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Chaplin lost, and found

For nearly a century "Zepped," a 6-minute 1916 film of mysterious pedigree starring Charlie Chaplin, was lost. Now it’s found.

Earlier this year, an Essex, England, film collector named Morace Park made a successful eBay bid of £3.20 (or $5.68 American) on a nitrate film canister containing unlabeled footage. The footage turned out to be the obscure Chaplin short, a World War I propaganda effort designed to buck up British morale, combining stop-motion animation and outtakes and unused alternate shots from films Chaplin made for both Keystone and Essanay studios

The hybrid, over which Chaplin apparently exercised no creative control, includes a shot or two from "His New Job," the short film Chaplin made for the Chicago-based Essanay during his 23-day residency here in late 1914 and early 1915.

"It’s very interesting stuff," said David Kiehn, manager and historian of the Niles Essanay Silent Film Museum of Fremont, Calif. Chaplin expert Kiehn saw portions of the film last week.

Park and business partner John Dyer went public with their discovery Nov. 1. The Chaplin short’s considerable historical interest will be the subject of a self-financed documentary.

"Zepped" begins with an animated version of Chaplin dreaming of leaving America to fight the Germans back home in England. In one animated segment the Kaiser emerges from a German sausage. In what appears to be newsreel-type footage, according to Kiehn, a genuine and eerily low-flying Zeppelin is seen hovering over London during a wartime attack.

The movie contrives to make Chaplin — under fire at the time for his lack of participation in the war effort — the hero of the hour. A 1916 Manchester newspaper account reported that the ending depicts "the Zeppelin in flames and the gallant Charlie running away."

Kiehn speculated that the cobbled-together Chaplin outtakes may have been assembled and augmented with animation in London under the supervision of Harry Spoor, who ran the London office of Chicago-based Essanay, co-founded by his brother, George K. Spoor. Other suggest that "Zepped" was put together in another country altogether, albeit one under British rule at the time: The surviving nitrate print of the film carries an Egyptian censors' certificate.

Even if "Zepped" turns out to be something less than "THE cinematic find of the last 100 years," as Park and company touted on their web site, it’s better off than was reported three years ago in a Russian film journal. "The film has not survived," the magazine stated.

The Little Tramp, as always, has gotten the last laugh.

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Google Gives Gift Of Free Wi-Fi in 47 Airports For the Holidays

By Stuart Fox


The end-of-the-year holidays are a time of tradition and ritual. The waiting on line at the airport. The flight getting delayed due to snow. And of course, the annual Thanksgiving vacation lost luggage.

To help alleviate that holiday travel-related stress, Google is giving a holiday present to every traveler who passes through 47 specially designated airports: free Wi-Fi.

From now through January 10th, Google will pay for the Internet access at a number of airports, including Las Vegas, San Jose, Boston, Baltimore, Burbank, Houston, Indianapolis, Seattle, Miami, Ft. Lauderdale, Orlando, St. Louis and Charlotte (sorry, NYers, you're SOL).

More than just a company promotion, Google hopes this deal will begin to acclimate people to ubiquitous Wi-Fi, one of the long-term goals of the company. In fact, to help spread free Wi-Fi everywhere, Google will keep Internet access in the Seattle and Burbank airports free indefinitely.

So whether you need to write an apology email for drunken antics during the holiday Christmas party, buy last-minute Hanukkah gifts on Amazon, or find hangover cures on January 2nd, thank uncle Google for the free hookup.

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Laser-Enabled Wheelchair Autonomously Navigates City

By Stuart Fox


Developed at Lehigh University, the chair utilizes LIDAR, the visible-light equivalent of radar, to create a super-detailed image of the environment. A computer then compares that image to a database of stored maps. When the chair figures out where it is on the map, it can navigate from point A to point B.

The technology grew out of an earlier project to create an autonomously navigating car. Two years ago, the team that created the chair modified a Toyota Prius with a similar LIDAR and map system. That car became one of only six entrants, out of a field of 89, to finish a DARPA-sponsored 57-mile-long race. The same technology that guided the car to victory also allows the wheelchair to navigate.

