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This September I was able to fulfil a lifelong dream of mine, to see killer whales in the wild. In fact I was extremely lucky to them them on four occasions over my 10 days in Canada.
This was the 4th and final one of those trips. At first I thought the container ship ruined this photo, but looking at it again I think it actually adds something. A creature that had evolved over millions of years to rule the ocean, and an alien beast invading its territory... or something like that.
This individual is T49C, and he was all alone - quite an usual sight for orca but not for this guy who normally travels alone.
Orca, T49C - Strait of Juan de Fuca
Please do not repost, this image is quite dear to me.
The two tankers look identical but the weights are significantly different.
The vast majority of Dinky Toys were manufactured from mazac, however, a number of other materials were used from time to time; these included cast iron, lead, tin plate, aluminium, plastic and even cardboard.
In the early 1950s there were serious problems with metal shortages, these were caused by the requirements of munitions during the Korean War and a steel strike in America.
The first moves towards aluminium castings were made with the Studebaker petrol tanker and the Hillman Minx, I suspect this was an experiment with alternative raw materials rather than a specific attempt to save money.
The shortage of Mazak ended after the strike and the Korean conflict finished and the aluminium use was stopped other than for technical reasons on very large castings.
I wrote a comprehensive article about this for the June 2018 edition of the "Diecast Collector" magazine.
The Omo River and its fertile lands, now cut off by the Gibé3 dam, and siphoned off to irrigate the new giant farms owned by foreign companies. The 200000 inhabitants of the southern tribes are considered «behind the times » by Addis. They are moved by force, oppressed, put in jail, and some are even killed. 50 deaths occurred in Maji, 11 in Dima, 5 in Koka the last few weeks, including women and children.
Surma or Suri (as they call themselves) are sedentary pastoral people living in south west of Ethiopia, on the western bank of the Omo river. These breeders tribal groups have a cattle-centred culture. They breed their cattle, mostly cows, on their traditional lands, located in the Omo Valley. The economy of the Suri is based on breeding and agriculture. They grow cabbage, beans, yams, tobacco and coffee. Cows are tremendously important in Suri culture. They do not see cattle simply as a material asset but as a life-sustaining and meaningful companion. Suri even sing songs for them and make fires to warm them. These cows are not bred for their meat and are usually not killed unless they are needed for ceremonial purposes. The Surmas very rarely eat the meat of their cows, they actually breed them for their milk and their blood, which they both drink. Cows also have a social and symbolic meaning in Suri’s society. Suri men are judged on how much cattle they own. In desperate times, Suri men can risk their lives to steal cattle from other tribes.The average male in the Suri tribe owns from 30 to 40 cows. Every young male is named after their cattle, which they have to look after since the age of 8. Men are not allowed to marry until they own 60 cows. Cows are given to the bride’s family after the wedding ceremony.
This central role of the cow in their way of life accounts for the fierce independance they want to preserve and explains their warlike culture. Indeed, it’s quite common to see men and even women carrying weapons which are part of the daily life. Their remote homeland has always been a place of traditional rivalries with the neighbouring tribes such as the Bume (Nyangatom) or the Toposa. who regurlarly team up to raid the Suri’s cattle. These fights, and even sometimes battles, have become quite bloody since automatic firearms like AK-47 have become available from the parties in the Sudanese Civil War. This conflict has pushed neighboring tribes into Suri’s land and is a constant competition to keep and protect their territory and their cattle. Gun battles are more common during the dry season, because around that time the Suri move their cattle down south to find new ground.
The 40 to 1,000 inhabitants villages of the Surmas, are led by a ritual chief known as the Komoru, dressed in colourful robes and wearing a crown of baboon fur. Village life is largely communal, sharing the produce of the cattle (milk and blood). Decisions of the village are taken by the men in an assembly. These debates are led by the Komoru, who are merely the most respected elder in a village even if they can be removed.
Although their traditional remoteness and autarky is threathened, only few Surma are familiar with Amharic, the official language of Ethiopia, and their literacy level is very low.
© Eric Lafforgue
An hour's cycle-ride along a dusty dirt road to get there was a hair-raising experience - cyber-age may have reached Bhaktapur (ancient part of Kathmandu) but the concept of traffic rules hasn't yet! ;))
Models: Julia Scott, Hannah Ashton and Andy Morton
(original photograph Tracey Poulter, additional photos and editing by me)
According to our guide, the people of Kuélap farmed on the plateau that is partly visible on the left.
