View allAll Photos Tagged Existence
Sakharibazar, Old Dhaka, 2011
Normal people with extraordinary lifestyles
Along with smile and the gloomy, here life has its own rhyme, has its own colour.
Time passed by, humanity changed along with its history...
But these people remained here tolerating the hardest truth of existences
..........its their story of extraordinary existences.
Sakharibazar, Old Dhaka. A very interesting place for all of us to visit. Culture and customs of old Dhaka are the tribute to the ancient history of Bangladesh. Peoples still living in 100 years old building from generations after generations. With the reflection of their religious beauty Old Dhaka attracts peoples from here and abroad.
Shakhari Bazaar is one of the oldest mohallas (a traditional neighbourhood) in Puran Dhaka (Old Dhaka), located near the intersection of Islampur Road and Nawabpur Road;the two main arteries of the old city and only a block away from the Buriganga River. Shakhari Bazaar stretches along a narrow lane, lined with thin slices of richly decorated brick buildings, built during the late Mughal or Colonial period. Despite rampant modifications, accretion, extension over time, even redevelopment, many still bear the testimony of a rich tradition.
Shakhari Bazaar is the manifestation of the irrational policies, lack of adequate development control rules and distorted legal framework, all of which have left their indelible mark on this precious little mohalla that shares a long history of more than 400 years with Dhaka city itself.The history of Shakhari Bazaar goes back to the pre-Mughal days if not earlier. The first mention of Puran Dhaka can be found in the writings of Mirza Nathan, the general turned historian, who traveled with Subahdar Islam Khan. He mentioned Puran Dhaka, as the area between Dholai Khal and Buriganga river covering Shakhari Bazaar, Tanti Bazaar, Bangla Bazaar, Lakhsmi Bazaar, Bangla Bazaar, Kamar Nagar, Sutar Nagar, Goala Nagar, etc. Each mohalla belonged to separate communities depending on their craft and trade. The influences of the Mughal vocabulary in the planning of the spaces are literally evident in the use of Persian names to identify different spaces..
Yugoslavia was a country in Southeastern and Central Europe for most of the 20th century. It came into existence after World War I in 1918 under the name of the Kingdom of Serbs, Croats and Slovenes by the merger of the provisional State of Slovenes, Croats and Serbs (it was formed from territories of the former Austro-Hungarian Empire) with the Kingdom of Serbia, and constituted the first union of the South Slavic people as a sovereign state, following centuries in which the region had been part of the Ottoman Empire and Austria-Hungary. Peter I of Serbia was its first sovereign. The kingdom gained international recognition on 13 July 1922 at the Conference of Ambassadors in Paris. The official name of the state was changed to Kingdom of Yugoslavia on 3 October 1929.
Yugoslavia was invaded by the Axis powers on 6 April 1941. In 1943, a Democratic Federal Yugoslavia was proclaimed by the Partisan resistance. In 1944 King Peter II, then living in exile, recognised it as the legitimate government. The monarchy was subsequently abolished in November 1945. Yugoslavia was renamed the Federal People's Republic of Yugoslavia in 1946, when a communist government was established. It acquired the territories of Istria, Rijeka, and Zadar from Italy. Partisan leader Josip Broz Tito ruled the country as president until his death in 1980. In 1963, the country was renamed again, as the Socialist Federal Republic of Yugoslavia (SFRY).
The six constituent republics that made up the SFRY were the SR Bosnia and Herzegovina, SR Croatia, SR Macedonia, SR Montenegro, SR Serbia, and SR Slovenia. Serbia contained two Socialist Autonomous Provinces, Vojvodina and Kosovo, which after 1974 were largely equal to the other members of the federation. After an economic and political crisis in the 1980s and the rise of nationalism, Yugoslavia broke up along its republics' borders, at first into five countries, leading to the Yugoslav Wars. From 1993 to 2017, the International Criminal Tribunal for the former Yugoslavia tried political and military leaders from the former Yugoslavia for war crimes, genocide, and other crimes committed during those wars.
After the breakup, the republics of Montenegro and Serbia formed a reduced federative state, Serbia and Montenegro, known officially until 2003 as the Federal Republic of Yugoslavia (FRY). This state aspired to the status of sole legal successor to the SFRY, but those claims were opposed by the other former republics. Eventually, it accepted the opinion of the Badinter Arbitration Committee about shared succession and in 2003 its official name was changed to Serbia and Montenegro. This state dissolved when Montenegro and Serbia each became independent states in 2006, while Kosovo proclaimed its independence from Serbia in 2008.
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s136a 7750 EncJu1962 Grbovi i zastave Zagreb MCMLXII 5 Jugos-Mak Enciklopedija Jugoslavije Izdanje i naklada Leksikografskog zavoda FNRJ
Socijalistička Federativna Republika Jugoslavija (SFRJ; skraćeno Jugoslavija; također poznata i kao "Druga Jugoslavija") bila je država nastala 29. novembra 1943. na drugom zasjedanju AVNOJ-a u Jajcu kao zajednica 5 naroda i 6 republika, sa prvobitnim imenom Demokratska Federativna Jugoslavija (DFJ). To je ime promijenjeno 29. novembra 1945. na trećem zasjedanju AVNOJ-a u Beogradu u Federativna Narodna Republika Jugoslavija (FNRJ), da bi konačno 7. aprila 1963. dobila ime Socijalistička Federativna Republika Jugoslavija (SFRJ). Bila je jedna od osnivača Ujedinjenih nacija i Pokreta nesvrstanih.
