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301 Moved Permanently - lttds.com
HTTP Status: 301
User-Agent: Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; [email protected])
Date: Mon, 12 May 2025 19:38:40 GMT
Server: Apache
Location: http://www.lttds.com/
Content-Length: 229
Content-Type: text/html; charset=iso-8859-1

HTTP Code 301 Moved Permanently

301 response code means that the requested resource has been permanently moved to a new URL. All future requests should use the new address.

When is Code 301 used?

  • When changing a website domain
  • When modifying URL structures
  • When setting up redirects for SEO

What does Code 301 mean for the user?

The browser will automatically redirect the user to the new address, and search engines will update their indexes.

200 OK - http://www.lttds.com/
HTTP Status: 200
User-Agent: Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; [email protected])
Date: Mon, 12 May 2025 19:38:41 GMT
Server: Apache
Expires: Thu, 19 Nov 1981 08:52:00 GMT
Cache-Control: no-store, no-cache, must-revalidate
Pragma: no-cache
Set-Cookie: PHPSESSID=575fb157c1448c28eb94d74a6dfc0cab; path=/
Upgrade: h2
Connection: Upgrade
Vary: Accept-Encoding,User-Agent
Content-Length: 45303
Content-Type: text/html; charset=UTF-8

HTTP Code 200 OK

200 response code is a standard successful HTTP server response. It means that the client’s request (e.g., from a browser) was successfully processed, and the server is delivering the requested data.

When is Code 200 used?

  • When loading a web page
  • When successfully receiving an API response
  • When processing a form or another HTTP request

What does Code 200 mean for the user?

The user receives content without errors, and the page or application functions properly. If Code 200 is accompanied by data, the browser or program processes and displays it to the user.

GET / HTTP/1.1
Host: lttds.com
Accept: */*
User-Agent: Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; [email protected])