And much like the car, this wheelchair represents yet another step in the further goal of LIDAR-assisted navigation. Not only does the Lehigh team want autonomous robots navigating the city as replacements for bike messengers, but they also hope to develop the LIDAR enough for use in unmapped spaces, like people's homes.

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Offering Hope in Haircuts for the Jobless

By SUSAN DOMINUS

It was clear that Sunday was shaping up to be a rare shot of Indian summer, the ideal day for wandering through a park or lazing around on stoops or eating outdoors. But Theresa Cheung, 27, a fashion designer, had somewhere to be at 9:45 a.m., and a warm, golden day would not deter her. Freakishly perfect days are hard to come by in November, but they’re probably not as hard to come by as a good, free haircut at a New York salon. They’re also not as useful on a job interview.

A few days earlier, Ms. Cheung was leafing through Time Out New York magazine when she noticed a write-up promising free haircuts at the Cristiano Cora studio in Greenwich Village to anyone who brought proof of unemployment, sort of a public service to style-conscious job seekers. Ms. Cheung researched the salon, which got strong reviews online, and where haircuts start at $100, and imagined there would be a mob scene — women with expensive handbags but telltale split ends, out-of-work designers she had run into on interviews, unemployed fashion editors, not to mention every diligent coupon-cutter in town. Instead, she was second in line, with only a few people behind her. By 10:10 a.m., Ms. Cheung was in a stylist’s chair, chatting about the plight of her career and her hair.

If only job hunting were this easy: Do your research, show up early, catch the worm. Ms. Cheung, who was a lingerie designer until she was laid off four months ago, has not found the search to be all that easy. She has cut back on all the nonessentials: the dinners out, the fancy bread, the $200 cut-wash-dry-hot oil treatments of yore (alas, color and other services beyond the scissors were not free at the salon). She had not had even a trim since March, and those wispy ends of her long, dark hair were starting to get on her nerves. They say you should never let them see you sweat — they should also never see you brushing hair out of your eyes.

For someone down on her luck, Ms. Cheung looked fairly radiant as a stylist showed her how her new bob could go from corporate to punky with a few strategic tousles. It was not just the good haircut that was improving Ms. Cheung’s mood. “It’s good to know you’re not alone — to be around people who understand your situation,” she said. And not just any people — people who looked, by the time the stylists were finished, like they had little to worry about except making sure no one messed with their hair.

Around the sleek, white room, the people who showed up for the event, held on Sunday and Monday, to have their hair done spoke of a common theme: change. “I’m trying to reinvent myself,” said Carmen Ramirez, 39, a former fashion buyer from Washington Heights who is going back to school to learn medical billing. She had not had her hair cut professionally for a year, and it had grown to her waist. “This is starting the change process — getting a new cut,” she said.

Cristiano Cora, who usually charges $300 a cut, was working on the long, dark locks of Hanan Zdeg, a painter and single mother who got by mostly on retail clothing sales until that work dried up. “I’m just hoping for a transformation,” Ms. Zdeg said. Into what, exactly? “A pretty woman with easy, manageable hair.”

“You’re already pretty,” Mr. Cora assured her, sounding surprisingly paternal for someone with avant-garde sideburns. “Tomorrow you’re going to go out and look for an interview and get a job.”

It’s the Lily Bart dilemma Edith Wharton spelled out in “The House of Mirth”: To gain access to wealth and fashion, one has to keep up appearances, but keeping up appearances can be impossible unless you’ve already got access to wealth and fashion. Mr. Cora and his staff, as well as some other stylists he had trained, were trying to help the clientele, many of whom worked in fashion or theater or marketing, sidestep this conundrum. Call it the good-hair school of economics. “We’re trying to prepare them so they can get working and feel good and come back into salons,” said Jeanise Aviles, a stylist working on Ms. Ramirez’s hair. “Our business has slowed down, too.”

For Andrea Friedland, an out-of-work marketing executive, a large part of the pleasure would come from telling her husband his cynicism was unjustified. “My husband said nothing is free in New York,” she said. “Now I can go home and say, ‘You’re wrong!’ ”

Her husband thought maybe his wife would arrive to find students cutting hair. But even if there had been, how bad could their work have been for zero dollars? After all, it’s only hair. It grows back. If only the job market would.

