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February 13, 2015. (Official Photo by Caleb Smith)
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This official Speaker of the House photograph is being made available only for publication by news organizations and/or for personal use printing by the subject(s) of the photograph. The photograph may not be manipulated in any way and may not be used in commercial or political materials, advertisements, emails, products, promotions that in any way suggests approval or endorsement of the Speaker of the House or any Member of Congress.
A text, in english, from Wikipedia, the free encyclopedia:
Burrowing owl (Speotyto cunicularia) flying with the TV tower in the background, photographed at the City's Park, in Brasília, Capital of Brazil.
See a video at the following address:
br.youtube.com/watch?v=BhCP0YqJDnY
The Burrowing Owl (Speotyto cunicularia) (ex-Athene cunicularia) is a small, long-legged owl found throughout open landscapes of North and South America. Burrowing owls can be found in grasslands, rangelands, agricultural areas, deserts, or any other dry, open area with low vegetation (Lewis 2005). They nest and roost in burrows, such as those abandoned by prairie dogs. Unlike most owls, burrowing owls are often active during the day. However, most hunting is done at dusk or at night.
Burrowing owls are able to live for at least 9 years in the wild and over 10 years in captivity.[citation needed] They are often killed by vehicles when crossing roads, and have many natural enemies, including badgers, coyotes, and snakes. They are also killed by both feral and domestic cats and dogs.
Burrowing owls have bright yellow eyes. The bill can be yellow or greenish depending on the subspecies. The legs are incompletely feathered, and the toes are grayish in color. They lack ear tufts and have a flattened facial disc. The owls have prominent white eyebrows and a white "chin" patch which they expand and display during certain behaviors.
Adult owls have brown upperparts with white spotting. The breast and belly are white with variable brown spotting or barring. Juvenile owls are similar in appearance, but they lack most of the white spotting above and brown barring below. Also, the young owls have a buff bar across the upper wing and their breast may be buffy rather than white.
Males and females are similar in size and appearance. However, adult males sometimes appear lighter in color because they spend more time outside the burrow during daylight, and their feathers become sun-bleached. The average adult is slightly larger than an American Robin, at 25 cm (10 inches) length, 53 cm (21 inches) wingspan, and 170g (6 oz) weight (Lewis 2005).
The typical "who who" call of a burrowing owl is associated with territory defense and breeding, often given by adult males to attract a female to a promising burrow. They also make other sounds, which are described as chucks, chattering, and screams. These sounds are usually accompanied by an up and down bobbing of the head. When alarmed, young birds will give a hissing call - a case of acoustic Batesian mimicry - that sounds like a rattlesnake (Haug et al. 1993).
Before European colonization, burrowing owls probably inhabited every suitable area of the New World, but they have experienced some restrictions in distribution since. They range from the southern portions of the western Canadian provinces through southern Mexico and western Central America. They are also found in Florida and many Caribbean islands. In South America, they are patchy in the northwest and through the Andes, but widely distributed from southern Brazil to Patagonia and Tierra del Fuego.
Burrowing owls are year-round residents in most of their range. Birds that breed in Canada and northern USA usually migrate south to Mexico and southern USA during winter months.
The burrowing owl is endangered in Canada[1], threatened in Mexico, and a species of special concern in Florida and most of the western USA. It is common and widespread in open regions of many Neotropical countries, where they sometimes even inhabit fields and parks in cities. In regions bordering the Amazon Rainforest they are spreading with deforestation. It is therefore listed as Least Concern on the IUCN Red List.
The major reasons for declining populations in North America are control programs for prairie dogs and loss of habitat, although burrowing owls readily inhabit some anthropogenic landscapes, such as airport grasslands or golf courses (Korfanta et al. 2005).
Burrowing owls are protected under the Migratory Bird Treaty Act in Canada, the United States, and Mexico. They are also included in CITES Appendix II.
Genetic analysis of the two North American subspecies indicates that inbreeding is not a problem within those populations (Korfanta et al. 2005).
The nesting season begins in late March or April in North America. Burrowing owls are usually monogamous, but occasionally a male will have two mates (Lewis 2005). Pairs of owls will sometimes nest in loose colonies. Their typical breeding habitat is open grassland or prairie, but they can occasionally adapt to other open areas like airports, golf courses, and agricultural fields. Burrowing owls are slightly tolerant of human presence, often nesting near roads, farms, homes, and regularly maintained irrigation canals.
The owls nest in an underground burrow, hence the name Burrowing Owl. They use burrows created by other burrowing animals such as prairie dogs, ground squirrels, or badgers (Holt et al. 1999). If burrows are unavailable and the soil is not hard or rocky, the owls may excavate their own. Burrowing owls will also nest in shallow, underground, man-made structures that have easy access to the surface.
The female will lay as many as 8-12 eggs over a two week period. She will then incubate the eggs for three to four weeks while the male brings her food. After the eggs hatch both parents will feed the chicks. Four weeks after hatching, the chicks are able to make short flights and begin leaving the nest burrow. The parents will still help feed the chicks for 1 to 3 months. While most of the eggs will hatch, only four to five chicks usually survive to leave the nest.
During the nesting season, burrowing owls will line the burrow with mammal dung, usually from cattle. The dung helps to control the microclimate inside the burrow and to attract insects, which the owls may eat (Levey et al. 2004).
Site fidelity rates appear to vary among populations. In some locations, owls will frequently reuse a nest several years in a row. Owls in migratory northern populations are less likely to return to the same burrow every year. Also, as with many other birds, the female owls are more likely to disperse to a different site than are male owls (Lutz & Plumpton 1999).
The highly variable diet includes small mammals, small birds, snakes, lizards, frogs, insects, and scorpions. But the owls mainly eat large insects and small rodents. Although burrowing owls often live in close proximity to ground squirrels, they rarely prey upon them. Unlike other owls, they also eat fruits and seeds, especially the fruit of tasajillo (Cylindropuntia leptocaulis) and other prickly pear and cholla cacti. When hunting they wait on a perch until they spot prey. Then they swoop down on prey or fly up to catch insects in flight. Sometimes they chase prey on foot across the ground.
The burrowing owl is sometimes separated in the monotypic genus Speotyto. This is based on an overall different morphology and karyotype. On the other hand, osteology and DNA sequence data suggests that the Burrowing Owl is just a terrestrial version of the Athene little owls, and it is today placed in that genus by most authorities.
A considerable number of subspecies have been described, but they differ little in appearance and the taxonomy of several needs to be validated (Holt et al. 1999). Most subspecies are found in the Andes and the Antilles. Only A. c. hypugaea and A. c. floridana are found in North America. Although distinct from each other, the relationship of the Floridan subspecies to (and its distinctness from) the Caribbean birds is not quite clear (Korfanta et al. 2005).
Um texto em português:
oruja-Buraqueira (Speotyto cunicularia) voando com a Torre de TV ao fundo, fotografada no Parque da Cidade, em Brasilia, Brasil.
Veja um vídeo clicando no endereço a seguir:
br.youtube.com/watch?v=BhCP0YqJDnY
Ficha Técnica
Nome comum: coruja-buraqueira, coruja-martelo, coruja-do-campo, caburé-de-cupim, caburé-do-campo, coruja-barata, coruja-buraqueira, coruja-do-campo, coruja-mineira, corujinha-buraqueira, corujinha-do-buraco, corujinha-do-campo, guedé, urucuera, urucuréia e urucuriá.
Nome científico: Speotyto cunicularia
Reino: Animal
Filo: Vertebrado
Classe: Aves
Ordem: Strigiformes
Família: Strigidae
Ave muito interessante e com características peculiares é tida pelo povo grego como a ave da sabedoria. Outros povos porém, acham que causa azar e arrepios seu canto quando rasga o silêncio noturno. Dizem ainda que é sinal de mal agouro e que o seu canto está pressagiando alguma tragédia, o que é pura crendice popular, pois o que se sabe é que as corujas são muito úteis ao homem predando pragas nas lavouras e controlando a população de ratos ao redor das cidades e no campo.
Pode girar seu pecoço em 270º
Características:
A coruja-buraqueira é muito comum pelos campos do Brasil.
Mede em torno de 20-30 cm com envergadura de 50-61cm e pesando em média 170g.
Com peito branco e plumagem amarelada o macho é ligeiramente maior que a fêmea, possuem cabeça arredondada e são aves muito tímidas.
Com olhos grandes e amarelos, a coruja-buraqueira tem a visão 100 vezes mais aguçada que a do homem e seus olhos estão dispostos frontalmente, como os do ser humano.
Quando necessita olhar algum objeto ao seu redor gira o pescoço em um ângulo de até 270 graus, aumentando assim o seu campo visual.
Essa disposição frontal, proporciona à coruja uma visão binocular (enxerga um objeto com ambos os olhos e ao mesmo tempo), isso significa que a coruja pode ver objetos em três dimensões, ou seja, altura, largura e profundidade.
Pode julgar distâncias similares ao ser humano e seu campo visual é de 110 graus, sendo 70 graus de visão binocular.
Os olhos da coruja-buraqueira são bem grandes, em algumas espécies de corujas até maiores que o próprio cérebro, a fim de melhorar sua eficiência em condições de baixa luminosidade, captando e processando melhor a luz disponível.
Além de sua privilegiada visão, a coruja-buraqueira é dona de uma audição potentíssima, conseguindo localizar e abater sua presa com apenas este sentido.
Abate preferencialmente pequenos roedores, insetos, anfíbios e pássaros. A coruja é uma ave de rapina, portanto mata para se alimentar. A tradução da palavra rapina é "roubo", o que caracteriza o fato de tais aves retirarem a vida de suas presas.
Rapineira e atenta à tudo
A coruja como a grande maioria dos animais possue território de caça. São ""equipadas "" com adaptações especiais que as tornam predadoras eficientes, sendo uma delas o vôo.
Sempre muito silenciosa e sorrateira, isso devido às penas especiais de sua asa, muito macias e em grande quantidade, conseguem cortar o ar e planar por muito tempo sendo muito discretas e imperceptíveis às suas presas.
A observação das presas se dá no alto de árvores ou em mourões de cercas nos pastos e até durante o vôo silencioso, quando fazem uma varredura na área de caça. Quando um alvo é avistado a coruja voa silenciosamente até ele, mantendo sua cabeça em linha reta ao alvo, quando então a joga para trás e empurra suas garras para frente a fim de prender seguramente sua presa. A força do impacto é violenta e certeira não dando chances à presa. Posteriormente a vítima é morta pela pressão do bico, num processo de abatimento de presas no solo.
O período reprodutivo da coruja-buraqueira começa nos meses de março e abril, os ninhos são feitos no solo, aproveitando antigas tocas de tatus ou simplesmente promovem a abertura de novos ninhos, num trabalho revezado entre o casal.
Os ninhos são escavados com os pés e bicos, formando uma galeria horizontal de até 3 m de profundidade por 30cm-60cm de largura.
Em média botam de 6 a 12 ovos, que são incubados por 28 dias pela fêmea; fica por conta do macho proteger o ninho e procurar alimento para toda a prole.
Com 14 dias os filhotes já ficam empoleirados na saída da cova, aos 44 dias saem do ninho e com 60 dias estão caçando pequenos insetos.
Informações do site: www.cuestajardins.com.br/?id=149&codigo=426&PHPSE...
Odd ball. This ornamental orb at an apartment complex in Miami South Beach holds a not-so-apparent feature: the text of the Gettysburg Address. Wikipedia says this: "The Gettysburg Address is a speech that U.S. President Abraham Lincoln delivered during the American Civil War at the dedication of the Soldiers' National Cemetery in Gettysburg, Pennsylvania, on the afternoon of November 19, 1863, four and a half months after the Union armies defeated those of the Confederacy at the Battle of Gettysburg. It is one of the best-known speeches in American history."
In reaction to the second Italian invasion of Ethiopia in 1935:
Mussolini, upon invading Ethiopia, had promptly declared his own "Italian Empire"; because the League of Nations afforded Haile Selassie the opportunity to address the assembly, Italy even withdrew its League delegation, on 12 May 1936. It was in this context that Haile Selassie walked into the hall of the League of Nations, introduced by the President of the Assembly as "His Imperial Majesty, the Emperor of Ethiopia" (Sa Majesté Imperiale, l'Empereur d'Ethiopie). The introduction caused a great many Italian journalists in the galleries to erupt into jeering, heckling, and whistling. As it turned out, they had earlier been issued whistles by Mussolini's son-in-law, Count Galeazzo Ciano. Haile Selassie waited calmly for the hall to be cleared, and responded "majestically" with a speech sometimes considered among the most stirring of the 20th century.
Although fluent in French, the working language of the League, Haile Selassie chose to deliver his historic speech in his native Amharic. He asserted that, because his "confidence in the League was absolute", his people were now being slaughtered. He pointed out that the same European states that found in Ethiopia's favor at the League of Nations were refusing Ethiopia credit and war matériel while aiding Italy, which was employing chemical weapons on military and civilian targets alike.
"It was at the time when the operations for the encircling of Makale were taking place that the Italian command, fearing a rout, followed the procedure which it is now my duty to denounce to the world. Special sprayers were installed on board aircraft so that they could vaporize, over vast areas of territory, a fine, death-dealing rain. Groups of nine, fifteen, eighteen aircraft followed one another so that the fog issuing from them formed a continuous sheet. It was thus that, as from the end of January 1936, soldiers, women, children, cattle, rivers, lakes, and pastures were drenched continually with this deadly rain. In order to kill off systematically all living creatures, in order to more surely poison waters and pastures, the Italian command made its aircraft pass over and over again. That was its chief method of warfare."
Noting that his own "small people of 12 million inhabitants, without arms, without resources" could never withstand an attack by a large power such as Italy, with its 42 million people and "unlimited quantities of the most death-dealing weapons", he contended that all small states were threatened by the aggression, and that all small states were in effect reduced to vassal states in the absence of collective action. He admonished the League that "God and history will remember your judgment."
"It is collective security: it is the very existence of the League of Nations. It is the confidence that each State is to place in international treaties... In a word, it is international morality that is at stake. Have the signatures appended to a Treaty value only in so far as the signatory Powers have a personal, direct and immediate interest involved?"
The speech made the Emperor an icon for anti-Fascists around the world, and Time Magazine named him "Man of the Year". He failed, however, to get what he most needed: the League agreed to only partial and ineffective sanctions on Italy, and several members even recognized the Italian conquest.
-Wikepedia-
His address to the legue:
Night time view of the yesterdays shot.
5-star hotel in Dubai just beside Dubai Mall and Burj Al Khalifa
This magnificent building has 63 stories and stands over 300 meters high.
President Barack Obama addresses a town hall meeting on health care insurance reform inside a hangar at Gallatin Field in Belgrade, Mont., on Aug. 14, 2009.
(Official White House photo by Pete Souza)
This official White House photograph is being made available only for publication by news organizations and/or for personal use printing by the subject(s) of the photograph. The photograph may not be manipulated in any way and may not be used in commercial or political materials, advertisements, emails, products, promotions that in any way suggests approval or endorsement of the President, the First Family, or the White House.
