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Hampton Throne — Squinch
A janitor sweeps up the loose scraps of paper and trash dropped by the business men and women. Heads bent, they are too involved in their work routine to notice as he pockets a loose bit of aluminum foil discarded thoughtlessly from someone’s lunch. That evening, he goes directly from work to a rented storage space before even changing out of his uniform. From his workman’s pants he pulls out a handful of gold and silver foil, along with some string and a piece of carefully folded cardboard. Using the found bits he collected from his day, as well as other scraps donated by friends and family, he carefully constructs a small glittering crown, which he places next to four more assembled crowns. He works late into the night, adding glittering foil here and there, molding and remodeling the malleable material into different shapes until the forms finally sit just right. He mutters to himself as he hastily writes notes in a codified language. This offering is for God, so it must be perfect.
This was James Hampton, a self-taught African-American artist, who worked as a janitor by day and slowly built a towering throne room by night in the 1950s. Hampton spent fourteen years in a rented carriage house constructing The Throne of the Third Heaven of the Nations’ Millennium General Assembly, or The Hampton Throne, using gold and silver foil, cardboard, and other found materials. Neither friends nor family knew about his creation until after his death, when his storage room was opened and a throne room comprised of hundreds of individually sculpted pieces was discovered. Careful instructions on how the room was to be displayed, as well as informational diagrams left in the space, helped modern museums known how to go about showcasing Hampton’s work. Besides the central throne there is an offering table and multiple alters, pyres, and crowns that comprise the full work.
At the center of the composition sits a huge throne, layered with foil and cardboard of alternating color and decorated with wings and stars. The words “FEAR NOT,” molded in silver foil above the head of the throne, allude to the frequent use of the phrase “fear not” by God when he addresses His people. Isaiah 41:10 reads: “Fear not, for I am with you; be not dismayed, for I am your God; I will strengthen you, I will help you, I will hold you up with my victorious right hand.” Hampton was a deeply religious man and heard the voices of angels instructing and guiding him throughout the creation of his throne room, his way of preparing for Christ’s return. Prominent wing motifs directly reference this angelic intervention and holy influence on the work. As he spoke with the voices Hampton would record their messages on paper as well, which he kept in a journal. Though the book was also found in the storage facility and is with the artwork today, it is written completely in a spiritual language unique to Hampton that has yet to be deciphered. Tags and notes made of cardboard and string affixed to various alters also feature this mysterious language. The work is almost perfectly symmetrical, as objects on the left are meant to represent the teachings of the Old Testament and Moses while those on the right refer to the New Testament and Jesus.
The Hampton Throne showcases the typical splendor and golden glittering drama frequently found in Christian art, yet has an inherent humbleness due to its construction of found materials. Hampton himself embodies this spirit of the humble devotee. His throne room expresses not only his profound spirituality and faith, but carries a message of love and acceptance that he clearly felt from God and wanted to share with the world. Though he never had the chance to personally show this work of art to the public, as he died before its completion, his message lives on: FEAR NOT.
VBLHEP Directorate informs with deep regret – LABORATORY OF HIGH ENERGY PHYSICS
06/18/2021
Anna Rassadova
News, Events
0
On June 17, 2021, a world-famous scientist, Doctor of Physical and Mathematical Sciences, Professor Evgeny Denisovich DONETS suddenly passed away.
Evgeny Denisovich DONETS
10/15/1935 – 06/17/2021
More than 60 years of work of Evgeny Denisovich at the Institute, he was noted for a number of outstanding priority scientific and practical results in the field of heavy ion physics.
A physicist and experimenter with a capital letter, Evgeny Denisovich felt the inner essence of the problem and could set up and conduct a physical experiment exceptionally competently, which allowed him to obtain the first data on the observation of the formation of isotopes of the 102nd and the events of the formation of the 103rd elements.
After 1966, E.D. Donets took up the development of a new type of multiply charged ion source proposed by him, based on the electron-beam ionization method, and in 1977 the first sample of the new type source KRION-1 was used at the JINR Synchrophasotron.