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Lover of Birds and Opera Leaves Millions to Both

By DANIEL J. WAKIN

Mona Webster, a lighthouse keeper’s daughter who lived in Edinburgh and died in August at 96, had a love of birds, and warblers in particular — of the human kind. She demonstrated that affection by leaving most of her fortune to the Metropolitan Opera and a nature charity in Britain.


English and Scottish newspapers said Ms. Webster had bequeathed the Met $7.5 million. The Wildfowl and Wetlands Trust received a similar amount. While the Met confirmed on Tuesday that Ms. Webster had long promised a big gift on her death, it said it was still waiting to find out the exact amount.

Peter Gelb, the company’s general manager, said Ms. Webster had fallen in love with the Met through its Saturday radio broadcasts. She was last at the house for a performance on opening night in 2000. “She said it was the most wonderful night of her life,” he said.

The Met’s fund-raising office had kept in touch with Ms. Webster since then. It sent her books about the birds of Central Park; a volume called “Red-Tails in Love: A Wildlife Drama in Central Park”; and tomes about Met history, which appealed to her love of data, according to Gail Chesler, the Met’s director of planned and special gifts.

“She just thought they were the cat’s meow,” Ms. Chesler said. Ms. Chesler said the Met had also sent LP recordings of its operas because Ms. Webster did not own a CD or DVD player.

Ms. Webster was born on Jan. 13, 1913, on the Isle of Man, where her father kept the Douglas Head lighthouse, her obituaries said. She moved to Orkney in Scotland as a girl and discovered a love for birds. She joined the tax office as a clerk and lived in London during the blitz. She moved to Edinburgh and in 1942 married an investment manager, Ted Webster. He died in 1981. The couple had no children.

After Mr. Webster’s death, Ms. Webster traveled the world on bird-watching expeditions, recording more than 5,500 species. Her other love was opera, especially the Met Saturday afternoon broadcasts, which she heard hours later because of the time difference. “Saturday nights were sacred,” Ms. Chesler said, adding that Ms. Webster recalled a radio broadcast from as far back as 1939.

Ms. Webster died on Aug. 27, and details of her will were made public on Monday, the British reports said. Her fortune amounted to $16.3 million, much of it produced by shrewd investments in the stock market, according to HeraldScotland.com.

Surprisingly, Ms. Webster left only $167,000 to the Royal Opera Trust, which benefits the house in Covent Garden in London, much closer to home. Met officials said Ms. Webster had complained about the Royal Opera.

“She would tell me things that she didn’t like that Covent Garden was doing, and she just loved the Met,” Ms. Chesler said. “It was all over the place — casting, productions, management.”

Elizabeth Bell, a Royal Opera spokeswoman, said in an e-mail message that Ms. Webster last attended a performance there about seven years ago “and is remembered as a very interesting, proud lady and someone who was deeply interested in the music.” She said the Royal Opera was “most grateful for her very generous donation.”

Ms. Webster had attended the Met frequently before 2000, but usually came as part of an opera tour group and thus did not come onto the Met’s radar until 2000, when she made a large gift and was invited to opening night, Ms. Chesler said.

Ms. Chesler said she had been in regular correspondence with Ms. Webster and stopped by to visit while on vacation this summer just four days before she died.

“We talked about everything,” she said, describing Ms. Webster as mentally sharp to the end. “During that last visit she was also telling us about her investments. She had been telling me all along that the Met would be taken care of after she passed. She said that in every conversation. We knew it was going to be substantial. We assumed it would be a seven-figure gift, but we had no idea of the actual amount, and the truth is, we still don’t.”

The only less-than-cheery thought, Ms. Chesler said, was that the Met would have to pay taxes on the gift in Britain. “That’s 40 percent,” she said.

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“Sky Area” Exhibition Will Run Until Friday

Written by E.Bayannasan  




A joint exhibition, titled “Sky Area”, of different artists Ts.Bold and D.Burda, was opened in Art Gallery of Union of Mongolian Artists on November 6. They are family members.

There are over 50 artworks (artworks of 2005- 2009 years) about Mongolian people’s lifestyle, historic events, Mongolian nature and heroes.

 The exhibition will continue until November 13. The art gallery will open from 10:30a.m to 18:00p.m every day.