Official list entry
Heritage Category: Listed Building
Grade: II*
List Entry Number: 1334161
Date first listed: 23-Aug-1955
Statutory Address 1:
Location
Statutory Address: St Mary's Church, Church End Road, Kingskerswell, Newton Abbot TQ12 5LD
County: Devon
District: Teignbridge (District Authority)
Parish: Kingskerswell
National Grid Reference: SX 87608 67811
Details
Parish Church. Some possibly C14 fabric, early C15 nave and south aisle, late C15- early C16 north aisle and early C16 north porch. Main restoration in 1874. Mostly rendered, sandstone/limestone walls with some Bathstone, granite, limestone and volcanic stone dressings. Gable ended slate roof. From the evidence of the south transept the building would appear to date from the C14 and the stone effigies probably also date from this time. In circa early C15 the nave was reconstructed and the south aisle added partially enclosing the transept. C15 tower. In the late C15/early C16 the north aisle was added destroying any evidence of a north transept. In the early C16 the 2-storey north porch was built. The rood screen was removed at the end of the C18, reputedly to Stover although the panelling is partly preserved. In 1874 the chancel was heavily restored and the east window renewed. At the same time the nave was reroofed and 6 other windows restored. The stone effigies were moved to their present positions in the north aisle during restorations in 1834 and 1874 when the windows were renewed. One at least is likely originally to have been in the transept. Unbuttressed 2-stage west tower has restored west doorway and 3-light Perpendicular window in Bath stone. On north side is demi-octagonal stair turret with inserted pointed arched doorway. To the right of it on the first stage is a single light trefoil headed window. The north aisle windows are C19 3 and 4-light Perpendicular restorations in Bath stone. Large 2-storey north porch has heavily moulded round- headed doorway above which is 2-light mullion window with 4-centred arched lights, both doorway and window are of limestone. C19 stair turret projecting from west side of porch. Narrow 4-centred granite arched doorway towards east end of north aisle. Chancel projects from the aisles with a 5-light Perpendicular window of 1874. East window of south aisle has C15 granite rebated frame and volcanic stone tracery and hoodmould but the mullions have been replaced in limestone. The south- east window of south aisle appears to be completely C15 with granite frame and the rest volcanic stone. Transept window appears to be slightly earlier with more intricate tracery although still Perpendicular. The transept has C19 battlements. The other south aisle windows are C19 Perpendicular restorations. Small south porch has been considerably restored but some original fabric to the doorway survives which is of red sandstone with a 4-centred arch. The south doorway is also 4- centred in limestone, partially restored. Probably C16 oak studded door with central vertical rib. Cobbled floor to porch with date 1719 and indistinct initials below. North porch also has patterned cobbled floor. Stone seats and barrel roof. 4-centred arched Beer-stone north doorway with chamfer and round moulding and projecting square-headed architrave. Contemporary heavy oak studded door. The old stocks are kept in the porch. Interior has 2 good 5-bay arcades of different date and style. Earlier south arcade has octagonal red sandstone piers with shallow moulded Beerstone capitals and chamfered 4-centred red sandstone arches. The later C15/early C16 north arcade is in Beer-stone with Pevsner type-B piers, foliage capitals and moulded 4-centred arches. No chancel arch, narrow pointed tower arch with chamfered imposts. The transept has early Perpendicular blind arcading beneath and interrupted by the south window which may originally have housed one of the effigies. Piscina in south wall of chancel has trefoil-headed opening. C15 octagonal stone font with roll moulding at top and base of pedestal. Some of the panelling from the C15 rood screen has been re-used in the chancel stalls. There are 3 medieval stone effigies in the north aisle beneath the windows reputed to represent Sir John Dinham and his 2 wives which suggests they are circa early C14. The most easterly one is of a lady with a coronet and a rich stomacher, her feet resting on a dog. At the centre is another lady with a stiff head-dress, her feet resting on a wyvern and 4 angels supporting her. Towards the west end is the effigy of a knight, in a pointed helmet, mail gorget and surcoat on which are the arms of Dinham. This memorial is elaborately carved with niches and figures at the front. Fragments of old glass survive re-used in the upper lights of the east window and in the central south aisle window. The pulpit comes from Bradford on Avon and was presented in 1889. This Church preserves a largely medieval fabric with the 2 different arcades and the stone effigies being of particular interest and the survival of some early windows relatively unusual.
© Historic England 2022
Safavid Leather Address Book
I was given this beautiful new address book with leather filigree to go with my new house.
It is an amazing piece of workmanship and I will treasure it greatly. Cobalt blue features heavily in Persian art and architecture.
I have promised myself to write neatly in this book. My hand writing has deteriorated badly since the advent of computers and every entry will be made using an old fountain pen to make me write slowly and carefully.
"Book Art From a Golden Age"
"Amid the many jewels of ancient Islam, decorative book binding shines particularly bright. Symmetry and refinement of line are the hallmarks of these bindings, ranging in style over many centuries from the simply tooled geometric patterns of the 14th century to the complex compositions of the 16th century.
Associated with the Islamic Golden Age, the Persian Safavid-style designs represented a high point for the art of the book. These bindings feature centralized designs of medallions, quadrants, plant and animal motifs, a pentagonal envelope flap closure and elaborately decorated doublures (interior covers), exquisite creations in cut-out leather, coloured papers and gilding.
This doublure inspired collection portrays a remarkable leather filigree pattern incorporating handtooled surfaces and motives which retain an elegance and style even in our modern context."
Letter penned in Saarlouis on 16.9.1916 and addressed to a Herr Jacob Albert in Hayingen. Photogr. Atelier Treib, Saarlois. Postage cancelled in Saarlouis the same day.
Polished belt buckles and newly issued uniforms tell us these fellows are still at their Saarlouis garrison and have yet to be deployed to the field.
______________________________________________
Notes
Aufgestellt in Metz (R.Stb., I.) und Saarlouis (II., III.)
Unterstellung:Festungsbesatzung Metz, hatte einen Außenabschnitt; blieb selbständig.
Kommandeur:Oberstleutnant Haehling von Lanzenauer (I.R.Nr. 67)
I.:Major Bauer (I.R.Nr. 98)
II.:Major Fäßler (I.R.Nr. 98)
III.:Major v. Köppen (I.R.Nr. 30)
Verluste:11 Offz., 255 Uffz. und Mannschaften.
✪ Address: Tầng M, tòa nhà SongHong Land, 165 Thái Hà, Hà Nội
✆ Hotline: 0911.165.165
@ Website: spartabeerclub.vn/
ⓕ Facebook: facebook.com/spartabeerclub
回 Instagram: instagram.com/sparta_beer_club
► Youtube: www.youtube.com/BeerClubSparta165ThaiHa
➼Twitter: twitter.com/Sparta_beerclub
This video in HD and without watermark can be bought to the address:
www.pond5.com/stock-footage/70358167/light-and-shade-vide...
✪ Address: Tầng M, tòa nhà SongHong Land, 165 Thái Hà, Hà Nội
✆ Hotline: 0911.165.165
ⓕ Facebook: facebook.com/spartabeerclub
回 Instagram: instagram.com/sparta_beer_club
► Youtube: www.youtube.com/BeerClubSparta165ThaiHa
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✪ Address: 165 Thái Hà - Hà Nội
✆ Hotline: 0977.165.165 - 0888.165.165
＠ Website: trixie.com.vn/
ⓕ Facebook: facebook.com/trixie.cafe.lounge
回 Instagram: instagram.com/trixie.cafe.lounge
► Youtube: www.youtube.com/TrixieCafeLounge165ThaiHa
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For many years I have tried to photograph this laneway but with little success mainly because of limited space and poor lighting.
On Monday I purchased a Voigtlander 15mm which is an ultra-wide-angle lens so I decided to give it a try within the alleyway and here is one of the images. The lens is fully manual so it it is not easy to use without introducing high levels of distortion. White balance was another major problem.
Walking down Essex Street East it’s easy to miss the entrance to this hidden laneway, but for those in the know it is a handy shortcut between Temple Bar and Dame Street.
If you look down the dark laneway beside the Dublin Theatre Festival Office and you will see original artwork by Dublin street artist Maser ‘I’d Rather Trust a Dealer on a Badly Lit Street Corner, than a Criminal in a Three Piece Suit’.
If you are brave enough to walk down the lane you will see various items of street art and you will be surprised when this narrow lane opens out onto a small square, framed by the Olympia Theatre. Continue along the laneway by the side of the Olympia Theatre
and pass under the sign for Brogan’s Bar, before Crampton Court opens out onto Dame Street.
Anna Doran, a Dublin Street Artist, tried to re-invent one end of the lane as ‘Love Lane’. I have been a fan of Anna for a number of years ... ever since I saw her painted traffic control cabinet on Bolton Street. You can also some of her work on the walls of the "Hungry Mexican" restaurant in Bodkin's on Bolton Street.
Be aware that this laneway attracts some anti-social behaviour particularly in the lane on the Temple Bar side.
Love the Lanes is a joint initiative between Dublin City Council and the Temple Bar Company to pilot solutions and interventions to address issues in the laneways of Temple Bar. Over the years these lanes have fallen into disuse and have become magnets for anti-social behaviour. The stated goal is to reactivate these lanes for people to use and enjoy through creative intervention.
The project was launched on 21st March 2014 with an open call for new ideas. The response from the public was remarkable and shows that there is a real desire by the public to bring life back into the laneways in this historic part of the city. The main focus for the project was Adair and Bedford Lanes, Copper Alley and Crampton Court. 10 proposals were shortlisted and are being developed for implementation on the Laneways of Temple Bar with the support of residents and businesses.
A number of ideas were trialled in 2015 while others require financial investment and a longer timeline.
www.1001pallets.com/2016/09/diy-tutorial-make-solar-power...
This Solar-powered Pallet House Address project recycled and upcycled several things, and only cost 8 dollars, but took creative shopping to keep the price down. This project only needed ONE pallet board, too, so drag out those scraps!
How to make your own Solar-powered Pallet House Address:
Consumable Supplies Needed:
One broken wall clock (or shadow box frame – but should have a GLASS front
House numbers in any style you like (or make your own and skip this purchase)
Solar “dollar-store” yard lights
Scrap piece of wood – any type
Scrap piece of THIN plywood or THIN backer board (if your frame has a good backer board, skip this)
Finish nails
Screws (should come with the house numbers if you buy those)
Water-resistant glue – I used Titebond III PVA wood glue
Clear Silicone Sealant – I had leftover silicone from sealing around our sink and faucets
UV-resistant outdoor spar varnish (optional – if you fully paint your wood you wouldn’t need this)
Heavy-duty construction adhesive – I used “Power Grab” brand (optional)
Wall-hanger (if your frame doesn’t already have one)
NOTE: For all paint, stains, and colorings – these are OPTIONAL. You can just use the natural wood and seal it. I wanted natural wood, but I stained it, and then did some decorative edge painting, etc.
Outdoor Craft / Hobby Paint & fouling paint
Wood Stain – I used two tones for this project
Plastic paint – I used Rustoleum plastic spray paint
Exterior gloss paint – I used Rustoleum oil-based paint from another project
Tools Used:
Small craft paints brush
Small craft foam brush
Sandpaper/sanding sponges
Pencil
Table Saw
Miter Saw
Band saw (jigsaw or scroll saw would work too)
Utility knife
Hand files
Small hand plane
Rotary craft tool (Dremel or similar) OR a plastic cutting tool like a Hot Knife if using a plastic frame
Screwdriver (electric and manual)
Drill
Wood clamps
Solar-powered Pallet House Address – Backer board:
FYI: the “Raincross Bell” is my city’s logo. Use your city’s logo, favorite shape or maybe your initials if you choose.
Step 1. Prepping your frame:
I had a broken wall clock that had a glass face and sturdy plastic frame, so I gutted it.
Find a shadow box you want to use
Set the glass aside somewhere safe
Spray paint the frame if needed (mine did – I used Rustoleum spray paint for plastics in matte black)
Allow to dry
Step 2. Replacing the backer board:
The clock I gutted had a cardboard backer plate, so that was no good other than as a template for a wood replacement so don’t throw it out yet. If you’re using a shadow-box style frame, hopefully, you find one with a backer board sturdy enough to glue too if needed, and it needs to be water resistant.
Use THIN plywood. I used approx. ¼” thick plywood, reclaimed from the top deck of a pallet
Use the cardboard backer board and a pencil to trace out the proper size onto the plywood
Cut the plywood with a band saw or jig saw
Pre-drill the holes out if it covers the mounting locations
Step 3. Prepping the backer board:
Sand the plywood gently and correct any crookedness that happens from the band saw with hand files or by hand-sanding
Wipe all the surfaces down with a very slightly damp cloth to remove the sanding dust * Make sure it is dry before applying stain or paint
Stain or paint it any way you want (I stained mine using Minwax Golden Pecan)
Set it aside to dry for now
Solar-powered Pallet House Address – The background design:
Step 4. Plan your design and address frame clearance restrictions:
Measure the depth from where the backer board sits when installed to the front of the frame
You may need to put your glass back in for a moment to double check this measurement
If you make your project too thick, it won’t sit into your frame correctly, and you’ll be re-sanding to adjust it
Step 5. Cut and begin assembly of your background design:
I made the city logo and used oak scraps from a splintered, broken board that wasn’t much good for anything else. Our city logo is called the “Raincross Bell”, so I searched for images and picked the one that was very simple. Our logo is fairly simple anyways, but I wanted it as easy as possible.
Rip a deck board down into narrow, workable strips – about 1” wide. I used a1x4” deck board
This size will depend on your frame and design
Use the cardboard backer (or your frame) to trace the frame size onto a piece of plain paper * This will give you your maximum design height
Sketch out your design on the paper. Make it as big as possible * You could use a computer and size up or down the design of your choice
Step 6. Start trimming your strips down:
I cut down the strips into small pieces, dry-fit them and set them directly onto my sketch. Next I used files and a small hand plane to adjust any fit issues.
My design consisted of the following pieces:
Two small bars on the top of the “double-cross” * The topmost being shorter than the next one down
Foursquare pieces:
One at the very top of the double-cross
The next between the two bars making the double-cross
The third at the bottom of the cross
And the last one between the top bar of the frame and the top of the bell
Two horizontal bars – the top being narrower than the bottom to create the bell frame
Two vertical bars, equal length to create the bell frame
The bell shape itself
The additional bell clapper shape on the bottom – just a half-circle shape
I also cut two pieces of blocks and painted them black – they’re visible in the photo – they’re where the bottom of the logo sits, so it’s entirely visible in the glass and stabilizes it. I used hook-and-loop tape to doubly-ensure it’ll stay in place.
There were some angles on the outside edges of all the horizontal pieces. I set a miter saw to the angle I wanted and cut them all.
Step 7. Glue your background artwork together:
I used a good-quality, water-resistant PVA glue again (Titebond III). Additionally, I stabilized the top of the cross with a long, thin finish nail down through it all. **NOTE: You may have to glue individual components of your design together and then finish it after the smaller parts are dry, OR you may be able to use a jig saw or a scroll saw and cut it all out of one larger piece of wood. I only had scraps in the color I wanted (to match a bench I made for my front porch), so I had to piece my design together.
Attach your background artwork pieces together with glue
Use any additional fasteners you need to further stabilize your design
Pre-drill anything you are going to nail or screw together
These little pieces want to split!
Stabilize your project with wood clamps while it dries
Solar-powered Pallet House Address – The House Numbers & Final Assembly
Step 8. Create outline cutouts of your house numbers:
We used standard brass numbers we found at a swap meet for a dollar apiece – still new in package. I wanted to highlight them.
Put each number onto another scrap piece of oak and trace them out
Exaggerate the margins to about 3/8” or so in order to make them more visible from the street
No need for exact measuring!
It doesn’t have to be perfect because no one will be that close to it
Just make it please your eye
Of course, you can pre-print everything and use them as templates instead
Step 9. Cut out the house numbers:
Cut them out using a band saw (or jigsaw), and hollow out the centers with a jigsaw (or scroll saw).
Sand down the rough edges with hand files (if necessary), a sanding sponge and then finer sandpaper.
Step 10. Prep for sealing and/or painting:
Use a very lightly damp rag to remove the dust
Allow to fully dry
Do any pre-drilling necessary and re-sand as required
Step 11. Sealing and/or Decorative touches (optional):
I sealed all the wood pieces with a UV-resistant Minwax spar varnish. The photo will show it assembled, sealed, and then the slops of paint on the back of the wood. Next, I painted the number outlines using Rustoleum oil-based outdoor gloss paint – Sunset Red color, that I had left over from another project.