She also told us there were wells on the plateau which, if correct, conflicts with the conventional notion that Kuélap lacked nearby sources of water.
Since the guide lives close to the site and has worked with archaeologists, I tend to believe her.
According to our guide, the plateau that's visible to the left was where the people of Kuélap had their agricultural fields.
Before visiting the site, I read a dissertation by a would-be art hisorian that said Kuélap was waterless and that the residents had to go great distances for their water. However, our guide told us that they drew water from wells on this plateau.
Wikipedia says:
The fortress of Kuelap or Cuélap (Chachapoyas, Amazonas, Perú), is a walled city associated with the Chachapoyas culture built in 6th century AD.
It consists of more than four hundred buildings surrounded by massive exterior stone walls.
The complex is situated on a ridge overlooking the Utcubamba Valley in northern Peru and roughly 600 meters long and 110 meters wide.
It could have been built to defend against the Huari or others, but evidence of hostile groups at the site is minimal.
The monumental ruins of Kuelap are situated at 3000 metres above sea level. The ruins of Kuelap are located at the summit of a hill that rises on the left bank of the Utcubamba, at coordinates 6°25′07″ S 77°55′24″ W, according to the engineer Hernán Corbera.
Radiocarbon dating samples show that construction of the structures started in the 6th century AD and the complex was occupied until the Early Colonial period (1532-1570).
Through the pre-Columbian, conquest and colonial periods, there are only four brief written references to Kuelap.
It was rediscovered in 1843, when Juan Crisóstomo Nieto, a judge in Chachapoyas, made a survey of the area and took note of Kuelap's great size; he was guided by villagers who had known of the site for generations.
Subsequently, Kuelap gained the attention of explorers, historians and archaeologists. Notable observers who helped publicize the site included Frenchman Louis Langlois who wrote a description of Kuelap in the 1930s, Adolph Francis Alphonse Bandelier, Ernst Middendorf, Charles Wiener and Antonio Raimondi.
The first exploratory expedition mounted by archaeologists was directed by Federico Kauffmann Doig between May and June 1997.
Five mausoleums, protected by a cave filled with rock paintings, were found to be replete with funeral bundles, objects of ceramics, quipus, etc., attributable to the Chachapoyas culture.
In July 2010, remains of 79 human bodies dating back to the seventh century AD were found inside a stone wall believed to have been a secondary grave site. The remains had been removed from their original resting places, a widespread custom in pre-Columbian Peru. Most of the human bones found to date are adult.
For more information, see:
www.ancient-origins.net/ancient-places-americas/kuelap-pe...
Rough Housing Series
This one has a "Please use the back door" sign, a "Beware of Dog" sign in a front window and a Guard Dog sign on the back fence. Going to that back door may not be the best idea if the dog warnings are believed.
Not sure what is going on with the concrete slabs on one side and the openness on the other re a foundation. Perhaps the porch was added later?
In: KAPPELMAYR, Barbara (Red.) (1995). Geïllustreerd handboek van de kunst. VG Bild-Kunst/De Hoeve, Alphen aan de Rijn. ISBN 90 6113 763 2
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Pp. 874ff in: QUADRALECTIC ARCHITECTURE – A Panoramic Review by Marten Kuilman. Falcon Press (2011). ISBN 978-90-814420-0-8
quadralectics.wordpress.com/4-representation/4-2-function...
‘Real’ palaces were designed and constructed in Spain at about the same time as Palladio provided the Valmarana family with shelter in Italy. The Royal Palace of the Escorial is located some forty-five kilometers northwest of Madrid (Spain) at the rim of the Guadarrama Mountains. It appears as a great stone platform carved from the mountain and its harmonizing with the landscape makes it a stone scape. It has reminiscence, according to George KUBLER (1982, p. 98), to certain Quattrocento paintings of ideal cities drawn with a single-point perspective in Renaissance Italy. He gives the panel painting ‘A City Square’, attributed to Luciano de Laurana, in the Walters Art Gallery in Baltimore, as an example.