<!doctype html>
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 <figcaption class="  orbit-caption">Photo: Jorge Satorre / Sue Ponce/MCA2M</figcaption> </figure> 
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  <div       class='container  hide-for-small-only overflow-hidden   verticaltext alt  spine spinetext text-center medium-text-center large-text-center'>   <div class="launcher "   data-toggle="coverstory"   role="button" aria-label="Open Sidebar"><div class='text pad8      '> <span id='stacks_in_273007'><p>↓&nbsp;&nbsp;&nbsp;COVER STORY, MAY 2025: RIA, RÍO: SWEET, BRACKISH, OR SALTY SATORRE&nbsp;&nbsp;&nbsp;↓</p></span> </div> 
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<div id='stacks_out_272829' class='stacks_out'><div id='stacks_in_272829' class='stacks_in '>  <div       class='container   overflow-hidden   coverstorycontainer  '>    <h5 class='      headlinecaps  '   >Ria, Ría: sweet, brackish, or salty Satorre</h5> 
 <h5 class='      headlinecaps  '   >Cover Story, May 2025</h5> 
<div class="font-box   running"> <div id='stacks_out_272829_16' class='stacks_out'><div id='stacks_in_272829_16' class='stacks_in text_stack in orange'>Jorge Satorre&rsquo;s <a href="https://www.lttds.org/projects/satorre/">exhibition</a> &ldquo;Ria&rdquo; &mdash; titled after the tidal inlets found along Spain&rsquo;s northwest coast, including the one that cuts through his home city of Bilbao &mdash; brings together work from the past decade. &ldquo;<a href="https://canicheeditorial.com/collections/libros/products/rio">R&iacute;o</a>&rdquo; (River), the accompanying monograph, also includes earlier projects. This month&rsquo;s <a href="https://www.lttds.org/coverstory/">Cover Story</a> features 16 different shots of the book, co-published by <a href="https://ca2m.org/ &iexcl;">Museo CA2M</a> and <a href="https://canicheeditorial.com/">Caniche Editorial</a>, and designed by <a href="https://gabrielpericas.com">Gabriel Peric&agrave;s</a>. Reload the page to see more.<br /><br />With the subtitle &ldquo;selection of exhibitions and works (2011-2025)&rdquo;, the <a href="https://canicheeditorial.com/collections/libros/products/rio">publication</a>&rsquo;s chronological structure is nevertheless deliberately inverted. It begins with the most recent works &mdash; &ldquo;<a href="https://www.flickr.com/photos/lttds/54384401840/in/album-72177720324393587/">Triplay</a>&rdquo; and &ldquo;<a href="http://jorgesatorre.info/es/projects/wrecking-the-floor-tiles?">Wrecking the Floor Tiles</a> (Gates)&rdquo; &mdash; both of which appear in the exhibition (<a href="https://ca2m.org/exposiciones/jorge-satorre-ria">on view until 31 August 2025</a>). From there, the reader moves &ldquo;upstream&rdquo; through a sequence of images and texts, arriving eventually as far back as &ldquo;<a href="http://jorgesatorre.info/es/projects/the-blacks-circularity?m">Los Negros</a>&rdquo; (The Blacks), a work from 2011. This reversal is not simply archival &mdash; it has a conceptual intent, pushing against the suggestion of linear development in favour of a retrospective counter-current that percolates later works through the experiences that came before.<br /><br />In our conversation with Jorge included in the publication, he reflects on his reluctance to organise his work into themes &mdash; a resistance that, in his words, stems from &ldquo;moving away from the origin&rdquo;. For him, while a theme might spring from the beginning of a work&rsquo;s conception, it should not, and will not, remain intact at its end. <br /><br />Since beginning the intertwined processes of exhibition-making and book-making with <a href="http://jorgesatorre.info/">Jorge</a>, this conceptual play between the river and the ria has served as an interpretive tool &mdash; neither wholly explanatory nor entirely instinctive. Rivers and rias somehow express the subtly distinct forms of agency and transformation that can be found throughout Jorge&rsquo;s work and all its possibilities. This could be a combination of action and being acted upon, a difference between design and accident, an alloy of shaping and being shaped, or a place where sweet, brackish, and salty water might meet. <br /><br />A river evokes directionality as it carves a paths, carries matter, and structures through movement. A ria, by contrast, is a site of submersion &mdash; a fluvial valley made marine through inundation. Contours remain, but their &ldquo;purpose&rdquo; is altered. The ria does not flow so much as hold, or rise and fall. It is not formative, but residual &mdash; shaped by external forces. If the river embodies the generative movement of ideas &mdash; from initial trickle to a complex delta of meaning &mdash; the ria offers a model where the work is no longer about development per se, but about what remains once the current has stopped. <br /><br />Accordingly, neither the exhibition nor the book looks backward in a conventional sense. Both are formed by a need to move and yet pause &mdash; to arrive at a form of display on pages, a moment of presentation in galleries. Yet both allow for the recognition that any form, whether exhibition or publication, is provisional &mdash; inevitably to be submerged again by future processes. What appears as accumulation also carries the potential for further inundation, erosion, reinterpretation. </div></div> </div> 





	

	

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      <img src="https://www.lttds.org/assets/cspics/116_jorge/116_s/9.jpg" alt="Cover Story" srcset="https://www.lttds.org/assets/cspics/116_jorge/116_s/6_1200.jpg 2x">
    
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</div></div> <figcaption class="  orbit-caption">Jorge Satorre / Sue Ponce</figcaption> </figure> 
  