I used more Rustoleum oil-based outdoor gloss paint, this time in Hunter Green, to paint the dried Raincross symbol. The Raincross bell was painted using a bronze craft foiling paint and let it dry.
I also painted a little rope shape at the top of the bell on the little block with craft/hobby paints.
Apply decorative finishes (I used foil paint to outline the numbers)
Seal or paint with whatever you choose
Solar-powered Pallet House Address – Light it up:
Here’s where you can have fun finding things in your local dollar store. I happened to upcycle some Halloween solar lights that we bought for 1$ each piece and used four of them in this project.
Step 12. Removing the Solar Cell Assembly:
Carefully open the light up
Remove the solar cells and the connected circuit board/battery assembly
You may have to use a rotary tool like a Dremel with a cutting wheel to carefully cut wider around the solar cells to free them from the plastic they were molded into
Hand-trim with a utility knife or a hot knife, or even with a rotary tool and a grinding wheel
The soft plastic cuts fairly easily, but wear good gloves and eye protection just in case! **NOTE: You need to avoid flexing the solar cells and be cautious of the cheap, fine-gauge wires. The solder joints are commercial-grade, so they’re not the best.
Repeat for however many lights you want to put in
Step 13. Prepping the frame for the lights:
Drill a small hole for each solar cell assembly
You only need the holes to be big enough to accommodate the wires and/or the base plastic – some of them have a little circle-shaped plastic collar at the base – and if it has that, just make the hole big enough so that the collar fits in snugly
Create a small, narrow slice to the edge of the plastic frame (or saw a narrow slice into a wood frame)
Step 14. Sealing the frame back up/mounting the solar assemblies:
But wait! Now there are holes in your “waterproof” frame! Silicone was my product of choice because we all know those cheap, dollar-store style lights eventually fail, and I wanted to be able to simply cut them out.
Apply a clear, flexible outdoor silicone sealant around (and into) the holes
Gently mount the solar cells on the outside of the frame
Reinforce if necessary
I used more hook-and-loop tape to secure the solar cells to the outside of the frame as extra support in the summer heat
You may want to add another small bead of silicone around the sides where you trimmed the solar cells free to protect the now more-vulnerable cells
Once they are in place, seal the small slices that allowed the wires to be wiggled into the holes with more silicone
To finish, use hook-and-loop material and put a small piece on the inside of the frame, and more on the back of the circuit boards to secure them.
They look ugly in the photos, but from the street, you can’t see the circuit boards. The front edge of the frame hides them enough. You could install battery-powered lights or permanent low-voltage lighting that you could wire into your house if you chose. I kept it low-cost and used what I had around already.
Solar-powered Pallet House Address – Final assembly:
OK! Now that everything is dry, it is time to assemble! I secured the bell inside the Raincross logo with a long, skinny finish nail that I ran up through the clapper portion. The top of the bell was secured well with PVA glue already, but the bottom seemed a little weak, so the nail was insurance.
Step 15. Mount the brass numbers:
Install the numbers onto the pre-painted wood number shapes using the brass screws that came with the numbers
You can use construction adhesive too if you don’t have hardware
Step 16. Installing your wooden number assembly:
Attach the wood numbers to the background artwork with heavy-duty construction adhesive (Loctite Power Grab Instant Adhesive) that has a very fast set time
QUICKLY align the numbers – you have seconds with construction adhesives
You could use fasteners too as an option
Attach any blocks or supports inside the frame with the construction adhesive at this time too
Allow to dry a few minutes
Step 17. Final Assembly:
Apply more adhesive to the back of the artwork and attach it to the backer board
This wasn’t totally necessary, because I had pre-fit the Raincross logo and it actually sat against the frame and the thickness matched the backer board recess. It was just extra reinforcement.
Clean the glass well – you won’t have access to it easily after this
Assemble your project into the frame
Attach a wall hanger to the back of your project frame if it didn’t already have one
Of course, I up-cycled it instead of buying one (used the old one from the clock) and attached it to the back of the plywood
Step 18. Hanging it up:
My husband got the job of getting out the large ladder and installing it on the peak of our little house.
I hope this long-winded description helps you easily make your own Solar-powered Pallet House Address too!
- ex - David Piercey collection...Renowned Canadian philatelist David Piercey dies (1952-2023) - canadianstampnews.com/renowned-canadian-philatelist-david...
- from 1908 "Lovell's Gazetteer of the Dominion of Canada" - SPARWOOD, a post settlement in Kootenay District, B.C., and a station on the Crow's Nest branch of the Canadian Pacific Railway, 18 miles from Fernie. It was named Sparwood because the trees near this settlement proved suitable as spars for ships.
SPARWOOD Post Office (1) was opened - 1 April 1903; closed - 11 September 1916.
- sent from - / SPARWOOD / MY 2 / 09 / B.C. / - split ring cancel - this split ring hammer (A1-2) was was proofed - 6 August 1908 - (RF D). The first split ring hammer (A1-1) was destroyed in the large forest fire of August 1908 - LINKS about the fire - www.newspapers.com/article/the-province-fire-at-sparwood/... and a map of the fire - www.newspapers.com/article/the-weekly-news-advertiser-fir...
Messages written on a postcard were visible for anyone to read and some people used various techniques to make it harder for the postman (or your employer if you were in domestic service) to read - LINK to - Hidden Messages - www.hertfordshire-genealogy.co.uk/data/postcards/feature-... LINK to another example of a spiral message - centerhistorypsychology.wordpress.com/2021/05/19/nothing-...
Spiral message on postcard reads: (tough one to decipher) - May 2 - 1909 - Well this is a quiet day and a fine day. I am not not use to such a fine day. I am afraid the beautiful snow is going to leave us, but it can't go to quick. Say isn't one of your girls going to send that ------ You look good in short dresses and shoes - did not ????? I will if you don't mind having some fun trying to figure it out. I will write it backwards next time. Well this leaves me for a ?????? open a ?????. I remain yours as B4. Will
This postcard was sent by - Will - William Sherman Ritenour - a worker at the Sparwood Lumber Mill in Sparwood, B.C.
William "Will" Sherman Ritenour
(b. 11 October 1880 in Tippecanoe, Indiana, USA - d. 31 October 1953 at age 73 in Seattle, King, Washington, USA) - occupations - mill worker / gas station operator - He had moved to Alberta by 1912. LINK to his Find a Grave site - www.findagrave.com/memorial/76372956/william-sherman-rite...
NOTE: I was able to figure out who sent this postcard from another postcard that was sent by his sister Rosa Ritenour at Elkhart, Indiana, which was addressed to him at the Sparwood Lumber camp in the fall of 1909.
His wife - Jennie Annice (nee Nicks) Ritenour
(b. 15 March 1887 in Howell, Missouri, USA - d. 18 June 1969 at age 82 in Seattle, King, Washington, USA) - occupation - presser they were married - 21 December 1919 at Big Valley, Stettler County No. 6, Alberta, Canada - LINK to her Find a Grave site - www.findagrave.com/memorial/76373001/jennie-annice-ritenour
The Ritenour family moved back to the USA (Seattle, Washington) around 1925.
Postcard was addressed to: Miss Alma Clark / Oakland Ave, / Elkhart, Indiana / U.S.A.
Mary Alma (nee Clark) Ludwig
(b. 15 December 1890 in Warsaw, Indiana - d. 8 December 1971 at age 81 in Elkhart, Indiana. LINK - www.findagrave.com/memorial/116234525/mary-alma-ludwig - LINK to her newspaper obituary - www.newspapers.com/article/the-south-bend-tribune-obituar...
Her husband - Leroy Ludwig
(b. 20 July 1890 in Elkhart, Indiana - d. 1960 in Elkhart, Indiana.
They were married - 20 July 1918 in Elkhart, Indiana
His occupation in 1920 was a Grocery Merchant / Coal Merchant - LINK to - LeRoy Ludwig Injured - www.newspapers.com/article/the-south-bend-tribune-leroy-l... - LINK to his newspaper obituary - www.newspapers.com/article/the-south-bend-tribune-obituar...
Postmarked London, 16 Feb. '05 and addressed to Miss G.V. Rhys, 17 St. James, New Cross. The message reads, "Very sorry I could not get down last night, but I will be down on Saturday as soon as possible after 6:00, maybe 6:30 pm. Rained very heavily up here last night. Hope you are in the best of health. Yours etc. HD".
25/10/2022. London, United Kingdom. Prime Minister Liz Truss giving her address and Leaving No10 Downing Street. 10 Downing Street. Picture by Rory Arnold / No 10 Downing Street
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Just reading this morning about a fire in Dubai, and looking through my photos , I took a photo of the same hotel earlier in the year,
uk.news.yahoo.com/dubai-address-hotel-fire-dramatic-18520...
Official list entry
Heritage Category: Listed Building
Grade: I
List Entry Number: 1142141
Date first listed: 10-Jul-1957
List Entry Name: CHURCH OF ST CONSTANTINE
Statutory Address 1: CHURCH OF ST CONSTANTINE, CHURCH SQUARE
Location
Statutory Address: CHURCH OF ST CONSTANTINE, CHURCH SQUARE
District: Cornwall (Unitary Authority)
Parish: Constantine
National Grid Reference: SW 73104 29073
Details
Parish church. Circa 1420 to 1480 rebuilding of an earlier church. A series of restorations and repairs from 1859 to 1901 including the rebuilding of the chancel in 1862 by J.P. St. Aubyn. Granite ashlar. Slate roofs with C19 crested red clay ridge tiles. Plan and Development: Nave and chancel in one. 6-bay south aisle and 7-bay north aisle with an additional 3-bay aisle on the north side of the north aisle at the east end, known as the Bosahan Aisle; west tower and north porch. On the evidence of the reused Norman fragments in the east and west ends of the south aisle it is clear there was a church in the C12. In the C15 the whole church except for the chancel was rebuilt. The 5-bay south aisle the length of the nave, and the south porch were added first in circa 1420, followed by the west tower and the 7-bay north aisle the full length to the end of the chancel. The south aisle was then extended by 1 bay eastwards and finally in circa 1480 the 3-bay Bosahan aisle was added to the east end of the north side of the north aisle when the road screen was inserted. There were a series of C19 and early C20 restorations and repairs starting in 1859 and including the 1862 restoration by J.P. St. Aubyn who rebuilt the chancel and later in the C19 the church was restored again by E.H. Sedding who stripped off the internal wall plaster. Exterior: The whole church is granite ashlar with a chamfered plinth and wall plate and there are slender buttresses with set-offs all round except for the chancel. The gable ends have plain granite coping. There are stone crosses over the east gables of the north aisle and Bosahan aisle. The south side of the south aisle has 5 granite C15 3-light Perpendicular windows with the polygonal rood stair turret between the 2 easternmost windows; a large 4- light east window with intersecting Perpendicular tracery and a hoodmould and a small 3-light Perpendicular west window. Above this west window of the south aisle a reused section of circa C12 chevron moulding and another piece in the internal jamb of the east window. Rainwater head on south side is dated 1879. The C15 south porch is also buttressed and has truncated shafts over the buttresses and a moulded plinth course; the porch doorway has a 4-centred arch with its tracery broken away, panelled polygonal respnds and a canopied image niche above. The north aisle has three 3-light north windows with C19 limestone Perpendicular tracery, the west window has granite Perpendicular tracery. The north doorway has a chamfered 2-centred arch with plain spandrels and pyramid stops, and a reconstructed shallow porch with unmoulded jambs, a chamfered lintel and a trefoil-headed niche above. One of the 2 buttresses on the north aisle has a carved head at its top, the other has a jug-shape. The additional Bosahan aisle at the east end of the north side of the north aisle has two 3-light Perpendicular windows with C19 limestone tracery and a 2-centred arch 3- light window with possibly reused late C14 intersecting cusped tracery in granite. The north doorway to the right has a chamfered segmental arch and the weathering to the flanking buttresses is continued above to form a canopy. The chancel rebuilt in 1862 has a large C19 3-light Perpendicular style east window and a C19 3-light south window. The fine west tower is built of granite ashlar in 3 stages with a moulded plinth, weathered string at each stage and a cornice with a lozenge pattern in it soffit. The set-back buttresses have carved heads at the top and pinnacles above, but below the parapets. The large square pinnacles over each corner have panelled sides and crocketted finials. The top stage has 3-light Perpendicular bell-openings on each side with pierced slate baffles. The 4-light west window has Perpendicular panel tracery and the west doorway of elvan has a finely moulded 2-centred arch with a trailing vine carved between the mouldings and carved head stops at the base of the jambs; the hoodmould has carved stops and there is a carved head in the voussoir above. The doorway appears to be earlier than C15. In the north west corner of the tower there are window slits to the stair. Interior: The walls have been stripped of plaster. Most of the window rear-arches are unchamfered granite. All the roofs were replaced in the late C19 (1878 Kellys) and have arch-braced collars and wind-braces; the principals over the chancel nave division are coupled to form a ceilure. The 6-bay south arcade has double hollow-chamfered 2-centred arches and monolithic Pevsner A type granite piers. The 7-bay north arcade and the 3-bay Bosahan aisle arcade are similar but have Pevsner B-type piers. The rood screen has been removed but the arcade spandrels are pierced and the rood stair turret on the south side has a 2-centred chamfered arch doorway with pyramid stops. The tall tower arch has roll- moulded responds and angel corbels with shields at the springing of the chamfered and bead-moulded 2-centred arch. A small chamfered 2-centred arch piscina at the east end of the north aisle. On the south side of the sanctuary an empty 4-centred arch effigy niche. The floor of the sanctuary has late C19 encaustic tiles. Late C19 marble and mosaic reredos, Gothic style altar table and altar rail with wrought iron stanchions. The fielded panel box pews appear to be circa mid C19 and are largely intact except for the north and south sides of the north and south aisles which have C20 oak pews and at the west end of the nave where the benches are late C19. The choir stalls are C20. The carved wooden eagle lectern and octagonal pulpit with traceried panels are both circa early C20 and the square granite font is also early C20. A small section of the wainscot of the rood screen is preserved in the Bosahan aisle and has unusual floral carving. A chest in the church has some finely carved early C16 panels of Renaissance influence. There are 3 bells recast by Thomas Mears of London in 1809. Monuments: A slate wall monument on the south-side of the chancel to Thomas Perry died 1734. A small alabaster wall monument in Bosahan aisle with a segmental pediment and slate tablet to Jane Penticost died 1597. Small brass below to John Pendarves died 1616. A marble wall monument with an urn to William Nicholls died 1803 by Isbell of Truro and another to John Nicholls died 1788 with a swaged urn. On the floor of the sanctuary a fine brass to Richard Greyrveys died 1574 and his wife Jane (Trefusis) with figures of their 16 children, family arms and an inscription; it is a palimpsest, the back having C14 Flemish work with a knight in armour. Stained Glass: In the tracery of the west window of the tower there are some fragments of medieval stained glass. The large stained glass east window is in memory of Edward Rogers, died 1859. A circa mid C19 stained glass south window of the chancel. The window in the east end of the north aisle is in memory of Jane Peter died 1870. The east window of the south aisle has some C20 stained glass. The westernmost window on the south side of the south aisle is in memory of Jonathan and Jane Mayne, 1860. Source; Charles Henderson. A History of the Parish of Constantine in Cornwall. pages 29 to 39. Kellys Directory, 1919.
© Historic England 2025
U.S. Secretary of State John Kerry, joined by Italian Foreign Minister Paolo Gentiloni and United Nations Special Representative for Libya Martin Kobler, addresses reporters after meeting with a group of Libyans who believe in a government of national unity during a multinational meeting focused on the country's future held on December 13, 2015 at the Italian Ministry of Foreign Affairs in Rome, Italy. [State Department photo/ Public Domain]
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A personal consequence of BREXIT?
Haus Lange in Krefeld is an address of pilgrimage for architectural studies and those people interested in Ludwig Mies von der Rohe’s style setting early work. Splendid and ageless architecture and garden environment.