The history of the Escorial has four distinct elements, which were planned by King Philip II (1527 – 1598) after he became King of Spain in 1556: 1. The initial purpose as a place to house the tombs of the dynasty, in particular his father Charles V, who was buried in Yuste; 2. The foundation of a monastery (with hospital buildings); 3. A basilica (with a dome); 4. A palace (with a library). These four intentions, which were brought forward more or less simultaneously, have aspects of higher division thinking, but the psychological setting of the King is hard to prove.
Spain was in the second half of the sixteenth century on the heights of its political power, covering the larger part of Europe when Philip II was King of Spain and Portugal, King of Naples, Duke of Milan, Ruler of the Spanish Netherlands, and King consort of England (as the husband of Mary I). It was furthermore, a global player in the colonial expansions across the Atlantic.
King Philip II began his search for a foundation of a new monastery in 1558 – 1559. He called it San Lorenzo de la Victoria – referring to the victory in the battle of San Quintin (in northern France) on 10 August 1557, on the day of San Lorenzo. The King employed the help of the Jeronymite Order, but their suggestions and plan, where about half the size than the cuadro (block), which was laid out in April 1562 in a location near El Escorial. The plan of the monastery, which was first to be started, had a classical tetradic design.
George KUBLER (1982) mentioned three Jeronymite friars, who played a major role in the history of the construction of the Scoria. Juan de San Jeronimo was present from 1562 to 1591 as the chief accountant and most authoritative as a chronicler. Antonio de Villacastin was the Obrero mayor (chief workman) and Jose de Sigüenza wrote a history of the building by recording the progress of design and construction.
The official work started in 1563 with the intention of Philip II to bring the body of his father Charles V, the Emperor, who died in 1558, from Yuste to the new location. Philip had an interest in building matters, which only increased after his European tour at his father’s command (1548 – 1551). The King visited England for the marriage to Queen Mary (1516 – 1558, also known as Bloody Mary, because she had three hundred religious dissenters burned at the stake) in July 1554. He was accompanied at that (political-inspired) trip by the architect and engineer Gaspar de Vega, who had to study foreign buildings and constructions, which could be useful in Spain. Vega returned overland and visited places like the Louvre, St.Germain-en-Laye and Fontainebleau.
The three main architects of the Escorial were Francisco de Villalpando, Juan Bautista de Toledo, and Juan de Herrera. The first named architect was originally a bronze worker, who translated Serlio. He was titled as a ‘geometer and architect’, which was the first official use of this term by a Spanish royal patron. His qualities as a humanist and theorist gained him (royal) recognition in the liberal art of architecture (KUBLER, 1982).
The second, Juan Bautista de Toledo, was appointed as an architect in 1559. He had been Michelangelo’s assistant at St. Peter from 1546 to 1548. His promotion turned into a personal tragedy when his wife and two daughters and all his books and papers were lost when the ship sank, which had to bring them from Naples to Spain. His appointment – after this event and as an outsider – was marred with conflicts and crises, but the King backed him until he died on 21 May 1567.
The third, Juan de Herrera, was an assistant of Toledo, appointed by the King in 1563 to check on the unpredictable authority of Toledo. He was appointed in 1576 as a royal architect – after years working in the background, with close ties to the King as Master of the Horse (1569 – 1577) and later (1579) as a court chamberlain.
The inactive year of Toledo’s death (1567) was followed two years later by an increase in activities. Flemish slaters expanded their trade after the work on the King's temporary dwelling La Fresneda was finished. The main staircase, which was the showpiece of the monastery, the roofing of the kitchen wing, and the paving made good progress. The cloister was finished in 1579 when the parapets were placed. The basilica started in 1574 and was finished in 1586.
The building of the fountain began in 1586, following the symbolism of the Garden of Eden, with four rivers watering Asia, Africa, Europe and America. The design had similarities with the Fons Vitae, also with four basins, at the Manga cloister of Santa Cruz in Coimbra (Portugal), built in 1533 – 1534.
The work on the actual royal dwelling (King’s House) in the northeast quadrant had begun in 1570 – 1572. It took nearly fifteen years until the court moved from their provisional quarters to the new accommodation in August 1585, but most of the palace and the college had still to be finished.
The library portico, which was part of Toledo’s ‘’universal plan’, only started when the construction of the palace, basilica, and college had ceased and was finished in 1583. The hospital buildings (infirmary) were situated outside the main cuadro (of 1562) at the southwestern corner. Farm buildings, later known as La Compana, were also outside the monastery. The northern service buildings (casas de oficios) were mentioned in 1581. Fig. 727 shows the Escorial in a reconstruction of the situation in 1568.