In addition, artist Ts.Bold organized several exhibitions in Russia, Hungary, Korea and USA. He graduated from Surikov Russian Arts Academy. His teacher was the state prizewinner B.Purevsukh.

Artist D.Burda graduated from University of Fine Arts. She makes clothes for actors.


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'Sesame Street' turns 40!: What did we learn?

by Jennifer Armstrong

Happy 40th, Sesame Street! Yes, everyone’s favorite kids’ show — and this is one show about which I feel comfortable making such grand generalizations — is officially the new 30 today. The big 4-0 has inspired lots of hype, from Google’s design incorporating Big Bird feet to Michelle Obama doing a guest spot to mark the occasion. And for good reason: It’s such good children’s viewing, still, that I’m pretty sure that American children are required by law to watch it between ages 0 and 9. It’s the reason every person currently under 40 can count to 10 in Spanish. Its reference points are practically genetically encoded in kids when they’re born — it’s hard to imagine having to explain a Cookie Monster or Bert and Ernie joke. (Okay, maybe Bert and Ernie have gotten a little complicated at times, but we’re past that.) For most of us, it was our first pop culture — and it was pop culture, with song parodies and even the occasional controversial joke (see: Pox News, the “trashy news network”). Besides, how can you argue with a show that teaches kids to count while introducing them to indie rock?:


There will always be complaints about kids watching too much TV, but there will never be complaints about kids watching too much Sesame Street (not from anyone with a soul, anyway). So thanks, Big Bird and company, for making the airwaves safe for all of us future pop culture fanatics. And for teaching us a thing or two.

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Setting Sail Into Space, Propelled by Sunshine

By DENNIS OVERBYE

Peter Pan would be so happy.


About a year from now, if all goes well, a box about the size of a loaf of bread will pop out of a rocket some 500 miles above the Earth. There in the vacuum it will unfurl four triangular sails as shiny as moonlight and only barely more substantial. Then it will slowly rise on a sunbeam and move across the stars.

LightSail-1, as it is dubbed, will not make it to Neverland. At best the device will sail a few hours and gain a few miles in altitude. But those hours will mark a milestone for a dream that is almost as old as the rocket age itself, and as romantic: to navigate the cosmos on winds of starlight the way sailors for thousands of years have navigated the ocean on the winds of the Earth.

“Sailing on light is the only technology that can someday take us to the stars,” said Louis Friedman, director of the Planetary Society, the worldwide organization of space enthusiasts.

Even as the National Aeronautics and Space Administration continues to flounder in a search for its future, Dr. Friedman announced Monday that the Planetary Society, with help from an anonymous donor, would be taking baby steps toward a future worthy of science fiction. Over the next three years, the society will build and fly a series of solar-sail spacecraft dubbed LightSails, first in orbit around the Earth and eventually into deeper space.

The voyages are an outgrowth of a long collaboration between the society and Cosmos Studios of Ithaca, N.Y., headed by Ann Druyan, a film producer and widow of the late astronomer and author Carl Sagan.

Sagan was a founder of the Planetary Society, in 1980, with Dr. Friedman and Bruce Murray, then director of the Jet Propulsion Laboratory. The announcement was made at the Hart Senate Office Building in Washington at a celebration of what would have been Sagan’s 75th birthday. He died in 1996.

Ms. Druyan, who has been chief fund-raiser for the society’s sailing projects, called the space sail “a Taj Mahal” for Sagan, who loved the notion and had embraced it as a symbol for the wise use of technology.

There is a long line of visionaries, stretching back to the Russian rocket pioneers Konstantin Tsiolkovsky and Fridrich Tsander and the author Arthur C. Clarke, who have supported this idea. “Sails are just a marvelous way of getting around the universe,” said Freeman Dyson, of the Institute for Advanced Study in Princeton, N.J., and a longtime student of the future, “but it takes a long time to imagine them becoming practical.”

The solar sail receives its driving force from the simple fact that light carries not just energy but also momentum — a story told by every comet tail, which consists of dust blown by sunlight from a comet’s core. The force on a solar sail is gentle, if not feeble, but unlike a rocket, which fires for a few minutes at most, it is constant. Over days and years a big enough sail, say a mile on a side, could reach speeds of hundreds of thousands of miles an hour, fast enough to traverse the solar system in 5 years. Riding the beam from a powerful laser, a sail could even make the journey to another star system in 100 years, that is to say, a human lifespan.