Most recently this building became a new home for BREXIT refugee family that felt no longer welcome in England. Has it really become ‘a home’? If you watch the series of photos I took you might feel shocked as I was when I first lingered thru the stylish rooms. The car was still packed. The door was open… I entered as invited, saw valuable furniture, most goods still in boxes, piles of books. The pantechnicon obviously just left. Also very obvious: The landlady, mother and wife also left and will stay absent: ‘You will never see me again’ written on the mirror. That wasn’t a good sign. I felt sorry.
Then to my utmost horror I found the host floating dead in the pool… A husband, a father: dead! And nobody seems to care!
Even more desperate the boy hiding in the dining room – his distressed body language seems to ask: Can this my home? Where is my mother? Who is my mother? Where are my roots?
You may form your own opinion on this photo story – but being uprooted is the worst prerequisite for a new and positive start. Reasons are manifold. But if it comes to politics as a cause: Think before you vote, choose well whom you elect. It might affect your families’ life, too.
The artists Michael Elgreen and Ingar Dragset make us think with their fictive story and installation of an unhappy start in Haus Lange, Krefeld.
I as a photographer tried to transfer this mood and the atmosphre into 17 picture series ‘Die Zugezogenen’.
Krefeld, February 2017
Thomas Kopf
The word Allah
The Semitic language which is spoken in the celestial spheres, is the language in which the angels and God address each other. Adam Safi-Allah spoke the same language in paradise. Adam and eve then came into the world and settled in Arabia. Their children also spoke the same language. Then as a result of the descendants of Adam spreading in the world, this language passed from Arabic, Persian, Latin and into English and God was then known by different names in the different languages. As Adam lived in Arabia, there are many words of the Semitic language which are still found in the Arabic language. God addressed the Prophets, Adam as Adam Safi-Allah, Noah as Nuh Nabi-Allah, Abraham as Ibraheem Khalil-Allah, Moses as Musa Kalim-Allah, Jesus as I’sa Ruh-Allah and Mohammed Rasul-Allah. All these titles, in the Semitic language were written on the Tablet before the arrival of the Prophets. This is why the Prophet Mohammed said: “I was a Prophet even before I came in to this world.”
Many people believe that the word Allah is a name given by Muslims, this is not so.
The Prophet Mohammed’s fathers name was Abd-Allah, at a time when Islam did not exist. Prior to the advent of Islam the Name Allah was announced with the title of every Prophet. When the souls were created, the first Name on their tongue was Allah and when the soul entered the body of Adam, it said, Ya-Allah, and only then it entered the body. Many religions understand this enigma and chant the Name Allah and many others because of doubt are deprived of the Name.
Any name which is used to point towards God is worthy of respect.
In other words, which points towards God. The mystical effect of the Name of God has been diversified due to the different names. Every letter of the alphabet has a separate numeric value. This is also a celestial knowledge. All the numeric values are connected with all of the human race. Occasionally the numeric values do not agree with the astronomical calculations as a result of which people become afflicted. Many people go to astrologers and experts of this knowledge and have charts prepared based on the stars. They name their children on this basis.
Just as the letters (a, b, j, d,) (1, 2, 3, 4) when added have the numerical value of ten. Similarly every name has a separate numeric value. As God has been given so many different names, this has caused a conflict between the numeric value of the different names. If all the people called upon God by the same name, then despite the fact that they would all have separate religions, they would all be united inwardly. They too, like Nanak Sahib and Baba Farid would then say:
“All the souls have been created by the light of God, even though their environment and communities are separate.”
The angels that are assigned tasks in the world are also taught the languages of the people of the world.
It is important for the people of every Prophet that they recite, chant and affirm the Title of their Prophet which was granted by God to the Prophet at his time, for the recognition, spiritual grace and purification of his people. The recital and affirmation should be in the same method and in the language of their Prophet.
The entry of any individual into any religion is subject to the condition that the individual accepts and affirms the Title of the Prophet of that religion. Just as the affirmation and the verbal vows are a condition of any marriage.
Entry into the heavens has been made subject to the acceptance and affirmation of the Titles of the Prophets. In the western world many Muslims and Christians have no knowledge of their Prophet’s Title furthermore many do not even know their Prophets original name (in the original language of the Prophet.)
People who only verbalize the affirmation of their Prophet’s Title rely upon their good deeds. Those that reject and do not affirm their Prophet’s Title are refused entry to paradise. Those individuals in whose hearts the affirmation of their Prophet’s Title has descended (entered) they will enter paradise without any accountability.
The revealed celestial Scriptures, whichever language they are in so long as they are in the original form, are a means to finding God. Where the texts and the translations that have been adulterated, just as adulterated flour is harmful for the stomach, the adulterated books have become harmful and people of the same religion and the same of Prophet have divided into so many sects.
To be sure of the straight and guided path it is better that you are guided by the Light (of God) also.
The method of producing light.
In prehistoric times stones would be rubbed together to make fire. Whereas a spark can also be produced by rubbing two metals together. In a similar way electricity is made from water. Similarly by the friction of the blood inside the human body, in other words electric energy is produced by the vibrating heartbeat. In every human being there is present, approximately one and a half volts of electricity due to which the body is energetic. As the heartbeat slows in old age, this reduces the electricity in the body and this in turn also causes a reduction of the energy level in the body.
Firstly, the heartbeat has to be made vibrant and pronounced. Some do this by dancing, some by sports and exercise and some people try to do this by meditating and chanting the Name of God Allah.
When the heartbeat becomes vibrant and pronounced then by chanting the Name Allah try to synchronize it with every heartbeat. Alternatively try to synchronize Allah with one heartbeat and Hu with the other. Some time by placing your hand on the heart and when you feel your heartbeat, again try to synchronize the Name Allah by chanting it with the rythm of the heartbeat and imagine that the Name Allah is entering the heart.
The chanting of Allah Hu is better and more effective but if anyone has an objection, or a fear of chanting Hu, then instead of being deprived one should solely use the Name Allah, repetitively in the chanting. It is beneficial for people who chant and practice this discipline and who read mantras to physically remain as clean as possible as the:
“disrespectful are unfulfilled and the respectful are fulfilled.”
The first method for producing light.
Write Allah on a paper in black ink, and do this exercise for as long as you wish on a daily basis. Soon thereafter, the Word Allah will be transported from the paper and hover over the eyes. Then with one-pointed concentration, attempt to transport the word from the eyes to the heart.
The second method for producing light.
Write Allah on a zero watt bulb, in yellow. Whilst you are awake or just before sleep, concentrate and try to absorb it into the eyes. When it appears on the eyes then try to transport it to the heart.
The third method for producing light.
This method is for those people who have perfect spiritual guides and teachers and who due to their spiritual connection are spiritually assisted by them.
Sit alone and imagine that your index finger is a pen. Using your finger and with your concentration, attempt to write Allah on your heart. Call upon your spiritual teacher (spiritually), so that he too may, hold your finger, and write Allah on your heart. Continue to do this exercise everyday, until you see Allah written on your heart.
By the first and second method, the Name Allah becomes inscribed on the heart, just as it was written and seen by you but when it becomes synchronized with the heartbeat, then it slowly starts to shine. In the synchronized method, the assistance of the spiritual teacher is provided and for this reason it is seen shining and well written on the heart right from the beginning.
Many Prophets and Saints have come into the world, and just for the sake of testing this, if you feel it appropriate, concentrate or call upon all of them when you are practicing your meditation.
Whilst concentrating on any Prophet or Saint, during your meditating practice, if the rhythm of your heartbeat increases, in its vibration or you feel an improvement then this means that your destiny (spiritual fruits) lies with that Prophet or Saint.
Thereafter it is beneficial to concentrate on that same person whenever you practice your meditation as spiritual grace is transferred in this way, because every Saint is spiritually connected to a Prophet, even if that Prophet is not physically living.
The spiritual fruit (grace) of every illuminated person is in the hands of one Saint or another. It is essential that the Saint is living. Sometimes a very fortunate person is gifted with celestial spiritual grace by a perfect Saint who is not living, but this is very rare. However Saints not living in our human realm can provide worldly spiritual grace and assistance to people from their tombs. This is known as Owaisi spiritual grace.
The recipients of such spiritual grace often get entangled in their spiritual insights, visions and dreams because the spiritual guide providing the assistance is in the spiritual realm and so too is Satan and the recognition of the two becomes difficult.
Along with the spiritual grace it is important to have knowledge, for which a living Saint is more appropriate. If a person (Saint) possesses spiritual grace but is without knowledge, that person is known as a Majzoob (Godly but abstracted due to the complete absorption into the Essence of God and who is not in full control of his faculties).
A person (Saint) having spiritual grace and knowledge is known as a Mehboob (literally, loved one). Such people (Saints) as a result of their knowledge provide worldly spiritual assistance as well as spiritual grace and benefit. Whereas the Majzoobs are known to provide worldly spiritual assistance to people by their unusual but accepted practices of shouting obscenities and poking people with their wooden sticks.
If any (Prophet or Saint) appears but does not help or assist you then put Gohar Shahi to the test.
You may belong to any religion, there is no condition in this respect as long as the individual is not eternally ill-fated.
Many people have received the spiritual grace of Qalb meditation from the Moon. This is obtained when there is a full Moon from the East. Look at it with concentration and when you see the image of Gohar Shahi on it say Allah, Allah, Allah three times and you will be blessed with this spiritual grace. Thereafter without any fear or reservation practice the meditation as described.
Believe (the fact) that the image on the Moon has spoken to many people in many different languages. You can try looking and speaking to it also.
About Muraqba
(transcendental meditation)
(Literally. journey. Meditation in which the soul leaves the human body)
Many people without having acquired the illumination of the spiritual entities (‘Lata’if/Shaktian’) and without attaining spiritual strength and prowess try to engage in this meditation. They either fail to reach the meditative state or become the subject of Satanic interference. This type of meditation is for illuminated people, whose spiritual entity of the self has been purified and the Qalb has been cleansed. The practice or attempt at this type of meditation is foolish no matter what type of physical worship is used to achieve this. To collect and gather the strength of the soul and the spiritual entities and then to travel to a place is what is known as meditation.
Sainthood is the one fourtieth part of Prophecy.
Every dream, meditative journey, inspiration or revelation of a Prophet is accurate and authentic and does not need verification. Only fourty out of a hundred dreams, meditative journeys, inspirations and revelations of Saints are accurate the remaining sixty percent are inaccurate.
God cannot be understood without knowledge
The lowest type of meditative journey is started only after the illumination and awakening of the spiritual entity of the Qalb. This is impossible without first achieving the meditation of the Qalb (meditation with the vibrating heartbeat synchronized with the Name Allah). It takes one jerk or shake to bring the person out of this meditative state and back to consciousness. The faculty of the augury (foretelling the future by reading verses or looking into designated books) is also connected to the Qalb.
The next stage is the meditative journey of the soul. It takes three jerks or shakes to return a person back to normality from this meditative state.
The third stage of the meditative journey is done by the spiritual entity, Anna and the soul together. The soul travels along with the spiritual entity Anna, to the realm of souls just as the Archangel Gabriel accompanied the Prophet Mohammed to the realm of souls.
People who are in this meditative state are sometimes even taken to be buried in their graves and they are unaware of this happening to them. Such a meditative state and journey was taken by the “Companions of the Cave” as a result of which they remained asleep in the cave for more than three hundred years.
When this meditative state and journey was undertaken by the Sheikh, Abdul-Qadir al-Jilani, in the jungle, the occupants of the jungle would regard the Sheikh as dead and would take him to a grave for burial but the meditative journey would break just before the burial (the Sheikh would return to consciousness).
How to recognize a special inspiration and revelation from God.
When a person has awakened and illuminated the spiritual entities in the chest and is worthy of receiving the rays of the Grace of God, then at that point God communicates with that person. God is All-Powerful and can do as he pleases and thus communicate with the human being in any way fit, but he has made a special method for his recognition so that his friends can be saved from the deception of Satan.
Firstly, text in the Semitic language appears on the seekers heart and its translation is seen in the language of the seekers mother-tongue. The text is white and shiny and the eyes close automatically and look at the text (internally). The text then passes the Qalb and moves towards the spiritual entity Sirri as a result of which it shines even more. Then the text moves towards the spiritual entity, Akhfa and from here it shines more and then moves onto the tongue. The voice then spontaneously starts to repeat that text.
If this inspiration is from Satan then an illuminated heart will dull the text and if the text is strong and prominent then the spiritual entities Sirri or Akhfa destroy that text. Further if due to the weakness of the spiritual entities the text does arrive at the tongue, then the voice will prevent it from being spoken into words.
This type of inspiration is for special types of Saints, whereas in respect of ordinary Saints, God sends messages to them through the angels or other spiritual entities. When the Archangel Gabriel accompanies the special and inspired text, this is known as revelation which is confined to the Prophets.
For more detail visit www.goharshahi.org or visit asipk.com and for videos visit HH rags
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Ras El Ma 28/06/2022 10h46
The streets have no names here, and the addresses are still the lot numbers with sections. On our way to the road bringing us to Douar Ain Beida.
Fez
Fez or Fes (Arabic: فاس, romanized: fās, Berber languages: ⴼⴰⵙ, romanized: fas, French: Fès) is a city in northern inland Morocco and the capital of the Fès-Meknès administrative region. It is the second largest city in Morocco, with a population of 1.11 million according to the 2014 census.
Fez was founded under Idrisid rule during the 8th-9th centuries CE. It initially consisted of two autonomous and competing settlements. Successive waves of mainly Arab immigrants from Ifriqiya (Tunisia) and al-Andalus (Spain/Portugal) in the early 9th century gave the nascent city its Arab character. After the downfall of the Idrisid dynasty, other empires came and went until the 11th century when the Almoravid Sultan Yusuf ibn Tashfin united the two settlements into what is today's Fes el-Bali quarter. Under Almoravid rule, the city gained a reputation for religious scholarship and mercantile activity.
Today, the city consists of two old medina quarters, Fes el-Bali and Fes Jdid, and the much larger modern urban Ville Nouvelle area founded during the French colonial era. The medina of Fez is listed as a World Heritage Site and is believed to be one of the world's largest urban pedestrian zones (car-free areas). It has the University of Al-Qarawiyyin which was founded in 857 and is considered by some to be the oldest continuously functioning institute of higher education in the world. It also has Chouara Tannery from the 11th century, one of the oldest tanneries in the world. The city has been called the "Mecca of the West" and the "Athens of Africa." It is also considered the spiritual and cultural capital of Morocco.
[ Wikipedia - Fès ]
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Pandora; theodicy addressing the question of why there is evil in the world. Gang Stalking, Community Based Stalking and Workplace Mobbing are pure evil......
Please help us bring awareness and stop Gang Stalking, Community Based Stalking and Workplace Mobbing. We are trying to make these changes one community at a time. So, here is a contact page for Yosemite National Park: www.nps.gov/yose/contacts.htm. Once on this page; click on ask a question or make a comment. This is your National Park please take the time to contact them; tell them to put a stop to Gang Stalking, Community Based Stalking and Workplace Mobbing.
•The truth about Yosemite: www.nbcbayarea.com/news/local/Sexual-Harassment-Common-in...
These immoral and illegal acts are allowed in Yosemite National Park by Law Enforcement, encouraged and performed by its Contractors and residents. Thank you for taking the time to visit my photostream.
An address book I designed recently for Papaya, that will be sold in stores this summer.
The design is based around Anahata Katkin's Loveletter tag series for Papaya.
Canyonlands National Park is an American national park located in southeastern Utah near the town of Moab. The park preserves a colorful landscape eroded into numerous canyons, mesas, and buttes by the Colorado River, the Green River, and their respective tributaries. Legislation creating the park was signed into law by President Lyndon Johnson on September 12, 1964.