In the subsequent period, under the guidance of Dr. phys.-math. Sciences E.D. Donets, an extensive program of research into the processes of ionization of atoms and the physics of highly charged ions was carried out on the created ionizers KRION-2, KRION-6 and KRION-M. Along with direct measurements of ionization cross sections, multiply excited states of atoms and ions, called superexcited states, were discovered for the first time. These studies brought E.D. Donets wide recognition and world fame.
The discovery of the “electronic string” phenomenon made it possible to make a new step in the practical use of sources – obtaining and accelerating to relativistic energies at the Nuclotron of heavy ions. These studies were awarded the prestigious international award “Brightness Award” and the first JINR prize.
The scientific and practical activities of Evgeniy Denisovich Donets were awarded with government awards, honorary diplomas, numerous certificates and prizes from JINR. The owner of a number of patents and inventions, he enjoyed undeniable authority in the science and technology of ion sources, and was a recognized world leader in the creation of electron-beam sources.
For many years, Evgeny Denisovich has been a mentor and an example of attitude towards work for young people. Several generations of his pupils work in the Laboratory, for whom his death is a heavy personal loss.
The bright memory of a wonderful person and a true scientist will always be with us.
The team of employees, and the directorates of the Institute and the Laboratory express their deepest condolences to the family and friends of Evgeny Denisovich
Farewell will take place on June 19 at 12:00 in the Church of the Great Martyr Panteleimon of the Bolshevolzhsky cemetery in Dubna.
Copyright © 2023 | Veksler and Baldin Laboratory of High Energy Physics, Joint Institute for Nuclear Research, Baldin str. 4 Dubna, RUSSIA
Harp. Step on the pedals – Radio Orpheus (Moscow 99.2 FM)
The harp is one of the oldest musical instruments. Outwardly, it looks like a weapon of ancient people – a bow. It is believed that the history of the harp began when a man fired an arrow from a bow and heard the string sing.
All this is very similar to the truth, since, as a rule, only men shot from a bow, and they once played the harp exclusively. Women began to touch the strings of this instrument only in the 18th century in France. In Rus’, one of the first harpists was Praskovya Ivanovna Kovaleva-Zhemchugova, Countess Sheremeteva. Her modern follower, the wonderful harpist of the Orpheus Radio Symphony Orchestra, Yekaterina Oleinichenko, played the role of a harpist in the historical film series.
Е. Oleinichenko : I was made up: diamonds, pearls on my head, a chic ball gown. And one of the make-up artists said to me: “It’s strange, we make you up like that! You are a harpist! This is probably a peasant woman sitting playing! Is it in the imperial palace, in the throne room, a peasant woman is sitting and playing the harp? Of course not.
Before the revolution, the harp was taught at the Smolny Institute in St. Petersburg. Its graduate Ksenia Erdeli is the first Russian and Soviet harpist who did a lot to popularize the instrument in the first years of Soviet power. Perhaps it was then that the idea that the harp was a female instrument took root. But recently, Ekaterina Oleinichenko began to have male colleagues.
E. Oleinichenko : For example, Alexander Boldachev is a wonderful harpist, propagandist and enthusiast of our harp art. Fortunately, now the man behind the harp is no longer perceived as it was twenty years ago. The man behind the harp was perceived as a woman behind the wheel. Now both are perceived very well.
Like a car, the harp has pedals. And there are not two or three, but seven!
E. Oleinichenko : Many people ask what pedals are and what their function is. Seven notes – seven pedals. Do, re, mi, fa, salt, la, si – seven pedals. Each pedal has three positions, and thanks to this, beautiful glissandos can be played on the harp. Glissando is an overflow, like water.
Pedal positions vary in depth. That is, it is necessary not only to quickly find the right pedal with your feet, but also to press on it correctly.
Е. Oleinichenko : Three steps: upper, middle and lower. Those who love, for example, a guitar or a violin, can imagine this: the top position of all pedals is an empty string, a free string. By pressing the pedal, we set in motion a mechanism that turns the fork, just like a musician clamps the frets on a guitar or a string on a violin.