Whether humans could ever take these trips depends on just how starry-eyed one’s view of the future is.

Dr. Friedman said it would take too long and involve too much exposure to radiation to sail humans to a place like Mars. He said the only passengers on an interstellar voyage — even after 200 years of additional technological development — were likely to be robots or perhaps our genomes encoded on a chip, a consequence of the need to keep the craft light, like a giant cosmic kite.

In principle, a solar sail can do anything a regular sail can do, like tacking. Unlike other spacecraft, it can act as an antigravity machine, using solar pressure to balance the Sun’s gravity and thus hover anyplace in space.

And, of course, it does not have to carry tons of rocket fuel. As the writer and folk singer Jonathan Eberhart wrote in his song “A Solar Privateer”:

No cold LOX tanks or reactor banks, just Mylar by the mile.

No stormy blast to rattle the mast, a sober wind and true.

Just haul and tack and ball the jack like the waterlubbers do.

Those are visions for the long haul. “Think centuries or millennia, not decades,” said Dr. Dyson, who also said he approved of the Planetary Society project.

“We ought to be doing things that are romantic,” he said, adding that nobody knew yet how to build sails big and thin enough for serious travel. “You have to get equipment for unrolling them and stretching them — a big piece of engineering that’s not been done. But the joy of technology is that it’s unpredictable.”

At one time or another, many of NASA’s laboratories have studied solar sails. Scientists at the Jet Propulsion Laboratory even once investigated sending a solar sail to rendezvous and ride along with Halley’s Comet during its pass in 1986.

ut efforts by the agency have dried up as it searches for dollars to keep the human spaceflight program going, said Donna Shirley, a retired J.P.L. engineer and former chairwoman of the NASA Institute for Advanced Concepts. Dr. Shirley said that the solar sail was feasible and that the only question was, “Do you want to spend some money?” Until the technology had been demonstrated, she said, no one would use it.

Japan continues to have a program, and test solar sails have been deployed from satellites or rockets, but no one has ever gotten as far as trying to sail them anywhere.

Dr. Friedman, who cut his teeth on the Halley’s Comet proposal, has long sought to weigh anchor in space. An effort by the Planetary Society and the Russian Academy of Sciences to launch a sail about 100 feet on a side, known as Cosmos-1, from a Russian missile submarine in June 2005 ended with what Ms. Druyan called “our beautiful spacecraft” at the bottom of the Barents Sea.

Ms. Druyan and Dr. Friedman were beating the bushes for money for a Cosmos-2, when NASA asked if the society wanted to take over a smaller project known as theNanosail. These are only 18 feet on a side and designed to increase atmospheric drag and thus help satellites out of orbit.

And so LightSail was born. Its sail, adapted from the Nanosail project, is made of aluminized Mylar about one-quarter the thickness of a trash bag. The body of the spacecraft will consist of three miniature satellites known as CubeSats, four inches on a side, which were first developed by students at Stanford and now can be bought on the Web, among other places. One of the cubes will hold electronics and the other two will carry folded-up sails, Dr. Friedman said.

Assembled like blocks, the whole thing weighs less than five kilograms, or about 11 pounds. “The hardware is the smallest part,” Dr. Friedman said. “You can’t spend a lot on a five-kilogram system.”

The next break came when Dr. Friedman was talking about the LightSail to a group of potential donors. A man — “a very modest dear person,” in Ms. Druyan’s words — asked about the cost of the missions and then committed to paying for two of them, and perhaps a third, if all went well.

After the talk, the man, who does not wish his identity to be known, according to the society, came up and asked for the society’s bank routing number. Within days the money was in its bank account. The LightSail missions will be spread about a year apart, starting around the end of 2010, with the exact timing depending on what rockets are available. The idea, Dr. Friedman said, is to piggyback on the launching of a regular satellite. Various American and Russian rockets are all possibilities for a ride, he said.