The park is divided into four districts: the Island in the Sky, the Needles, the Maze, and the combined rivers—the Green and Colorado—which carved two large canyons into the Colorado Plateau. While these areas share a primitive desert atmosphere, each retains its own character. Author Edward Abbey, a frequent visitor, described the Canyonlands as "the most weird, wonderful, magical place on earth—there is nothing else like it anywhere."
In the early 1950s, Bates Wilson, then superintendent of Arches National Monument, began exploring the area to the south and west of Moab, Utah. After seeing what is now known as the Needles District of Canyonlands National Park, Wilson began advocating for the establishment of a new national park that would include the Needles. Additional explorations by Wilson and others expanded the areas proposed for inclusion into the new national park to include the confluence of Green and Colorado rivers, the Maze District, and Horseshoe Canyon.
In 1961, Secretary of the Interior Stewart Udall was scheduled to address a conference at Grand Canyon National Park. On his flight to the conference, he flew over the Confluence (where the Colorado and Green rivers meet). The view apparently sparked Udall's interest in Wilson's proposal for a new national park in that area and Udall began promoting the establishment of Canyonlands National Park.
Utah Senator Frank Moss first introduced legislation into Congress to create Canyonlands National Park. His legislation attempted to satisfy both nature preservationists' and commercial developers' interests. Over the next four years, his proposal was struck down, debated, revised, and reintroduced to Congress many times before being passed and signed into creation.
In September, 1964, after several years of debate, President Lyndon B. Johnson signed Pub.L. 88–590, which established Canyonlands National Park as a new national park. Bates Wilson became the first superintendent of the new park and is often referred to as the "Father of Canyonlands."
The Colorado River and Green River combine within the park, dividing it into three districts called the Island in the Sky, the Needles, and the Maze. The Colorado River flows through Cataract Canyon below its confluence with the Green River.
The Island in the Sky district is a broad and level mesa in the northern section of the park, between the Colorado and Green rivers. The district has many viewpoints overlooking the White Rim, a sandstone bench 1,200 feet (370 m) below the Island, and the rivers, which are another 1,000 feet (300 m) below the White Rim.
The Needles district is located south of the Island in the Sky, on the east side of the Colorado River. The district is named for the red and white banded rock pinnacles which are a major feature of the area. Various other naturally sculpted rock formations are also within this district, including grabens, potholes, and arches. Unlike Arches National Park, where many arches are accessible by short to moderate hikes, most of the arches in the Needles district lie in backcountry canyons, requiring long hikes or four-wheel drive trips to reach them.
The Ancestral Puebloans inhabited this area and some of their stone and mud dwellings are well-preserved, although the items and tools they used were mostly removed by looters. The Ancestral Puebloans also created rock art in the form of petroglyphs, most notably on Newspaper Rock along the Needles access road.
The Maze district is located west of the Colorado and Green rivers. The Maze is the least accessible section of the park, and one of the most remote and inaccessible areas of the United States.
A geographically detached section of the park located north of the Maze district, Horseshoe Canyon contains panels of rock art made by hunter-gatherers from the Late Archaic Period (2000-1000 BC) pre-dating the Ancestral Puebloans. Originally called Barrier Canyon, Horseshoe's artifacts, dwellings, pictographs, and murals are some of the oldest in America. The images depicting horses date from after 1540 AD, when the Spanish reintroduced horses to America.
Since the 1950s, scientists have been studying an area of 200 acres (81 ha) completely surrounded by cliffs. The cliffs have prevented cattle from ever grazing on the area's 62 acres (25 ha) of grassland. According to the scientists, the site may contain the largest undisturbed grassland in the Four Corners region. Studies have continued biannually since the mid-1990s. The area has been closed to the public since 1993 to maintain the nearly pristine environment.
Mammals that roam this park include black bears, coyotes, skunks, bats, elk, foxes, bobcats, badgers, ring-tailed cats, pronghorns, desert bighorn sheep, and cougars. Desert cottontails, kangaroo rats and mule deer are commonly seen by visitors.
At least 273 species of birds inhabit the park. A variety of hawks and eagles are found, including the Cooper's hawk, the northern goshawk, the sharp-shinned hawk, the red-tailed hawk, the golden and bald eagles, the rough-legged hawk, the Swainson's hawk, and the northern harrier. Several species of owls are found, including the great horned owl, the northern saw-whet owl, the western screech owl, and the Mexican spotted owl. Grebes, woodpeckers, ravens, herons, flycatchers, crows, bluebirds, wrens, warblers, blackbirds, orioles, goldfinches, swallows, sparrows, ducks, quail, grouse, pheasants, hummingbirds, falcons, gulls, and ospreys are some of the other birds that can be found.
Several reptiles can be found, including eleven species of lizards and eight species of snake (including the midget faded rattlesnake). The common kingsnake and prairie rattlesnake have been reported in the park, but not confirmed by the National Park Service.
The park is home to six confirmed amphibian species, including the red-spotted toad, Woodhouse's toad, American bullfrog, northern leopard frog, Great Basin spadefoot toad, and tiger salamander. The canyon tree frog was reported to be in the park in 2000, but was not confirmed during a study in 2004.
Canyonlands National Park contains a wide variety of plant life, including 11 cactus species,[34] 20 moss species, liverworts, grasses and wildflowers. Varieties of trees include netleaf hackberry, Russian olive, Utah juniper, pinyon pine, tamarisk, and Fremont's cottonwood. Shrubs include Mormon tea, blackbrush, four-wing saltbush, cliffrose, littleleaf mountain mahogany, and snakeweed
Cryptobiotic soil is the foundation of life in Canyonlands, providing nitrogen fixation and moisture for plant seeds. One footprint can destroy decades of growth.
According to the Köppen climate classification system, Canyonlands National Park has a cold semi-arid climate ("BSk"). The plant hardiness zones at the Island in the Sky and Needles District Visitor Centers are 7a with an average annual extreme minimum air temperature of 4.0 °F (-15.6 °C) and 2.9 °F (-16.2 °C), respectively.
The National Weather Service has maintained two cooperative weather stations in the park since June 1965. Official data documents the desert climate with less than 10 inches (250 millimetres) of annual rainfall, as well as hot, mostly dry summers and cold, occasionally wet winters. Snowfall is generally light during the winter.
The station in The Neck region reports an average January temperature of 29.6 °F and an average July temperature of 79.3 °F. Average July temperatures range from a high of 90.8 °F (32.7 °C) to a low of 67.9 °F (19.9 °C). There are an average of 45.7 days with highs of 90 °F (32 °C) or higher and an average of 117.3 days with lows of 32 °F (0 °C) or lower. The highest recorded temperature was 105 °F (41 °C) on July 15, 2005, and the lowest recorded temperature was −13 °F (−25 °C) on February 6, 1989. Average annual precipitation is 9.33 inches (237 mm). There are an average of 59 days with measurable precipitation. The wettest year was 1984, with 13.66 in (347 mm), and the driest year was 1989, with 4.63 in (118 mm). The most precipitation in one month was 5.19 in (132 mm) in October 2006. The most precipitation in 24 hours was 1.76 in (45 mm) on April 9, 1978. Average annual snowfall is 22.8 in (58 cm). The most snowfall in one year was 47.4 in (120 cm) in 1975, and the most snowfall in one month was 27.0 in (69 cm) in January 1978.
The station in The Needles region reports an average January temperature of 29.7 °F and an average July temperature of 79.1 °F.[44] Average July temperatures range from a high of 95.4 °F (35.2 °C) to a low of 62.4 °F (16.9 °C). There are an average of 75.4 days with highs of 90 °F (32 °C) or higher and an average of 143.6 days with lows of 32 °F (0 °C) or lower. The highest recorded temperature was 107 °F (42 °C) on July 13, 1971, and the lowest recorded temperature was −16 °F (−27 °C) on January 16, 1971. Average annual precipitation is 8.49 in (216 mm). There are an average of 56 days with measurable precipitation. The wettest year was 1969, with 11.19 in (284 mm), and the driest year was 1989, with 4.25 in (108 mm). The most precipitation in one month was 4.43 in (113 mm) in October 1972. The most precipitation in 24 hours was 1.56 in (40 mm) on September 17, 1999. Average annual snowfall is 14.4 in (37 cm). The most snowfall in one year was 39.3 in (100 cm) in 1975, and the most snowfall in one month was 24.0 in (61 cm) in March 1985.
National parks in the Western US are more affected by climate change than the country as a whole, and the National Park Service has begun research into how exactly this will effect the ecosystem of Canyonlands National Park and the surrounding areas and ways to protect the park for the future. The mean annual temperature of Canyonlands National Park increased by 2.6 °F (1.4 °C) from 1916 to 2018. It is predicted that if current warming trends continue, the average highs in the park during the summer will be over 100 °F (40 °C) by 2100. In addition to warming, the region has begun to see more severe and frequent droughts which causes native grass cover to decrease and a lower flow of the Colorado River. The flows of the Upper Colorado Basin have decreased by 300,000 acre⋅ft (370,000,000 m3) per year, which has led to a decreased amount of sediment carried by the river and rockier rapids which are more frequently impassable to rafters. The area has also begun to see an earlier spring, which will lead to changes in the timing of leaves and flowers blooming and migrational patterns of wildlife that could lead to food shortages for the wildlife, as well as a longer fire season.
The National Park Service is currently closely monitoring the impacts of climate change in Canyonlands National Park in order to create management strategies that will best help conserve the park's landscapes and ecosystems for the long term. Although the National Park Service's original goal was to preserve landscapes as they were before European colonization, they have now switched to a more adaptive management strategy with the ultimate goal of conserving the biodiversity of the park. The NPS is collaborating with other organizations including the US Geological Survey, local indigenous tribes, and nearby universities in order to create a management plan for the national park. Right now, there is a focus on research into which native plants will be most resistant to climate change so that the park can decide on what to prioritize in conservation efforts. The Canyonlands Natural History Association has been giving money to the US Geological Survey to fund this and other climate related research. They gave $30,000 in 2019 and $61,000 in 2020.
A subsiding basin and nearby uplifting mountain range (the Uncompahgre) existed in the area in Pennsylvanian time. Seawater trapped in the subsiding basin created thick evaporite deposits by Mid Pennsylvanian. This, along with eroded material from the nearby mountain range, became the Paradox Formation, itself a part of the Hermosa Group. Paradox salt beds started to flow later in the Pennsylvanian and probably continued to move until the end of the Jurassic. Some scientists believe Upheaval Dome was created from Paradox salt bed movement, creating a salt dome, but more modern studies show that the meteorite theory is more likely to be correct.
A warm shallow sea again flooded the region near the end of the Pennsylvanian. Fossil-rich limestones, sandstones, and shales of the gray-colored Honaker Trail Formation resulted. A period of erosion then ensued, creating a break in the geologic record called an unconformity. Early in the Permian an advancing sea laid down the Halgaito Shale. Coastal lowlands later returned to the area, forming the Elephant Canyon Formation.
Large alluvial fans filled the basin where it met the Uncompahgre Mountains, creating the Cutler red beds of iron-rich arkose sandstone. Underwater sand bars and sand dunes on the coast inter-fingered with the red beds and later became the white-colored cliff-forming Cedar Mesa Sandstone. Brightly colored oxidized muds were then deposited, forming the Organ Rock Shale. Coastal sand dunes and marine sand bars once again became dominant, creating the White Rim Sandstone.
A second unconformity was created after the Permian sea retreated. Flood plains on an expansive lowland covered the eroded surface and mud built up in tidal flats, creating the Moenkopi Formation. Erosion returned, forming a third unconformity. The Chinle Formation was then laid down on top of this eroded surface.
Increasingly dry climates dominated the Triassic. Therefore, sand in the form of sand dunes invaded and became the Wingate Sandstone. For a time climatic conditions became wetter and streams cut channels through the sand dunes, forming the Kayenta Formation. Arid conditions returned to the region with a vengeance; a large desert spread over much of western North America and later became the Navajo Sandstone. A fourth unconformity was created by a period of erosion.
Mud flats returned, forming the Carmel Formation, and the Entrada Sandstone was laid down next. A long period of erosion stripped away most of the San Rafael Group in the area, along with any formations that may have been laid down in the Cretaceous period.
The Laramide orogeny started to uplift the Rocky Mountains 70 million years ago and with it, the Canyonlands region. Erosion intensified and when the Colorado River Canyon reached the salt beds of the Paradox Formation the overlying strata extended toward the river canyon, forming features such as The Grabens. Increased precipitation during the ice ages of the Pleistocene quickened the rate of canyon excavation along with other erosion. Similar types of erosion are ongoing, but occur at a slower rate.
Utah is a landlocked state in the Mountain West subregion of the Western United States. It borders Colorado to its east, Wyoming to its northeast, Idaho to its north, Arizona to its south, and Nevada to its west. Utah also touches a corner of New Mexico in the southeast. Of the fifty U.S. states, Utah is the 13th-largest by area; with a population over three million, it is the 30th-most-populous and 11th-least-densely populated. Urban development is mostly concentrated in two areas: the Wasatch Front in the north-central part of the state, which is home to roughly two-thirds of the population and includes the capital city, Salt Lake City; and Washington County in the southwest, with more than 180,000 residents. Most of the western half of Utah lies in the Great Basin.
Utah has been inhabited for thousands of years by various indigenous groups such as the ancient Puebloans, Navajo, and Ute. The Spanish were the first Europeans to arrive in the mid-16th century, though the region's difficult geography and harsh climate made it a peripheral part of New Spain and later Mexico. Even while it was Mexican territory, many of Utah's earliest settlers were American, particularly Mormons fleeing marginalization and persecution from the United States via the Mormon Trail. Following the Mexican–American War in 1848, the region was annexed by the U.S., becoming part of the Utah Territory, which included what is now Colorado and Nevada. Disputes between the dominant Mormon community and the federal government delayed Utah's admission as a state; only after the outlawing of polygamy was it admitted in 1896 as the 45th.
People from Utah are known as Utahns. Slightly over half of all Utahns are Mormons, the vast majority of whom are members of the Church of Jesus Christ of Latter-day Saints (LDS Church), which has its world headquarters in Salt Lake City; Utah is the only state where a majority of the population belongs to a single church. A 2023 paper challenged this perception (claiming only 42% of Utahns are Mormons) however most statistics still show a majority of Utah residents belong to the LDS church; estimates from the LDS church suggests 60.68% of Utah's population belongs to the church whilst some sources put the number as high as 68%. The paper replied that membership count done by the LDS Church is too high for several reasons. The LDS Church greatly influences Utahn culture, politics, and daily life, though since the 1990s the state has become more religiously diverse as well as secular.
Utah has a highly diversified economy, with major sectors including transportation, education, information technology and research, government services, mining, multi-level marketing, and tourism. Utah has been one of the fastest growing states since 2000, with the 2020 U.S. census confirming the fastest population growth in the nation since 2010. St. George was the fastest-growing metropolitan area in the United States from 2000 to 2005. Utah ranks among the overall best states in metrics such as healthcare, governance, education, and infrastructure. It has the 12th-highest median average income and the least income inequality of any U.S. state. Over time and influenced by climate change, droughts in Utah have been increasing in frequency and severity, putting a further strain on Utah's water security and impacting the state's economy.
The History of Utah is an examination of the human history and social activity within the state of Utah located in the western United States.
Archaeological evidence dates the earliest habitation of humans in Utah to about 10,000 to 12,000 years ago. Paleolithic people lived near the Great Basin's swamps and marshes, which had an abundance of fish, birds, and small game animals. Big game, including bison, mammoths and ground sloths, also were attracted to these water sources. Over the centuries, the mega-fauna died, this population was replaced by the Desert Archaic people, who sheltered in caves near the Great Salt Lake. Relying more on gathering than the previous Utah residents, their diet was mainly composed of cattails and other salt tolerant plants such as pickleweed, burro weed and sedge. Red meat appears to have been more of a luxury, although these people used nets and the atlatl to hunt water fowl, ducks, small animals and antelope. Artifacts include nets woven with plant fibers and rabbit skin, woven sandals, gaming sticks, and animal figures made from split-twigs. About 3,500 years ago, lake levels rose and the population of Desert Archaic people appears to have dramatically decreased. The Great Basin may have been almost unoccupied for 1,000 years.
