standard times

vekvekandlev  asked:

Does space have a standard time or do you rely on the time zones on Earth while you are in space?

Great question.  Really it is up to the particular space agency/mission which time zone they use.  For example, since the International Space Station is a collaboration between NASA, the Russian Space Agency, the European Space Agency, the Japanese Space Agency, and the Canadian Space Agency, we came up with the compromise of operating on Greenwich Mean Time (GMT).  So, Space Station time is the same as London time!  The International Space Station orbits our planet every 90 minutes, so of course we’re transiting across multiple time zones constantly.  

  • friend (excitedly): what's your favorite Christmas Eve movie?
  • me: Rent
  • friend: haha that's odd why?
  • me: *starts tuning a guitar*
  • friend: wait no
  • me: dECEMBER 24TH 9PM EASTERN STANDARD TIME FROM HERE ON IN I SHOOT WITHOUT A SCRIPT
  • friend: not again

Coworker just walked through my office carrying a real, live chicken. 

I feel like that was totally the high point of the week, and I should pack it in while I have the chance. It’s not going to get better than that. 

“We know he’s not real! Why waste a whole plate of cookies??”

“What are you talking about? He’s coming tonight!”

For @painpackerrisingsun 💛 💛 💛 

4 Books on Latin American and Latino art
A Shelfie from Selene Preciado, Program Assistant

Hi, I’m Selene Preciado, program assistant at the Getty Foundation. Outside of my work at the Getty, I am an independent curator of Latin American and Latino art.

In anticipation of Pacific Standard Time: LA/LA, this selection of books is inspired by the initiative’s effort on advancing the fields of Latin American and Latino art history by promoting their dialogue, as these are often perceived as separate fields of study albeit sharing narratives and historical contexts. One of the strongest points of convergence between the two fields is in the strategies of conceptual artists, particularly in arte de acción or performance, which has been a significant area of production in the Americas since the sixties. 

PST: LA/LA exhibitions such as the Armory’s Below the Underground: Renegade Art and Action in 1990s Mexico; the Hammer’s Radical Women: Latin American Art, 1960–1985; or Axis Mundo: Queer Networks in Chicano L.A., organized by ONE National Gay & Lesbian Archives at the USC Libraries, as well as the highly anticipated performance art festival organized by REDCAT (January 2018) will include performance artists from across Latin America, the United States, and other diasporas.

1. “Arte No es Vida: Actions by Artists of the Americas, 1960-2000,” by Deborah Cullen. (El Museo del Barrio, 2008).

This exhibition catalogue for Arte No es Vida: Actions by Artists of the Americas at El Museo del Barrio is one of the most comprehensive compilations on performance art by Latino and Latin American artists, and it includes a detailed chronology of the most important actions since 1957 until the year 2000. The exhibition was also a curatorial laboratory for exploring the problem of exhibiting performance—a time-based medium—through documentation, video, ephemera, and objects.

2. “ASCO: Elite of the Obscure, A Retrospective, 1972–1987,” by C. Ondine Chavoya and Rita Gonzalez. (Hatje Cantz, 2011).

This 432-page tome is the most important document on the East Los Angeles collective ASCO (1972–1987), produced on the occasion of the major retrospective organized as part of the Getty’s Pacific Standard Time: Art in L.A., 1945–1980 in 2011. But don’t let its girth intimidate you—the exhibition catalogue is very dynamic, fully illustrated, and contains about twenty essays of different lengths and topics, such as ASCO’s walking murals, collaborations, or “No-movies,” as well as a section on documents and extensive bibliographic information.  

3. “Corpus Delecti: Performance Art of the Americas,” by Coco Fusco. (Routledge, 1999).

This book was edited by theorist, curator, and artist Coco Fusco, whose work since the 1980s has explored postcolonial, gender, and race issues. Corpus Delecti is an excellent resource and one of the very first performance art surveys that bridged together regions and movements by including art from Latin American, Chicana/o, and Caribbean artists, as well as genres that blurred the lines between fine arts, theater, vaudeville, and staged political protest.  

4. “MEX/LA: ‘Mexican’ Modernism(s) in Los Angeles, 1930-1985,” by Rubén Ortiz-Torres and Jesse Lerner. (Hatje Cantz, 2011).

Like ASCO: Elite of the Obscure, this catalogue was published in conjunction with the groundbreaking exhibition MEX/LA, part of Pacific Standard Time: Art in L.A., 1945–1980, and organized by the Museum of Latin American Art. Just like the exhibition, this catalogue is an unconventional and thought-provoking approach to telling the story of the relationship between Mexico and Los Angeles. 

Departing from forked origins—from the mythological location of Aztlán, the founding of L.A. as a “Latin American city” (since it was Mexican territory back in 1781), to the presence of Mexican muralists in the 1930s who ignited local production—it visits chapters in L.A.’s history that explore exchange, remix, appropriation, and ongoing negotiations of race, class, and gender. Through the work of Chicana/o artists like ASCO, Barbara Carrasco, Yolanda López, and Ricardo Valverde, as well as Americans such as Wallace Berman, the Eames, or Millard Sheets, MEX/LA pushed boundaries also in exhibition making. Its non-chronological, non-thematic approach consisted in connecting artists and artworks through ideas.

While this book doesn’t solely focus on performance art, the MEX/LA catalogue might be the unifying thread of this list, in that it offers a critical view on hybrid and shifting identities as performative constructs. You only have to take a look into the performativity of figures such as Robert Stacy-Judd, the Zoot Suiters (a counterculture of the 1930s–40s), or even the borrowed Maya elements in the architecture of Frank Lloyd Wright—all included in the particular universe of MEX/LA. The concepts explored in the exhibition and catalogue of MEX/LA are part of the origin story of what is now Pacific Standard Time: LA/LA.

Everyone making resolutions and I’m here like…….a year is a construct????………….January 1st has only been considered New Year’s Day since the Gregorian Calendar was adopted in 1582????………….It is the de facto international standard for time measurement but many cultures historically and contemporarily use a different civic calendar????……………….also linear time is an illusion???

Unpopular Opinion

I didn’t like how Felicity acted as though Oliver owed her an explanation for any of his romantic decisions in S2 and S3. They both were never together, and I hate how the fandom doesn’t treat that as problematic - Felicity wasn’t even his side chick. If you flip the genders around, suddenly, Felicity is that creepy stalker guy who can’t take no for an answer. The stalker who is completely obsessed with the whereabouts, actions, and decisions of the person they are obsessed with - as if they are owed something, but sure, let’s try to paint Ray as the stalker.

It’s gross and problematic.