The history of the Escorial came into a new phase after Philip died in September 1598. The complex was complete except for its initial purpose: the underground burial chamber intended for the tombs of the dynasty. The circular plan of Panteón, initiated under Herrera’s direction, had four stairs and a light shaft. However, little work was done until 1617 – 1635 when G.B. Crescenzi altered the plan from circular to octagonal. After he died in 1635 the work was completed in 1654 by Fray Nicolas de Madrid (following Crescenzi’s plan). The crypt was described by Fray Francisco de los Santos as the Panteon. His book included all the rituals of transferring the royal bodies since 1586.
Several fires caused damage to the complex in later years. The first one happened in 1577 at the southwest tower. A most destructive fire took place on the 7th of June 1671, in which also the monastery roofs burst into flames. Many manuscripts were destroyed. Some sixty years later, in 1731, the fire started again at a chimney in the college. The Compana was destroyed in 1744, and the last great fires took place in 1763 and 1825.
A plague of termites threatened the building in 1953. This event sparked a restoration program instigated by the government. The crossing towers in the monastery and college were rebuilt in 1963. Their spires were re-designed by Bartolomé Zúmbigo in 1673 in a Baroque fashion but changed again to the original layout of Herrera as given in the last quarter of the sixteenth century. The result was an example of the use of two of the major elements of a quadralectic architecture: the octagonal roof fitted onto the square of the tower.
Characterization of the Escorial complex by art historians (like Nikolaus Pevsner) pointed to a classification as a ‘mannerist’ building. Mannerism is the term (from maniera) used for imitation and exaggeration of the work of the High Renaissance. Its severity and simplicity were associated in the first half of the twentieth century (mainly by German art historians) with puritanism and asceticism, like the character of Philip II himself. This perception was later challenged and even denied: ‘If psychic states and architectural forms were this closely related in the process of design, then architecture as a whole would long ago have been recognized as a dictionary of psychic attitudes’ (KUBLER, 1982; p. 126).
The plan of the Escorial near Madrid follows tetradic lines with a four-division in function (palace, college, monastery, and place of contemplation) organized around a church with a square ground plan.
Some observers pointed to Post-Reformation geomancy as initiating the design. Nigel PENNICK (1979) stated that ‘the Escorial at Madrid was built according to a Jesuit interpretation of the Vision of Ezekiel’. Others go further back and tried to find Renaissance ideas of magic underlying the design of the Escorial (TAYLOR, 1967). René Taylor wondered whether the courtier and ‘architect’ Herrera could not be ‘a Magus, a man deeply versed in Hermetism and occult lore, who by virtue of this was attached in a special way to the King?’
George Kubler (pp. 128 – 130) denied the view that the King and Herrera had occult views. He could prove that the King did not sympathize with astrology and horoscopes. The court’s association with the mystic Ramon Lull (1232 – 1316) – the ‘Doctor illuminatus’ with his combinatorial method for categorizing all possible knowledge (see p. 780), but also with his intention to convert Muslims to Christianity – was purely academically, according to Kubler. It is regrettable that none of these authors make any reference to a particular type of division thinking, which might elucidate such labels like Mannerism, Puritanism, astrology, magic, etc.
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Bibliography
KUBLER, George (1982). Building the Escorial. Princeton University Press, Princeton, New Jersey. ISBN 0-691-03975-5
PENNICK, Nigel (1979). The Ancient Science of Geomancy. Man in harmony with the earth. Thames and Hudson Ltd., London.
TAYLOR, René (1967). Architecture and Magic. Considerations on the Idea of the Escorial. Pp. 81 – 109 in: Essays in the History of Archtecture Presented to Rudolf Wittkower. New York.
A test frame for an experimental energy based projectile. Equipped with Plasma Pod Howitzer, Burst Cannon, and External Power Cell
A picture taken on March 9, 2017, shows a 1955 Buick Super parked outside the home of Mohammad Mohiedine Anis in Aleppo's formerly rebel-held al-Shaar neighbourhood. / AFP PHOTO / JOSEPH EID
This weekend some really great things happened but also some not so good. Conflict within our family is one of the not so good. I'm hoping for resultion very soon, the other was the spilt motor oil but that's small stuff, such small silly stuff compared.