The Fremont culture, named from sites near the Fremont River in Utah, lived in what is now north and western Utah and parts of Nevada, Idaho and Colorado from approximately 600 to 1300 AD. These people lived in areas close to water sources that had been previously occupied by the Desert Archaic people, and may have had some relationship with them. However, their use of new technologies define them as a distinct people. Fremont technologies include:
use of the bow and arrow while hunting,
building pithouse shelters,
growing maize and probably beans and squash,
building above ground granaries of adobe or stone,
creating and decorating low-fired pottery ware,
producing art, including jewelry and rock art such as petroglyphs and pictographs.
The ancient Puebloan culture, also known as the Anasazi, occupied territory adjacent to the Fremont. The ancestral Puebloan culture centered on the present-day Four Corners area of the Southwest United States, including the San Juan River region of Utah. Archaeologists debate when this distinct culture emerged, but cultural development seems to date from about the common era, about 500 years before the Fremont appeared. It is generally accepted that the cultural peak of these people was around the 1200 CE. Ancient Puebloan culture is known for well constructed pithouses and more elaborate adobe and masonry dwellings. They were excellent craftsmen, producing turquoise jewelry and fine pottery. The Puebloan culture was based on agriculture, and the people created and cultivated fields of maize, beans, and squash and domesticated turkeys. They designed and produced elaborate field terracing and irrigation systems. They also built structures, some known as kivas, apparently designed solely for cultural and religious rituals.
These two later cultures were roughly contemporaneous, and appear to have established trading relationships. They also shared enough cultural traits that archaeologists believe the cultures may have common roots in the early American Southwest. However, each remained culturally distinct throughout most of their existence. These two well established cultures appear to have been severely impacted by climatic change and perhaps by the incursion of new people in about 1200 CE. Over the next two centuries, the Fremont and ancient Pueblo people may have moved into the American southwest, finding new homes and farmlands in the river drainages of Arizona, New Mexico and northern Mexico.
In about 1200, Shoshonean speaking peoples entered Utah territory from the west. They may have originated in southern California and moved into the desert environment due to population pressure along the coast. They were an upland people with a hunting and gathering lifestyle utilizing roots and seeds, including the pinyon nut. They were also skillful fishermen, created pottery and raised some crops. When they first arrived in Utah, they lived as small family groups with little tribal organization. Four main Shoshonean peoples inhabited Utah country. The Shoshone in the north and northeast, the Gosiutes in the northwest, the Utes in the central and eastern parts of the region and the Southern Paiutes in the southwest. Initially, there seems to have been very little conflict between these groups.
In the early 16th century, the San Juan River basin in Utah's southeast also saw a new people, the Díne or Navajo, part of a greater group of plains Athabaskan speakers moved into the Southwest from the Great Plains. In addition to the Navajo, this language group contained people that were later known as Apaches, including the Lipan, Jicarilla, and Mescalero Apaches.
Athabaskans were a hunting people who initially followed the bison, and were identified in 16th-century Spanish accounts as "dog nomads". The Athabaskans expanded their range throughout the 17th century, occupying areas the Pueblo peoples had abandoned during prior centuries. The Spanish first specifically mention the "Apachu de Nabajo" (Navaho) in the 1620s, referring to the people in the Chama valley region east of the San Juan River, and north west of Santa Fe. By the 1640s, the term Navaho was applied to these same people. Although the Navajo newcomers established a generally peaceful trading and cultural exchange with the some modern Pueblo peoples to the south, they experienced intermittent warfare with the Shoshonean peoples, particularly the Utes in eastern Utah and western Colorado.
At the time of European expansion, beginning with Spanish explorers traveling from Mexico, five distinct native peoples occupied territory within the Utah area: the Northern Shoshone, the Goshute, the Ute, the Paiute and the Navajo.
The Spanish explorer Francisco Vázquez de Coronado may have crossed into what is now southern Utah in 1540, when he was seeking the legendary Cíbola.
A group led by two Spanish Catholic priests—sometimes called the Domínguez–Escalante expedition—left Santa Fe in 1776, hoping to find a route to the California coast. The expedition traveled as far north as Utah Lake and encountered the native residents. All of what is now Utah was claimed by the Spanish Empire from the 1500s to 1821 as part of New Spain (later as the province Alta California); and subsequently claimed by Mexico from 1821 to 1848. However, Spain and Mexico had little permanent presence in, or control of, the region.
Fur trappers (also known as mountain men) including Jim Bridger, explored some regions of Utah in the early 19th century. The city of Provo was named for one such man, Étienne Provost, who visited the area in 1825. The city of Ogden, Utah is named for a brigade leader of the Hudson's Bay Company, Peter Skene Ogden who trapped in the Weber Valley. In 1846, a year before the arrival of members from the Church of Jesus Christ of latter-day Saints, the ill-fated Donner Party crossed through the Salt Lake valley late in the season, deciding not to stay the winter there but to continue forward to California, and beyond.
Members of the Church of Jesus Christ of Latter-day Saints, commonly known as Mormon pioneers, first came to the Salt Lake Valley on July 24, 1847. At the time, the U.S. had already captured the Mexican territories of Alta California and New Mexico in the Mexican–American War and planned to keep them, but those territories, including the future state of Utah, officially became United States territory upon the signing of the Treaty of Guadalupe Hidalgo, February 2, 1848. The treaty was ratified by the United States Senate on March 10, 1848.
Upon arrival in the Salt Lake Valley, the Mormon pioneers found no permanent settlement of Indians. Other areas along the Wasatch Range were occupied at the time of settlement by the Northwestern Shoshone and adjacent areas by other bands of Shoshone such as the Gosiute. The Northwestern Shoshone lived in the valleys on the eastern shore of Great Salt Lake and in adjacent mountain valleys. Some years after arriving in the Salt Lake Valley Mormons, who went on to colonize many other areas of what is now Utah, were petitioned by Indians for recompense for land taken. The response of Heber C. Kimball, first counselor to Brigham Young, was that the land belonged to "our Father in Heaven and we expect to plow and plant it." A 1945 Supreme Court decision found that the land had been treated by the United States as public domain; no aboriginal title by the Northwestern Shoshone had been recognized by the United States or extinguished by treaty with the United States.
Upon arriving in the Salt Lake Valley, the Mormons had to make a place to live. They created irrigation systems, laid out farms, built houses, churches, and schools. Access to water was crucially important. Almost immediately, Brigham Young set out to identify and claim additional community sites. While it was difficult to find large areas in the Great Basin where water sources were dependable and growing seasons long enough to raise vitally important subsistence crops, satellite communities began to be formed.
Shortly after the first company arrived in the Salt Lake Valley in 1847, the community of Bountiful was settled to the north. In 1848, settlers moved into lands purchased from trapper Miles Goodyear in present-day Ogden. In 1849, Tooele and Provo were founded. Also that year, at the invitation of Ute chief Wakara, settlers moved into the Sanpete Valley in central Utah to establish the community of Manti. Fillmore, Utah, intended to be the capital of the new territory, was established in 1851. In 1855, missionary efforts aimed at western native cultures led to outposts in Fort Lemhi, Idaho, Las Vegas, Nevada and Elk Mountain in east-central Utah.
The experiences of returning members of the Mormon Battalion were also important in establishing new communities. On their journey west, the Mormon soldiers had identified dependable rivers and fertile river valleys in Colorado, Arizona and southern California. In addition, as the men traveled to rejoin their families in the Salt Lake Valley, they moved through southern Nevada and the eastern segments of southern Utah. Jefferson Hunt, a senior Mormon officer of the Battalion, actively searched for settlement sites, minerals, and other resources. His report encouraged 1851 settlement efforts in Iron County, near present-day Cedar City. These southern explorations eventually led to Mormon settlements in St. George, Utah, Las Vegas and San Bernardino, California, as well as communities in southern Arizona.
Prior to establishment of the Oregon and California trails and Mormon settlement, Indians native to the Salt Lake Valley and adjacent areas lived by hunting buffalo and other game, but also gathered grass seed from the bountiful grass of the area as well as roots such as those of the Indian Camas. By the time of settlement, indeed before 1840, the buffalo were gone from the valley, but hunting by settlers and grazing of cattle severely impacted the Indians in the area, and as settlement expanded into nearby river valleys and oases, indigenous tribes experienced increasing difficulty in gathering sufficient food. Brigham Young's counsel was to feed the hungry tribes, and that was done, but it was often not enough. These tensions formed the background to the Bear River massacre committed by California Militia stationed in Salt Lake City during the Civil War. The site of the massacre is just inside Preston, Idaho, but was generally thought to be within Utah at the time.
Statehood was petitioned for in 1849-50 using the name Deseret. The proposed State of Deseret would have been quite large, encompassing all of what is now Utah, and portions of Colorado, Idaho, Nevada, Wyoming, Arizona, Oregon, New Mexico and California. The name of Deseret was favored by the LDS leader Brigham Young as a symbol of industry and was derived from a reference in the Book of Mormon. The petition was rejected by Congress and Utah did not become a state until 1896, following the Utah Constitutional Convention of 1895.
In 1850, the Utah Territory was created with the Compromise of 1850, and Fillmore (named after President Fillmore) was designated the capital. In 1856, Salt Lake City replaced Fillmore as the territorial capital.
The first group of pioneers brought African slaves with them, making Utah the only place in the western United States to have African slavery. Three slaves, Green Flake, Hark Lay, and Oscar Crosby, came west with this first group in 1847. The settlers also began to purchase Indian slaves in the well-established Indian slave trade, as well as enslaving Indian prisoners of war. In 1850, 26 slaves were counted in Salt Lake County. Slavery didn't become officially recognized until 1852, when the Act in Relation to Service and the Act for the relief of Indian Slaves and Prisoners were passed. Slavery was repealed on June 19, 1862, when Congress prohibited slavery in all US territories.
Disputes between the Mormon inhabitants and the federal government intensified after the Church of Jesus Christ of Latter-day Saints' practice of polygamy became known. The polygamous practices of the Mormons, which were made public in 1854, would be one of the major reasons Utah was denied statehood until almost 50 years after the Mormons had entered the area.
After news of their polygamous practices spread, the members of the LDS Church were quickly viewed by some as un-American and rebellious. In 1857, after news of a possible rebellion spread, President James Buchanan sent troops on the Utah expedition to quell the growing unrest and to replace Brigham Young as territorial governor with Alfred Cumming. The expedition was also known as the Utah War.
As fear of invasion grew, Mormon settlers had convinced some Paiute Indians to aid in a Mormon-led attack on 120 immigrants from Arkansas under the guise of Indian aggression. The murder of these settlers became known as the Mountain Meadows massacre. The Mormon leadership had adopted a defensive posture that led to a ban on the selling of grain to outsiders in preparation for an impending war. This chafed pioneers traveling through the region, who were unable to purchase badly needed supplies. A disagreement between some of the Arkansas pioneers and the Mormons in Cedar City led to the secret planning of the massacre by a few Mormon leaders in the area. Some scholars debate the involvement of Brigham Young. Only one man, John D. Lee, was ever convicted of the murders, and he was executed at the massacre site.
Express riders had brought the news 1,000 miles from the Missouri River settlements to Salt Lake City within about two weeks of the army's beginning to march west. Fearing the worst as 2,500 troops (roughly 1/3rd of the army then) led by General Albert Sidney Johnston started west, Brigham Young ordered all residents of Salt Lake City and neighboring communities to prepare their homes for burning and evacuate southward to Utah Valley and southern Utah. Young also sent out a few units of the Nauvoo Legion (numbering roughly 8,000–10,000), to delay the army's advance. The majority he sent into the mountains to prepare defenses or south to prepare for a scorched earth retreat. Although some army wagon supply trains were captured and burned and herds of army horses and cattle run off no serious fighting occurred. Starting late and short on supplies, the United States Army camped during the bitter winter of 1857–58 near a burned out Fort Bridger in Wyoming. Through the negotiations between emissary Thomas L. Kane, Young, Cumming and Johnston, control of Utah territory was peacefully transferred to Cumming, who entered an eerily vacant Salt Lake City in the spring of 1858. By agreement with Young, Johnston established the army at Fort Floyd 40 miles away from Salt Lake City, to the southwest.
Salt Lake City was the last link of the First Transcontinental Telegraph, between Carson City, Nevada and Omaha, Nebraska completed in October 1861. Brigham Young, who had helped expedite construction, was among the first to send a message, along with Abraham Lincoln and other officials. Soon after the telegraph line was completed, the Deseret Telegraph Company built the Deseret line connecting the settlements in the territory with Salt Lake City and, by extension, the rest of the United States.
Because of the American Civil War, federal troops were pulled out of Utah Territory (and their fort auctioned off), leaving the territorial government in federal hands without army backing until General Patrick E. Connor arrived with the 3rd Regiment of California Volunteers in 1862. While in Utah, Connor and his troops soon became discontent with this assignment wanting to head to Virginia where the "real" fighting and glory was occurring. Connor established Fort Douglas just three miles (5 km) east of Salt Lake City and encouraged his bored and often idle soldiers to go out and explore for mineral deposits to bring more non-Mormons into the state. Minerals were discovered in Tooele County, and some miners began to come to the territory. Conner also solved the Shoshone Indian problem in Cache Valley Utah by luring the Shoshone into a midwinter confrontation on January 29, 1863. The armed conflict quickly turned into a rout, discipline among the soldiers broke down, and the Battle of Bear River is today usually referred to by historians as the Bear River Massacre. Between 200 and 400 Shoshone men, women and children were killed, as were 27 soldiers, with over 50 more soldiers wounded or suffering from frostbite.
Beginning in 1865, Utah's Black Hawk War developed into the deadliest conflict in the territory's history. Chief Antonga Black Hawk died in 1870, but fights continued to break out until additional federal troops were sent in to suppress the Ghost Dance of 1872. The war is unique among Indian Wars because it was a three-way conflict, with mounted Timpanogos Utes led by Antonga Black Hawk fighting federal and Utah local militia.
On May 10, 1869, the First transcontinental railroad was completed at Promontory Summit, north of the Great Salt Lake. The railroad brought increasing numbers of people into the state, and several influential businessmen made fortunes in the territory.
Main article: Latter Day Saint polygamy in the late-19th century
During the 1870s and 1880s, federal laws were passed and federal marshals assigned to enforce the laws against polygamy. In the 1890 Manifesto, the LDS Church leadership dropped its approval of polygamy citing divine revelation. When Utah applied for statehood again in 1895, it was accepted. Statehood was officially granted on January 4, 1896.
The Mormon issue made the situation for women the topic of nationwide controversy. In 1870 the Utah Territory, controlled by Mormons, gave women the right to vote. However, in 1887, Congress disenfranchised Utah women with the Edmunds–Tucker Act. In 1867–96, eastern activists promoted women's suffrage in Utah as an experiment, and as a way to eliminate polygamy. They were Presbyterians and other Protestants convinced that Mormonism was a non-Christian cult that grossly mistreated women. The Mormons promoted woman suffrage to counter the negative image of downtrodden Mormon women. With the 1890 Manifesto clearing the way for statehood, in 1895 Utah adopted a constitution restoring the right of women's suffrage. Congress admitted Utah as a state with that constitution in 1896.