Dr. Friedman said the first flight, LightSail-1, would be a success if the sail could be controlled for even a small part of an orbit and it showed any sign of being accelerated by sunlight. “For the first flight, anything measurable is great,” he said. In addition there will be an outrigger camera to capture what Ms. Druyan called “the Kitty Hawk moment.”

The next flight will feature a larger sail and will last several days, building up enough velocity to raise its orbit by tens or hundreds of miles, Dr. Friedman said.

For the third flight, Dr. Friedman and his colleagues intend to set sail out of Earth orbit with a package of scientific instruments to monitor the output of the Sun and provide early warning of magnetic storms that can disrupt power grids and even damage spacecraft. The plan is to set up camp at a point where the gravity of the Earth and Sun balance each other — called L1, about 900,000 miles from the Earth — a popular place for conventional scientific satellites. That, he acknowledges, will require a small rocket, like the attitude control jets on the shuttle, to move out of Earth orbit, perhaps frustrating to a purist.

But then again, most sailboats do have a motor for tooling around in the harbor, which is how Dr. Friedman describes being in Earth orbit. Because the direction of the Sun keeps changing, he said, you keep “tacking around in the harbor when what you want to do is get out on the ocean.”

The ocean, he said, awaits.

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Photographer's women Gabriele Morrione's portraits given voices


Photographer Roberto Morrione's portraits of women at a new show in Rome are not just faces but voices who tell visitors what they think about him and themselves. ''I wanted to give the sitters an opportunity to become active rather than passive subjects," said Morrione who asked each to contribute a written piece to accompany her portrait.

"There were no restrictions, they were free to say whatever crossed their minds," said the photographer who is showing their 'captions' beneath their photos.

A group of actresses - including Daniela Stanga, one of the sitters - were so taken by Morrione's novel idea that they volunteered to record a CD of the writings. They are currently preparing a theatre performance of the women's 'voices' with a photo slide show. The exhibit at the Spaziottagoni gallery in Rome's historic Trastevere district features a collection of 100 works spanning from 1964 to 2009 and offers a bird's-eye-view of how Morrione's art has evolved during the period.

"Initially, I mainly relied on black background, then switched to a lot of light...later I began focusing on hands and arms so much so that they've taken on a major importance in my shots. I've also used veils and fabrics," said Morrione, a former architect who is best known for his studies of the female nude.

The exhibit also gives viewers an indication of how women too have changed since 1964, when the photographer shot one of his first portraits.

Francesca Romana wears a headband and pearls in a photo taken in September 1964 and muses about her upcoming wedding and her shyness.

In August 1969, Carla sports a miniskirt and flower-child blouse but today rails at Morrione's request to write a reaction. "What! Forty years have gone by, it happened so long ago, everything was about to happen, women were being catapulted into another century....do you have any idea what it means to ask a wrinkled and sagging 70-year-old to look back," she tells Morrione and visitors.

Maria, tousled hair and unkempt eyebrows in November 1988, wails: "Portrait. If I could 'unportrait' myself I would".

Elena recalls that though her second portrait was taken in 2008, more than 40 years after her first, any apprehension about her age vanishes the minutes she stepped into the photographer's studio because he immediately recreates "that magic alchemy".

Another wonders if the photographer is not a sort of Prince Charming who lingers over every face "hoping to uncover an unlikely sleeping beauty".

Like a faithful librarian of sorts, Morrione has catalogued scores of portraits in an unending quest to unravel the meaning of femininity, she says in her caption. Others teasingly accuse the photographer of being "an honest thief" who "wants not just a face but a soul as well" while treating his sitters like "guinea pigs".

"It took me nearly two years to put the show together because I'd lost touch with some of the women. Others needed to be coaxed to contribute. It wasn't easy but I got a lot of satisfaction, and it's been great fun," said Morrione.

The photographer admitted he is intrigued by the allure of femininity but ruled out interest in physical perfection.

His collection includes women from all walks of life - clerks, architects, teachers, shopgirls, journalists, psychologists, doctors - and though not all are beauties they are radiantly alive.

Morrione's show, Voices, Women's Images and Words 1964-2009 runs at the Galleria Spaziottagoni, Via Goffredo Mameli 9, till November 28. More information is available at his website www.gabrielemorrione.it . photo: Fernanda, July 1971."Your view, my image. Seeing myself and only then, believing it was me".

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