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
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Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
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In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
This morning on the ferry to NDSM, this man awoke my inner ethical conflict about candid street photography. Since I started something nibbles at me saying that is it not right to photograph people without them knowing. Of course it's perfectly allowed legally and I keep telling myself that when I'm in doubt. But when this man stared right into the lens I hestitated for at least a tenth of a second before hitting that shutter button. And looking at this particular portrait, I think this man will now represent the doubt in me to continue with the way I work.
Not much to say about this one ... whatever this couple was smiling about, it certainly put them in a good mood.
Note: this photo was published in a Jun 18, 2009 blog titled "リア充を気取ってモテカワ愛されブロガーになるたった5つの方法." It was also published in a Jul 27, 2009 blog titled "Conflict: Part Two." And, somewhat curiously, it was published on the home page of a website called Jew For Me. It was also published in a Feb 18, 2009 blog titled "Number One Piece of Dating Advice Broken Down."
More recently, the photo was published in a May 24, 2010 blog titled "Trouwkaarten: hoe kies ik de foto." It was also published in a Jun 4, 2010 blog titled "Balancing parenting and marriage: Keeping the intimacy alive." And it was published in a Jun 28, 2010 blog titled "Don't Fail Her First Test." It was also published in a Jul 9, 2010 blog titled "Waiting to Meet Janice." And it was published in a Dec 17, 2010 blog titled "Looking for Love Has Its Pitfalls." It was also published in a Dec 23, 2010 blog titled "Sustainable Love: Obstacles to Intimate Conversation."
Moving into 2011, the photo was published in a Jan 20, 2011 Russian blog titled "5 начина да я впечатлиш на първите ви срещи." And it was published in a Mar 4, 2011 blog titled "あなたの脳は男脳？ それとも女脳?" It was also published in an undated (mid-Jul 2011) MagForWomen blog titled "Seven Mean Ways To Manipulate Men." It was also published in a Jul 29, 2011 blog titled "10 Ways To Wreck Your Marriage." And it was published in an Aug 4, 2011 blog titled "【ホンマでっか!? TV】男性にとって魅力的な女性、忘れられない女性とは?" It was also published in an Aug 29, 2011 Slate (France) blog titled " Les soucis financiers empêchent les femmes de dormir, pas les hommes."
Moving into 2012, the photo was published in a Jan 31, 2012 blog titled "Best Money Tips: Frugal Dating Tips for New Couples" It was also published in a Mar 13, 2012 blog titled "Pleased Couple." And it was published in a Jul 12, 2012 blog titled "6 Questions to Ask Your New Travel Partner Before Your First Trip." It was also published as an illustration in an undated (early Sep 2012) "love quiz" titled "Are you too dominating on your partner?"
Moving into 2013, the photo was published in a Feb 19, 2013 blog titled "Dr. Enrique Peñalosa Delivers Keynote Speech at Recycle-A-Bicycle’s 3rd Annual Youth Bike Summit." It was also published in a Mar 7, 2013 blog titled "Get Tested: It’s Easier Than You Think." And it was published in an undated (mid-Apr 2013) Mommathon blog titled "Parenting Advice and Parenting Skills." It was also published in a May 24, 2013 blog titled "Four Ways your Relationship May Be Harming Your Health." And it was published in a Jul 19, 2013 blog titled "12 Couples That Need To Get A Room." It was also published as one of ten illustrative slides in an undated (early Aug 2013) blog titled "Cheating Myths."
Moving into 2014, the photo was published in a Feb 18, 2014 blog titled Your First Impression About Someone Is Usually True, Study Finds www.hngn.com/articles/24649/20140218/first-impression-som...
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When you say "New York City," most people think of Times Square, or the Empire State Building, or the crowded sidewalks and the skyscrapers in mid-town, or Wall Street, or the ill-fated World Trade Center. Maybe Central Park will come to mind, but most people don't realize that New Yorkers know lots of places to relax, and enjoy the sunshine and fresh air ...