Though less numerous than other intermountain states at the time, several lynching murders for alleged misdeeds occurred in Utah territory at the hand of vigilantes. Those documented include the following, with their ethnicity or national origin noted in parentheses if it was provided in the source:
William Torrington in Carson City (then a part of Utah territory), 1859
Thomas Coleman (Black man) in Salt Lake City, 1866
3 unidentified men at Wahsatch, winter of 1868
A Black man in Uintah, 1869
Charles A. Benson in Logan, 1873
Ah Sing (Chinese man) in Corinne, 1874
Thomas Forrest in St. George, 1880
William Harvey (Black man) in Salt Lake City, 1883
John Murphy in Park City, 1883
George Segal (Japanese man) in Ogden, 1884
Joseph Fisher in Eureka, 1886
Robert Marshall (Black man) in Castle Gate, 1925
Other lynchings in Utah territory include multiple instances of mass murder of Native American children, women, and men by White settlers including the Battle Creek massacre (1849), Provo River Massacre (1850), Nephi massacre (1853), and Circleville Massacre (1866).
Beginning in the early 20th century, with the establishment of such national parks as Bryce Canyon National Park and Zion National Park, Utah began to become known for its natural beauty. Southern Utah became a popular filming spot for arid, rugged scenes, and such natural landmarks as Delicate Arch and "the Mittens" of Monument Valley are instantly recognizable to most national residents. During the 1950s, 1960s, and 1970s, with the construction of the Interstate highway system, accessibility to the southern scenic areas was made easier.
Beginning in 1939, with the establishment of Alta Ski Area, Utah has become world-renowned for its skiing. The dry, powdery snow of the Wasatch Range is considered some of the best skiing in the world. Salt Lake City won the bid for the 2002 Winter Olympics in 1995, and this has served as a great boost to the economy. The ski resorts have increased in popularity, and many of the Olympic venues scattered across the Wasatch Front continue to be used for sporting events. This also spurred the development of the light-rail system in the Salt Lake Valley, known as TRAX, and the re-construction of the freeway system around the city.
During the late 20th century, the state grew quickly. In the 1970s, growth was phenomenal in the suburbs. Sandy was one of the fastest-growing cities in the country at that time, and West Valley City is the state's 2nd most populous city. Today, many areas of Utah are seeing phenomenal growth. Northern Davis, southern and western Salt Lake, Summit, eastern Tooele, Utah, Wasatch, and Washington counties are all growing very quickly. Transportation and urbanization are major issues in politics as development consumes agricultural land and wilderness areas.
In 2012, the State of Utah passed the Utah Transfer of Public Lands Act in an attempt to gain control over a substantial portion of federal land in the state from the federal government, based on language in the Utah Enabling Act of 1894. The State does not intend to use force or assert control by limiting access in an attempt to control the disputed lands, but does intend to use a multi-step process of education, negotiation, legislation, and if necessary, litigation as part of its multi-year effort to gain state or private control over the lands after 2014.
Utah families, like most Americans everywhere, did their utmost to assist in the war effort. Tires, meat, butter, sugar, fats, oils, coffee, shoes, boots, gasoline, canned fruits, vegetables, and soups were rationed on a national basis. The school day was shortened and bus routes were reduced to limit the number of resources used stateside and increase what could be sent to soldiers.
Geneva Steel was built to increase the steel production for America during World War II. President Franklin D. Roosevelt had proposed opening a steel mill in Utah in 1936, but the idea was shelved after a couple of months. After the attack on Pearl Harbor, the United States entered the war and the steel plant was put into progress. In April 1944, Geneva shipped its first order, which consisted of over 600 tons of steel plate. Geneva Steel also brought thousands of job opportunities to Utah. The positions were hard to fill as many of Utah's men were overseas fighting. Women began working, filling 25 percent of the jobs.
As a result of Utah's and Geneva Steels contribution during the war, several Liberty Ships were named in honor of Utah including the USS Joseph Smith, USS Brigham Young, USS Provo, and the USS Peter Skene Ogden.
One of the sectors of the beachhead of Normandy Landings was codenamed Utah Beach, and the amphibious landings at the beach were undertaken by United States Army troops.
It is estimated that 1,450 soldiers from Utah were killed in the war.
The Mobile Emergency Room is a project by Thierry Geoffroy/Colonel, a participating artist of the Maldives Pavilion working with art formats developed around the notion of emergency.
Emergency Room is a format providing space for artists to engage in urgent debates, address societal dysfunctions and express emergencies in the now, today, before it is too late. Geoffroy’s approach allows immediate artistic intervention and displaces the contemporary to the status of delayed comment on yesterday’s world.
Taking as point of departure climate change and the Maldives, Geoffroy developed a scenario of disappearance and translated actual emergencies and hospitality needs into artistic interventions. In this context he activated his penetration format in order to transform “rigid exhibition spaces” into “elastic and generous exhibition spaces”.
An intervention facilitated by curator Christine Eyene, the Mobile Emergency Room was set up at the Zimbabwe Pavilion during the opening week of the biennale with the hospitality of commissioner Doreen Sibanda and curator Raphael Chikukwa. The first pieces presented in this room consisted in Geoffroy’s tent and an installation by Polish artist Christian Costa. Since then it has been animated online and has extended from being a space for artists expressing emergencies about climate change, to encompassing various emergency topics.
From 24 to 28 August, Geoffroy was in Venice collaborating with Danish artists Nadia Plesner, Mads Vind Ludvigsen, who created new work everyday, raising various emergencies and concerns, with a daily change of exhibition (“passage”) at 3.00 pm. For his last day in Venice, Geoffroy addressed the Syrian situation.
The work produced during this intervention is displayed until 30 September. The presentation is based on Geoffroy's concept of "Delay Museum" where art created for past emergencies is exhibited, while new work enters the Mobile Emergency Room.
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the Emergency Room Mobile at the Zimbabwe pavilion / Venice Biennale has now been completed with some work from the The Delay Museum ,Please visit the pavilion when you go the Venice Biennale this is part of the PENETRATIONS formats ( the Zimbabwe pavilion gave hopsitality for a period of several monthes ) the displayed art works in the Delay Museum are still "boiling " as they are from last week . ( Nadia Plesner / Mads Vind Ludvigsen , COLONEL ) ( this project is a convergence with BIENNALIST / Emergency Room ) more on Christine Eyene blog as she facilated and work within ....This penetration was in connection with my participation in the Maldives pavilion " CAN A NATION WELCOME ANOTHER NATION ?"CAN EMERGENCIES BE RANKED " .Thank you also for the work by David Marin , @Guillaume Dimanche and Christian Costa
venice-biennale-biennalists.blogspot.dk/2013/09/recents-w...
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VENICE BIENNALE / VENEZIA BIENNIAL 2013 : BIENNALIST
www.emergencyrooms.org/biennalist.html
Biennalist is an Art Format by Thierry Geoffroy / Colonel debating with artistic tools on Biennales and other cultural managed events . Often those events promote them selves with thematics and press releases faking their aim . Biennalist take the thematics of the Biennales very seriously , and test their pertinance . Artists have questioned for decade the canvas , the pigment , the museum ... since 1989 we question the Biennales .Often Biennalist converge with Emergency Room providing a burning content that cannot wait ( today before it is too late )
please contact before using the images : Thierry Geoffroy / Colonel 1@colonel.dk
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Countries( nations ) that participate at the Venice Biennale 55 th ( 2013 Biennale di Venezia ) in Italy ( at Giardini or Arsenale or ? ) , Encyclopedic Palace is curated by Massimiliano Gioni
Albania, Andorra, Argentina, Australia, Austria, Azerbaijan, Bangladesh, Belarus, Belgium, Brazil, Bulgaria,
Costa Rica, Croatia, Cuba, Cyprus, Czech , Slovenia, South Africa, Spain, Canada, Chile, China, Congo,
Slovak Republic, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia,
Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore
Sweden, Switzerland, Syrian Arab Republic, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Zimbabwe
the Bahamas, the Kingdom of Bahrain, the Republic of Kosovo, Kuwait, the Maldives, Côte d'Ivoire, Nigeria and Paraguay
Eight countries will also participate for the first time in next year's biennale: the Bahamas, the Kingdom of Bahrain, the Republic of Kosovo, Kuwait, the Maldives, Côte d'Ivoire, Nigeria and Paraguay. In 2011, 89 international pavilions, the most ever, were accessible in the Giardini and across the city.
please contact before using the images : Thierry Geoffroy / Colonel 1@colonel.dk
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lists of artists participating at the Venice Biennale
Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.
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other pavilions at Venice Biennale
Andorra
Artists: Javier Balmaseda, Samantha Bosque, Fiona Morrison
Commissioner: Henry Périer
Deputy Commissioners: Francesc Rodríguez, Ermengol Puig, Ruth Casabella
Curators: Josep M. Ubach, Paolo De Grandis
Venue: Arsenale di Venezia, Nappa 90
Angola
Artist: Edson Chagas
Commissioner: Ministry of Culture
Curators: Beyond Entropy (Paula Nascimento, Stefano Rabolli Pansera), Jorge Gumbe, Feliciano dos Santos
Venue: Palazzo Cini, San Vio, Dorsoduro 864
Argentina
Artist: Nicola Costantino
Commissioner: Magdalena Faillace
Curator: Fernando Farina
Venue: Pavilion at Arsenale
Armenia
Artist: Ararat Sarkissian
Commissioner: Ministry of Culture
Curator: Arman Grogoryan
Venue: Isola di San Lazzaro degli Armeni, everyday from 2:30 p.m. to 5:30 p.m.
Australia
Artist: Simryn Gill
Commissioner: Simon Mordant
Deputy Commissioner: Penelope Seidler
Curator: Catherine de Zegher
Venue: Pavilion at Giardini
Austria
Artist: Mathias Poledna
Commissioner/Curator: Jasper Sharp
Venue: Pavilion at Giardini
Azerbaijan
Artists: Rashad Alakbarov, Sanan Aleskerov, Chingiz Babayev, Butunay Hagverdiyev, Fakhriyya Mammadova, Farid Rasulov
Commissioner: Heydar Aliyev Foundation
Curator: Hervé Mikaeloff
Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949
Bahamas
Artist: Tavares Strachan
Commissioner: Nalini Bethel, Ministry of Tourism
Curators: Jean Crutchfield, Robert Hobbs
Deputy Curator: Stamatina Gregory
Venue: Arsenale, Tese Cinquecentesche
Bangladesh
Chhakka Artists’ Group: Mokhlesur Rahman, Mahbub Zamal, A. K. M. Zahidul Mustafa, Ashok Karmaker, Lala Rukh Selim, Uttam Kumar Karmaker. Dhali Al Mamoon, Yasmin Jahan Nupur, Gavin Rain, Gianfranco Meggiato, Charupit School
Commissioner/Curator: Francesco Elisei.
Curator: Fabio Anselmi.
Venue: Officina delle Zattere, Dorsoduro 947
Bahrain
Artists: Mariam Haji, Waheeda Malullah, Camille Zakharia
Commissioner: Mai bint Mohammed Al Khalifa, Minister of Culture
Curator: Melissa Enders-Bhatiaa
Venue: Pavilion at Arsenale
Belgium
Artist: Berlinde De Bruyckere
Commissioner: Joke Schauvliege, Flemish Minister for Environment, Nature and Culture
Curator: J. M. Coetzee
Deputy Curator: Philippe Van Cauteren
Venue: Pavilion at Giardini
Bosnia and Herzegovina
Artist: Mladen Miljanovic
Commissioners: Sarita Vujković, Irfan Hošić
Venue: Palazzo Malipiero, San Marco
Brazil
Artists: Hélio Fervenza, Odires Mlászho, Lygia Clark, Max Bill, Bruno Munari
Commissioner: Luis Terepins, Fundação Bienal de São Paulo
Curator: Luis Pérez-Oramas
Deputy Curator: André Severo
Venue: Pavilion at Giardini
Canada
Artist: Shary Boyle
Commissioner: National Gallery of Canada / Musée des beaux-arts du Canada
Curator: Josée Drouin-Brisebois
Venue: Pavilion at Giardini
Central Asia
Artists: Vyacheslav Akhunov, Sergey Chutkov, Saodat Ismailova, Kamilla Kurmanbekova, Ikuru Kuwajima, Anton Rodin, Aza Shade, Erlan Tuyakov
Commissioner: HIVOS (Humanist Institute for Development Cooperation)
Deputy Commissioner: Dean Vanessa Ohlraun (Oslo National Academy of the Arts/The Academy of Fine Art)
Curators: Ayatgali Tuleubek, Tiago Bom
Scientific Committee: Susanne M. Winterling
Venue: Palazzo Malipiero, San Marco 3199-3201
Chile
Artist: Alfredo Jaar
Commissioner: CNCA, National Council of Culture and the Arts
Curator: Madeleine Grynsztejn
Venue: Pavilion at Arsenale
China
Artists: He Yunchang, Hu Yaolin, Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong, Zhang Xiaotao
Commissioner: China Arts and Entertainment Group (CAEG)
Curator: Wang Chunchen
Venue: Pavilion at Arsenale
Costa Rica
Artists: Priscilla Monge, Esteban Piedra, Rafael Ottón Solís, Cinthya Soto
Commissioner: Francesco Elisei
Curator: Francisco Córdoba, Museo de Arte y Diseño Contemporáneo (Fiorella Resenterra)
Venue: Ca’ Bonvicini, Santa Croce
Croatia
Artist: Kata Mijatovic
Commissioner/Curator: Branko Franceschi.
Venue: Sala Tiziano, Opera don Orione Artigianelli, Fondamenta delle Zattere ai Gesuati 919
Cuba
Artists: Liudmila and Nelson, Maria Magdalena Campos & Neil Leonard, Sandra Ramos, Glenda León, Lázaro Saavedra, Tonel, Hermann Nitsch, Gilberto Zorio, Wang Du, H.H.Lim, Pedro Costa, Rui Chafes, Francesca Leone
Commissioner: Miria Vicini
Curators: Jorge Fernández Torres, Giacomo Zaza
Venue: Museo Archeologico Nazionale di Venezia, Palazzo Reale, Piazza San Marco 17
Cyprus
Artists: Lia Haraki, Maria Hassabi, Phanos Kyriacou, Constantinos Taliotis, Natalie Yiaxi, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister
Commissioner: Louli Michaelidou
Deputy Commissioners: Angela Skordi, Marika Ioannou
Curator: Raimundas Malašauskas
Czech Republic & Slovak Republic
Artists: Petra Feriancova, Zbynek Baladran
Commissioner: Monika Palcova
Curator: Marek Pokorny
Venue: Pavilion at Giardini
Denmark
Artist: Jesper Just in collaboration with Project Projects
Commissioners: The Danish Arts Council Committee for International Visual Arts: Jette Gejl Kristensen (chairman), Lise Harlev, Jesper Elg, Mads Gamdrup, Anna Krogh
Curator: Lotte S. Lederballe Pedersen
Venue: Pavilion at Giardini
Egypt
Artists: Mohamed Banawy, Khaled Zaki
Commissioner: Ministry of Culture
Venue: Pavilion at Giardini
Estonia
Artist: Dénes Farkas
Commissioner: Maria Arusoo
Curator: Adam Budak
Venue: Palazzo Malipiero, San Marco 3199, San Samuele
Finland
Artist: Antti Laitinen
Commissioner: Raija Koli
Curators: Marko Karo, Mika Elo, Harri Laakso
Venue: Pavilion at Giardini
France
Artist: Anri Sala
Commissioner: Institut français
Curator: Christine Macel
Venue: Pavilion of Germany at the Giardini
Georgia
Artists: Bouillon Group,Thea Djordjadze, Nikoloz Lutidze, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin, Gio Sumbadze
Commissioner: Marine Mizandari, First Deputy Minister of Culture
Curator: Joanna Warsza
Venue: Pavilion at Arsenale
Germany
Artists: Ai Weiwei, Romuald Karmakar, Santu Mofokeng, Dayanita Singh
Commissioner/Curator: Susanne Gaensheimer
Venue: Pavilion of France at Giardini
Great Britain
Artist: Jeremy Deller
Commissioner: Andrea Rose
Curator: Emma Gifford-Mead
Venue: Pavilion at Giardini
Greece
Artist: Stefanos Tsivopoulos
Commissioner: Hellenic Ministry of Education and Religious Affairs, Culture and Sports
Curator: Syrago Tsiara
Venue: Pavilion at Giardini
Holy See
Artists: Lawrence Carroll, Josef Koudelka, Studio Azzurro
Curator: Antonio Paolucci
Venue: Pavilion at Arsenale
Hungary
Artist: Zsolt Asztalos
Commissioner: Kunstahalle (Art Hall)
Curator: Gabriella Uhl
Venue: Pavilion at Giardini
Iceland
Artist: Katrín Sigurðardóttir
Commissioner: Dorotheé Kirch
Curators: Mary Ceruti , Ilaria Bonacossa
Venue: Lavanderia, Palazzo Zenobio, Collegio Armeno Moorat-Raphael, Fondamenta del Soccorso, Dorsoduro 2596
Indonesia
Artists: Albert Yonathan Setyawan, Eko Nugroho, Entang Wiharso, Rahayu Supanggah, Sri Astari, Titarubi
Commissioner: Soedarmadji JH Damais
Deputy Commissioner: Achille Bonito Oliva
Assistant Commissioner: Mirah M. Sjarif
Curators: Carla Bianpoen, Rifky Effendy
Venue: Pavilion at Arsenale
Iraq
Artists: Abdul Raheem Yassir, Akeel Khreef, Ali Samiaa, Bassim Al-Shaker, Cheeman Ismaeel, Furat al Jamil, Hareth Alhomaam, Jamal Penjweny, Kadhim Nwir, WAMI (Yaseen Wami, Hashim Taeeh)
Commissioner: Tamara Chalabi (Ruya Foundation for Contemporary Culture)
Deputy Commissioner: Vittorio Urbani
Curator: Jonathan Watkins.
