practice.
It actually used to be harder a few months ago because of the shotgun delay that was
added at the beginning of season 5, but, it's a little easier now mainly because of the
builder pro builds instantly setting.
And the final thing I want to cover in this video today is a super quick discussion on
sensitivity related to shotgun aim.
So, since you're really never going to be ADSing with shotgun, the only sensitivity
that matters is your X and Y sensitivity.
I can comments all the time asking questions like "I play on 8-8 sensitivity, is that too
high?
Or I play on 5.5-5 is that too low?"
So here's my general advice when it comes to X and Y sensitivity for shotgun aim, and
just general non-ADS aim as well.
Even though X and Y sensitivity goes from 0-10 in Fortnite, I would guess that the vast
majority of really good controller players play on somewhere in the range from 6-8.
That doesn't mean all of them but, definitely a lot of them.
Does that mean that YOU NEED to play on 6-8 X and Y?
No, it doesn't, but I would definitely recommend it.
And especially now that you can have a custom building sensitivity with the building sensitivity
multiplier, there's nothing wrong with playing on something like 6-6 and then just making
your building sensitivity higher.
However, I would say that the bear minimum for X and Y sensitivity is 5-5.
Anything lower than that, and it's simply too low to be able to track sprinting and
jumping players in shotgun fights.
It may sound a bit odd but here's how I kinda helped my friend find the best sensitivity
for him.
I made him start on 6.5-6.5, and then just had him move either up a or down by .5 at
a time depending on if he felt his sensitivity was too slow or too fast.
But, if you get to a point where you're at 5-5 and you still feel like you can't control
it, I would recommend struggling until you get used to that rather than going lower and
into the 4s.
So, I hope you guys enjoyed this video and if you watched the entire thing be sure to
let me know with a comment down in the comment section below.
This video was about improving your shotgun aim in Fortnite, so I wanna know, what do
you think about your own personal shotgun aim?
Is it a strength in your game, a weakness, or something in-between.
Be sure to leave a like, leave a comment, subscribe, turn on post notifications, do
whatever the heck you want, and I...will catch you guys next time.
-------------------------------------------
Runner's Knee Pain Relief Message from Thurman Thomas - Duration: 1:13.
For more infomation >> Runner's Knee Pain Relief Message from Thurman Thomas - Duration: 1:13. -------------------------------------------
朱婷2019年备战奥运回归排超 意大利媒体牵强附会风马牛不相及 - Duration: 3:44.
For more infomation >> 朱婷2019年备战奥运回归排超 意大利媒体牵强附会风马牛不相及 - Duration: 3:44. -------------------------------------------
CHS Curriculum Night - Duration: 3:26.
Here at Cohoes High School,
we want our students to pursue their interests
and be prepared for the future.
Course selection is really an exciting time
for our students.
One thing that we do as counselors,
when we meet with our students is make sure
that they are taking those graduation requirements.
But also, having the opportunity
to take classes that interest them.
We try to engage kids in their learning to
fine tune their craft, to make them
ready for the real world, so to speak.
College and career-ready type approach.
And they are. I feel like they're getting the
skills necessary to go out and
function with the best of them.
There's something for everyone to do,
whether it's clubs, classes, courses, anything, sports.
You have to make sure that your passing all classes
in order to do sports, because if you're failing
then it's hard to do sports, because you're just sitting.
I was surprised to see all of the class choices and AP's
and honors classes that we had here,
considering how small we are as a school.
I took photography this fall and it was really fun,
but then I also took AP English,
and that's a little more challenging.
So you can balance out your schedule, so I like that a lot
They have opportunities to take electives like
natural disasters, 3D printing, and they also
have the opportunity to take our dual-credit classes,
AP Honors classes, to earn
college credit while they're in high school.
The New Visions program I take is law and government.
We are able to study things such as constitutional law,
political parties, government in and of itself.
I like the work. I like the topic.
And I think it's prepared me a lot for college.
Let's say they're not that traditional
sit in class all day kind of student,
we have the opportunity for them to go
to our CTE center.
I like the program. School has never been like
really my favorite thing. I like more of a
hands-on type of thing.
Welding, you go there you learn how to weld
stick, mig, tig. They give you leathers.
You just gotta sign up and
show them that you're down to do it.
I'm in the cosmetology program.
I grew up with brothers, so like I never had anyone
to do their hair, or play with anyone's hair.
Now that I can explore further into it,
that's what I like to do.
It's basically process of elimination,
like what you want to do. I found out that
I didn't want to pursue culinary, so it
helped me in that sense.
You're gonna get the most out of high school
if you get involved.
Try to get yourself involved, make new friends,
and you won't regret anything.
Take the classes that you're interested in,
but still do what you have to do
in the classes that you have to take.
Make sure you do like, clubs and sports because
it really helps build friendships and it
helps you get through school a little bit easier.
Get your work done. Don't slack.
Because it's just gonna be on you.
The teachers aren't really on your back,
as they are in middle school.
There are so many resources within this building.
We're here to help.
They're so super supportive and
they help you with anything.
If students have any questions or concerns,
we strongly encourage them to come and see
one of the three counselors at the high school.
(How long do we have to wave for?)
Kids have a genuine opportunity to learn a lot
and experience a lot through what we bring to the table
and then their processing of it.
Students need to take advantage of those opportunities
and it can be a really exciting four years
at Cohoes High School.
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