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 <div class="show-for-small-only" > <ul class="accordion  " data-multi-expand="false" data-allow-all-closed="true" data-slide-speed="250" data-deep-link="false" data-deep-link-smudge="false" data-responsive-accordion-tabs="accordion medium-accordion large-accordion"> <li class="accordion-item is-active" data-accordion-item> <a href="#section1" class="accordion-title  "><span id='stacks_in_272898'>COVER STORY, MAY 2025</span></a> <div id="section1" class="accordion-content" data-tab-content> <div id='stacks_out_272897' class='stacks_out'><div id='stacks_in_272897' class='stacks_in  in orange'>  <div       class='container   overflow-hidden   coverstorycontainer  '>    <h5 class='      headlinecaps  '   >Ria, Ría: sweet, brackish, or salty Satorre</h5> 
 <h5 class='      headlinecaps  '   >Cover Story, May 2025</h5> 
<div class="font-box   running"> <div id='stacks_out_272897_16' class='stacks_out'><div id='stacks_in_272897_16' class='stacks_in text_stack in orange'>Jorge Satorre&rsquo;s <a href="https://www.lttds.org/projects/satorre/">exhibition</a> &ldquo;Ria&rdquo; &mdash; titled after the tidal inlets found along Spain&rsquo;s northwest coast, including the one that cuts through his home city of Bilbao &mdash; brings together work from the past decade. &ldquo;<a href="https://canicheeditorial.com/collections/libros/products/rio">R&iacute;o</a>&rdquo; (River), the accompanying monograph, also includes earlier projects. This month&rsquo;s <a href="https://www.lttds.org/coverstory/">Cover Story</a> features 16 different shots of the book, co-published by <a href="https://ca2m.org/ &iexcl;">Museo CA2M</a> and <a href="https://canicheeditorial.com/">Caniche Editorial</a>, and designed by <a href="https://gabrielpericas.com">Gabriel Peric&agrave;s</a>. Reload the page to see more.<br /><br />With the subtitle &ldquo;selection of exhibitions and works (2011-2025)&rdquo;, the <a href="https://canicheeditorial.com/collections/libros/products/rio">publication</a>&rsquo;s chronological structure is nevertheless deliberately inverted. It begins with the most recent works &mdash; &ldquo;<a href="https://www.flickr.com/photos/lttds/54384401840/in/album-72177720324393587/">Triplay</a>&rdquo; and &ldquo;<a href="http://jorgesatorre.info/es/projects/wrecking-the-floor-tiles?">Wrecking the Floor Tiles</a> (Gates)&rdquo; &mdash; both of which appear in the exhibition (<a href="https://ca2m.org/exposiciones/jorge-satorre-ria">on view until 31 August 2025</a>). From there, the reader moves &ldquo;upstream&rdquo; through a sequence of images and texts, arriving eventually as far back as &ldquo;<a href="http://jorgesatorre.info/es/projects/the-blacks-circularity?m">Los Negros</a>&rdquo; (The Blacks), a work from 2011. This reversal is not simply archival &mdash; it has a conceptual intent, pushing against the suggestion of linear development in favour of a retrospective counter-current that percolates later works through the experiences that came before.<br /><br />In our conversation with Jorge included in the publication, he reflects on his reluctance to organise his work into themes &mdash; a resistance that, in his words, stems from &ldquo;moving away from the origin&rdquo;. For him, while a theme might spring from the beginning of a work&rsquo;s conception, it should not, and will not, remain intact at its end. <br /><br />Since beginning the intertwined processes of exhibition-making and book-making with <a href="http://jorgesatorre.info/">Jorge</a>, this conceptual play between the river and the ria has served as an interpretive tool &mdash; neither wholly explanatory nor entirely instinctive. Rivers and rias somehow express the subtly distinct forms of agency and transformation that can be found throughout Jorge&rsquo;s work and all its possibilities. This could be a combination of action and being acted upon, a difference between design and accident, an alloy of shaping and being shaped, or a place where sweet, brackish, and salty water might meet. <br /><br />A river evokes directionality as it carves a paths, carries matter, and structures through movement. A ria, by contrast, is a site of submersion &mdash; a fluvial valley made marine through inundation. Contours remain, but their &ldquo;purpose&rdquo; is altered. The ria does not flow so much as hold, or rise and fall. It is not formative, but residual &mdash; shaped by external forces. If the river embodies the generative movement of ideas &mdash; from initial trickle to a complex delta of meaning &mdash; the ria offers a model where the work is no longer about development per se, but about what remains once the current has stopped. <br /><br />Accordingly, neither the exhibition nor the book looks backward in a conventional sense. Both are formed by a need to move and yet pause &mdash; to arrive at a form of display on pages, a moment of presentation in galleries. Yet both allow for the recognition that any form, whether exhibition or publication, is provisional &mdash; inevitably to be submerged again by future processes. What appears as accumulation also carries the potential for further inundation, erosion, reinterpretation. </div></div> </div> 





	

	

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Whois info of domain

Domain Name: LTTDS.COM
Registry Domain ID: 1817276965_DOMAIN_COM-VRSN
Registrar WHOIS Server: whois.dreamhost.com
Registrar URL: http://www.DreamHost.com
Updated Date: 2024-06-23T07:47:06Z
Creation Date: 2013-07-24T13:56:12Z
Registry Expiry Date: 2025-07-24T13:56:12Z
Registrar: DreamHost, LLC
Registrar IANA ID: 431
Registrar Abuse Contact Email: [email protected]
Registrar Abuse Contact Phone: +1.7148729370
Domain Status: ok https://icann.org/epp#ok
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Name Server: NS3.DREAMHOST.COM
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