Venue: Ca' Dandolo, San Tomà, Venezia
Ireland
Artist: Richard Mosse
Commissioner, Curator: Anna O’Sullivan
Venue: Fondaco Marcello, San Marco 3415
Israel
Artist: Gilad Ratman
Commissioners: Arad Turgeman, Michael Gov
Curator: Sergio Edelstein
Venue: Pavilion at Giardini
Italy
Artists: Francesco Arena, Massimo Bartolini, Gianfranco Baruchello, Elisabetta Benassi, Flavio Favelli, Luigi Ghirri, Piero Golia, Francesca Grilli, Marcello Maloberti, Fabio Mauri, Giulio Paolini, Marco Tirelli, Luca Vitone, Sislej Xhafa
Commissioner: Maddalena Ragni
Curator: Bartolomeo Pietromarchi
Venue: Italian Pavilion, Tese delle Vergini at Arsenale
Ivory Coast
Artists: Frédéric Bruly Bouabré, Tamsir Dia, Jems Koko Bi, Franck Fanny
Commissioner: Paolo De Grandis
Curator: Yacouba Konaté
Venue: Spiazzi, Arsenale, Castello 3865
Japan
Artist: Koki Tanaka
Commissioner: The Japan Foundation
Curator: Mika Kuraya
Venue: Pavilion at Giardini
Kenya
Artists: Kivuthi Mbuno, Armando Tanzini, Chrispus Wangombe Wachira, Fan Bo, Luo Ling & Liu Ke, Lu Peng, Li Wei, He Weiming, Chen Wenling, Feng Zhengjie, César Meneghetti
Commissioner: Paola Poponi
Curators: Sandro Orlandi, Paola Poponi
Venue: Caserma Cornoldi, Castello 4142 and San Servolo island
Korea (Republic of)
Artist: Kimsooja
Commissioner/Curator: Seungduk Kim
Deputy Commissioner: Kyungyun Ho
Venue: Pavilion at Giardini
Kosovo
Artist: Petrit Halilaj
Commissioner: Erzen Shkololli
Curator: Kathrin Rhomberg
Venue: Pavilion at Arsenale
Kuwait
Artists: Sami Mohammad, Tarek Al-Ghoussein
Commissioner: Mohammed Al-Asoussi (National Council of Culture, Arts and Letters)
Curator: Ala Younis
Venue: Palazzo Michiel, Sestriere Cannaregio, Strada Nuova
Latin America
Istituto Italo-Latino Americano
Artists:
Marcos Agudelo, Miguel Alvear & Patricio Andrade, Susana Arwas, François Bucher, Fredi Casco, Colectivo Quintapata (Pascal Meccariello, Raquel Paiewonsky, Jorge Pineda, Belkis Ramírez), Humberto Díaz, Sonia Falcone, León & Cociña, Lucía Madriz, Jhafis Quintero, Martín Sastre, Guillermo Srodek-Hart, Juliana Stein, Simón Vega, Luca Vitone, David Zink Yi.
Harun Farocki & Antje Ehmann. In collaboration with: Cristián Silva-Avária, Anna Azevedo, Paola Barreto, Fred Benevides, Anna Bentes, Hermano Callou, Renata Catharino, Patrick Sonni Cavalier, Lucas Ferraço Nassif, Luiz Garcia, André Herique, Bruna Mastrogiovanni, Cezar Migliorin, Felipe Ribeiro, Roberto Robalinho, Bruno Vianna, Beny Wagner, Christian Jankowski
Commissioner: Sylvia Irrazábal
Curator: Alfons Hug
Deputy Curator: Paz Guevara
Venue: Pavilion at Arsenale
Latvia
Artists: Kaspars Podnieks, Krišs Salmanis
Commissioners: Zane Culkstena, Zane Onckule
Curators: Anne Barlow, Courtenay Finn, Alise Tifentale
Venue: Pavilion at Arsenale
Lebanon
Artist: Akram Zaatari
Commissioner: Association for the Promotion and Exhibition of the Arts in Lebanon (APEAL)
Curators: Sam Bardaouil, Till Fellrath
Venue: Pavilion at Arsenale
Lithuania
Artist: Gintaras Didžiapetris, Elena Narbutaite, Liudvikas Buklys, Kazys Varnelis, Vytaute Žilinskaite, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister
Commissioners: Jonas Žokaitis, Aurime Aleksandraviciute
Curator: Raimundas Malašauskas
Venue: Palasport Arsenale, Calle San Biagio 2132, Castello
Luxembourg
Artist: Catherine Lorent
Commissioner: Clément Minighetti
Curator: Anna Loporcaro
Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052
Macedonia
Artist: Elpida Hadzi-Vasileva
Commissioner: Halide Paloshi
Curator: Ana Frangovska
Venue: Scuola dei Laneri, Santa Croce 113/A
Maldives
Participants: Paul Miller (aka DJ Spooky), Thierry Geoffrey (aka Colonel), Gregory Niemeyer, Stefano Cagol, Hanna Husberg, Laura McLean & Kalliopi, Tsipni-Kolaza, Khaled Ramadan, Moomin Fouad, Mohamed Ali, Sama Alshaibi, Patrizio Travagli, Achilleas Kentonis & Maria Papacaharalambous, Wooloo, Khaled Hafez in collaboration with Wael Darwesh, Ursula Biemann, Heidrun Holzfeind & Christoph Draeger, Klaus Schafler
Commissioner: Ministry of Tourism, Arts & Culture
Curators: CPS – Chamber of Public Secrets (Alfredo Cramerotti, Aida Eltorie, Khaled
Ramadan)
Deputy Curators: Maren Richter, Camilla Boemio
Venue: Gervasuti Foundation, Via Garibaldi
Mexico
Artist: Ariel Guzik
Commissioner: Gastón Ramírez Feltrín
Curator: Itala Schmelz
Venue: Ex Chiesa di San Lorenzo, Campo San Lorenzo
Montenegro
Artist: Irena Lagator Pejovic
Commissioner/Curator: Nataša Nikcevic
Venue: Palazzo Malipiero, San Marco 3078-3079/A, Ramo Malipiero Venezia – Ground Floor
The Netherlands
Artist: Mark Manders
Commissioner: Mondriaan Fund
Curator: Lorenzo Benedetti
Venue: Pavilion at Giardini
New Zealand
Artist: Bill Culbert
Commissioner: Jenny Harper
Deputy Commissioner: Heather Galbraith
Curator: Justin Paton
Venue: Santa Maria della Pietà, Calle della Pietà, Castello
Nordic Pavilion (Finland, Norway)
Finland:
Artist: Terike Haapoja
Commissioner: Raija Koli
Curators: Marko Karo, Mika Elo, Harri Laakso
Venue: Pavilion at Giardini
Norway:
Artists: Edvard Munch, Lene Berg
Commissioner: Office for Contemporary Art Norway (OCA)
Curators: Marta Kuzma, Pablo Lafuente, Angela Vettese
Venue: Galleria di Piazza San Marco, Fondazione Bevilacqua La Masa
Paraguay
Artists: Pedro Barrail, Felix Toranzos, Diana Rossi, Daniel Milessi
Commissioner: Elisa Victoria Aquino Laterza
Deputy Commissioner: Nori Vaccari Starck
Curator: Osvaldo González Real
Venue: Palazzo Carminati, Santa Croce 1882
Poland
Artist: Konrad Smolenski
Commissioner: Hanna Wróblewska
Curators: Agnieszka Pindera, Daniel Muzyczuk
Venue: Pavilion at Giardini
Portugal
Artist: Joana Vasconcelos
Commissioner: Direção-Geral das Artes/Secretário de Estado da Cultura, Governo de Portugal
Curator: Miguel Amado
Venue: Riva dei Partigiani
Romania
Artists: Maria Alexandra Pirici, Manuel Pelmus
Commissioner: Monica Morariu
Deputy Commissioner: Alexandru Damian
Curator: Raluca Voinea
Venue: Pavilion at Giardini
Artists: Anca Mihulet, Apparatus 22 (Dragos Olea, Maria Farcas,Erika Olea), Irina Botea, Nicu Ilfoveanu, Karolina Bregula, Adi Matei, Olivia Mihaltianu, Sebastian Moldovan
Commissioner: Monica Morariu
Deputy Commissioner: Alexandru Damian
Curator: Anca Mihulet
Venue: Nuova Galleria dell'Istituto Romeno di Venezia, Palazzo Correr, Campo Santa Fosca, Cannaregio 2214
Russia
Artist: Vadim Zakharov
Commissioner: Stella Kasaeva
Curator: Udo Kittelmann
Venue: Pavilion at Giardini
Serbia
Artists: Vladimir Peric, Miloš Tomic
Commissioner: Maja Ciric
Venue: Pavilion at Giardini
Singapore
Cancelled the participation
Slovenia
Artist: Jasmina Cibic
Commissioner: Blaž Peršin
Curator: Tevž Logar
Venue: Galleria A+A, San Marco 3073
South Africa
Contemporary South African Art and the Archive
Commissioner: Saul Molobi
Curator: Brenton Maart
Venue: Pavilion at Arsenale
Spain
Artist: Lara Almarcegui
Commissioner/Curator: Octavio Zaya
Venue: Pavilion at Giardini
Switzerland
Artist: Valentin Carron
Commissioners: Pro Helvetia - Sandi Paucic and Marianne Burki
Deputy Commissioner: Pro Helvetia - Rachele Giudici Legittimo
Curator: Giovanni Carmine
Venue: Pavilion at Giardini
Syrian Arab Republic
Artists: Giorgio De Chirico, Miro George, Makhowl Moffak, Al Samman Nabil, Echtai Shaffik, Giulio Durini, Dario Arcidiacono, Massimiliano Alioto, Felipe Cardena, Roberto Paolini, Concetto Pozzati, Sergio Lombardo, Camilla Ancilotto, Lucio Micheletti, Lidia Bachis, Cracking Art Group, Hannu Palosuo
Commissioner: Christian Maretti
Curator: Duccio Trombadori
Venue: Isola di San Servolo
Taiwan
Artists: Bernd Behr, Chia-Wei Hsu, Kateřina Šedá + BATEŽO MIKILU
Curator: Esther Lu
Organizer: Taipei Fine Arts Museum
Venue: Palazzo delle Prigioni, Castello 4209, San Marco
Thailand
Artists: Wasinburee Supanichvoraparch, Arin Rungjang
Commissioner: Office of Contemporary Art and Culture, Ministry of Culture
Curators: Penwadee Nophaket Manont, Worathep Akkabootara
Venue: Santa Croce 556
Turkey
Artist: Ali Kazma
Commissioner: Istanbul Foundation for Culture and Arts
Curator: Emre Baykal
Venue: Pavilion at Arsenale
Tuvalu
Artist: Vincent J.F.Huang
Commissioners: Apisai Ielemia, Minister of Foreign Affair, Trade, Tourism, Environment & Labour; Tapugao Falefou, Permanent Secretary of Foreign Affairs, Tourism, Environment & Labour
Curators: An-Yi Pan, Szu Hsien Li, Shu Ping Shih
Venue: Forte Marghera, via Forte Marghera, 30
Ukraine
Artists: Ridnyi Mykola, Zinkovskyi Hamlet, Kadyrova Zhanna
Commissioner: Victor Sydorenko
Curators: Soloviov Oleksandr, Burlaka Victoria
Venue: Palazzo Loredan, Istituto Veneto di Scienze, Lettere ed Arti, Campo Santo Stefano
United Arab Emirates
Artist: Mohammed Kazem
Commissioner: Dr. Lamees Hamdan
Curator: Reem Fadda
Venue: Pavilion at Arsenale, Sale d'Armi
Uruguay
Artist: Wifredo Díaz Valdéz
Commissioner: Ricardo Pascale
Curators: Carlos Capelán, Verónica Cordeiro
Venue: Pavilion at Giardini
USA
Artist: Sarah Sze
Commissioners/Curators: Carey Lovelace, Holly Block
Venue: Pavilion at Giardini
Venezuela
Colectivo de Artistas Urbanos Venezolanos
Commissioner: Edgar Ernesto González
Curator: Juan Calzadilla
Venue: Pavilion at Giardini
Zimbabwe
Artists: Portia Zvavahera, Michele Mathison, Rashid Jogee, Voti Thebe, Virginia Chihota
Commissioner: Doreen Sibanda
Curator: Raphael Chikukwa
Venue: Santa Maria della Pietà, Calle della Pietà, Castello 3701
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Address:
Oakhurst Cemetery
40188 Highway 41, Oakhurst, CA 93644
Consecrated as Christ Church June 17, 1894
Preserved by moving to Oakhill Cemetery Dedicated July 14, 1957
Restored for public use Re-Dedicated June 10, 1995
The Little Church Story
In the early 1850’s people began to settle in the valley a short distance below the headwaters of the Fresno River, an area that was to become known as Fresno Flats. They came not for gold as did the 49ers, but to build their homes, raise their families earning their way as farmers, lumbermen and merchants.
As the town grew slowly, Christ Church Mission was established in 1886 by the Rev. D. O. Kelley, an Episcopal circuit rider missionary who was famed for starting many churches throughout the San Joaquin Valley, In 1892, the Little Church on the Hill, as Christ Church became known, was built as a community effort by volunteer labor, using donated materials and located on land set aside by one of Fresno Flats early pioneers, Robert Nichols, who settled here in 1856 and earlier had given land for the cemetery and the school.
Located in what then was the center of the community, at the junction of Roads 426 and 425B, the Little Church was built with a single thickness of 1x12” sugar pine boards and battens from local mills. Yet, it stood for a century before being reinforced. The Little Church was the area’s only house of worship for nearly a half century, and it remained in use until 1954.
As the empty church suffered from vandalism and was threatened with demolition, the community rallied to save it. The Oakhurst Grandmothers Club, under the leadership of Grace Schneider, raised the funds to have the church moved to Oakhill Cemetery in 1957.
Let’s discuss wine tasting at this noteworthy Rutherford District location!
This photo was taken by a Zenza Bronica S2 medium format film camera with a Nikkor-H 1:3.5 f=5 cm lens and Zenza Bronica 82mm L-1A filter using Kodak Portra 160 film, the negative scanned by an Epson Perfection V600 and digitally rendered with Photoshop.