... like Carl Schurz Park, over by the East River on the Upper East Side of Manhattan, stretching from 90th Street down to about 84th Street. In addition to flower gardens, dog runs, basketball courts, playgrounds, and grassy knolls for sunbathing, there is also a wide promenade where cyclists, roller-skaters, dog-walkers, lovers, joggers, parents, children, and any of the other millions of citizens of this city can stroll along at whatever pace suits them best. Some sit at benches along the edge of the river, staring at the roiling water caused by the swift current down the East River; others nod and smile as they watch sailboats, motorboats, yachts, barges, tour-boats, and barges ply their way up and down the river.
One thing's for certain, though: everyone enjoys Carl Schurz Park. It's one of New York's little secrets ...
Conflict, a basic tenet of nature, as seen in the battle of the sea and shoreline and the old man and his struggle to walk on the sand.
Been working on this the past couple of days, but I've had the tank on my desk since July. I really like how the ship turned out, except I wanted to replace the 1x4 side tiles with black wings (the ones that starts as a 1x4 and go to a 1x2).
I wish I didn't have to tilt the tank back so far.
OK, here's how you do this. 1) Find a suitable Christmas tree or set of lights.
2) Set your camera to "Night Shooting" mode, or the shutter speed to a couple of seconds.
3) Hold the camera in front of the tree and focus on the nearest light.
4) Click the shutter
5) Just before the shutter is about to open, toss the camera up in front of the tree with a flick of your wrist so that it spins in the air while the lens remains pointing at the lights.
6) Catch the camera before it falls!
Another great way to avoid doing anything meaningful and productive so you can waste time on Flickr!
I like photographs that are candid and not arranged but when I saw these two elements separated, I knew I have to bring them together.
While walking around Bethlehem Steel, I decide to go down an alley that I've never been down before. Looking ahead of me I saw this dumpster sitting next to a building. I also noticed the writing on it and thought it would make a nice picture. After walking a few feet I stumbled across this rose laying on the ground and knew that this element would make the photograph. I've been trying to take more selective colour photographs and I knew that the red rose would contrast nicely with the dull dumpster.
Website: ethanhassickphotography.webs.com
Facebook: www.facebook.com/ethanhassickphotography
"Save the girl child campaign by SOCIAL GEOGRAPHIC"
Photo: Firoz Ahmad Firoz
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According to one United Nations estimate, 113 to 200 million women are “demographically missing” from the world today. That is to say, there should be 113 to 200 million more women walking the earth, who aren’t. By that same estimate, 1.5 to 3 million women and girls lose their lives every year because of gender-based neglect or gender-based violence and Sexual Violence in Conflict ( Read more about UN Action against Sexual Violence in Conflict www.stoprapenow.org/ ). We can point a finger at poverty. But poverty alone does not result in these women’s deaths; the blame also falls on the social system and attitudes of the societies.
India alone accounts for more than 50 million of the women who are “missing” due to female foeticide - the sex-selective abortion of girls, dowry death, gender-based neglect and all forms of violence against women.
Since the late 1970s when the technology for sex determination first came into being, sex selective abortion has unleashed a saga of horror in India. Experts are calling it "sanitized barbarism".The 2001 Census conducted by Government of India, showed a sharp decline in the child sex ratio in 80% districts of India. The Census Report of 2001 reveals a highly skewed child sex ratio (0-6 year-olds), that fell from 945 females per 1,000 males in 1991 to an all-time low of 927 in 2001. The ratio even dropped further to 800:1,000 in some specific parts of the country. Additional data from the India’s birth and death registration service indicates that the figures have further fallen to fewer than 900 females per 1,000 men over the last few years.
The decline in the sex ratio and the millions of Missing Women are indicators of the feudal patriarchal resurgence. Violence against women has gone public – whether it is dowry murders, honour killings, sex selective abortions or death sentences awarded to young lovers from different communities by caste councils, it is only women’s groups who are protesting – the public and institutional response to these trends is very minimal.
More women are working now than ever before, but they are also more likely than men to get low-productivity, low-paid and vulnerable jobs, with no social protection, basic rights nor voice at work according to a new report by the International Labour Office (ILO) issued for International Women’s Day 2008.
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Say no to sex selection and female foeticide!
Say no to dowry and violence against women!!
Say yes to Women’s Resistance, Education and Empowerment!!!
The Cola Wars are a campaign of mutually-targeted television advertisements and marketing campaigns since the 1980s between soft drink manufacturers Coca-Cola Company and PepsiCo Incorporated.