SFRJ je bila nasljednica Kraljevine Jugoslavije (1918-41). Prestala je postojati 1992. godine osamostaljivanjem Slovenije, Hrvatske i Makedonije (1991), zatim i Bosne i Hercegovine (1992) iz federacije. Preostale republike, Srbija i Crna Gora, formirale su novu zajednicu; prvo u aprilu 1992. SR Jugoslaviju, potom 2003. državnu zajednicu Srbija i Crna Gora, a na referendumu 21. maja 2006. godine Crna Gora je istupila iz državne zajednice, stvorivši samostalnu republiku. Kosovo se 2008. godine odvojilo od Srbije proglašavanjem nezavisnosti.
The Class 322s have had quite a nomadic existence never really found a proper home anywhere over the last thirty years since they were first introduced by Network South East for express services to Stansted Airport from Liverpool Street. After privatisation the units lost their unique variation of NSE livery in favour of the livery pictured above and took the branding 'Stansted Skytrain'. Not long after this the units became part of the WAGN common user fleet and were liable to turn up on any working. This led to most of the small class transferring to North Western Trains for their new Manchester Airport to London Euston service. After a brief return to WAGN they once again headed north but this time they went to Scotrail for use on the North Berwick line from Edinburgh, the above picture is an unknown working but it appears to be a crew training or route learning trip.They headed south once again in 2009 after the Class 380s arrived in Scotland and this time they headed to Northern and found use alongside their cousins the Class 321/9s and the newer Class 333s on local duties from Leeds. Their time now seems to be up however with the imminent arrival of new Class 331 emus.
Moves that day:
5862 & 5863 0518 Feltham-Vauxhall
3083 Vauxhall-Kings Cross
319382 & 319429 0631 Kings Cross Thameslink-Luton Airport Parkway
G-EZJA 0935 Luton-Glasgow International
334029 1113 Paisley Gilmour St-Glasgow Central
170417 1230 Glasgow Queen Street-Edinburgh Waverley
91127 & 82218 1400 Edinburgh Waverley-Newcastle
91021 & 82205 1626 Newcastle-Yok
373301 & 373302 1750 York-London Kings Cross
3186 Kings Cross-Euston
53713 Euston-Waterloo
5858 2042 London Waterloo-Feltham
light is a rainbow
it hides seven colours
to bring life to our existence
life is a rainbow
it hides seven senses
to help us reach out
to the light of existence
john tiong chunghoo
See that light streaking behind me?
That is just another person driving a vehicle on a highway zooming by that I will never meet.
Yet their light streak of their particular vehicle becomes a piece of art for day 243 of my tiny little personal 365 project.
The person that is invisible in this photograph shown only by the streaking lights of their vehicle will stay with me forever.
Who are they? What do they do? Who cares? I kind of want to. But I really can’t.
There is so much going on around me right now that it blows my mind. I want to cry, scream, hide, and run around the block all at the same time.
So many lives being broken. So many people in love, falling out of love, feeling good, and being completely lossless.
Who is the guy driving the vehicle with the streaking lights? Why are you reading this?
You know what?
Take a minute to walk outside of where you live and go outside. Breathe the air and look up into the sky. Look at the airplane going by and think about all the individual people and stories going on in that 4 second blurb in your sky.
Look at the distant star that glimmers in your eye. It is so far away that your (or mine – or any human brain) can truly comprehend.
What is going on there on that star and how does it figure into YOUR life?
What are you doing? Why are you doing it? Why are you reading this? Why did you click on this? Who gives a shit? And if you do – seriously?
Does it change you for the better? Are you advancing? How does your tiny small immensely diminutive existence really piece into the whole entire being of what we are.
Where is this entire train is moving?
I hope I can change as much of the evolution as I am able. Sometimes I feel part of the rat race. Other times I feel a little more of a leader.
But sometimes I take the time to stare at the light streak behind me that I didn’t even originally notice and realize invisibly there is a person in that indiscernible vehicle that holds an entire life story that I did not recognize for nothing but the light streak that they gave me for my stupid ass nothing photo.
The photo at hand?
Me standing with a cigarette in front of a highway in Oakland. Somehow smoking a cigarette or even holding one adds personality to my photos. Or at least I think it does.
The light streak sure is cool …
Right?
Location: exit 23rd street off of the I880 highway; Oakland, California
Taken August 5th, 2009
Posted August 9th, 2009
*=lapse
This was calm room. And, there was nothing but this plant.
But, something existed there.
静かな部屋。
真ん中の存在感はたっぷりだけど。この部屋は本当は人がいなくて寂しいんじゃないかと思ったり。
The Falkirk Wheel is a rotating boat lift in Tamfourhill, Falkirk, in central Scotland, connecting the Forth and Clyde Canal with the Union Canal. It reconnects the two canals for the first time since the 1930s. It opened in 2002 as part of the Millennium Link project.
The plan to regenerate central Scotland's canals and reconnect Glasgow with Edinburgh was led by British Waterways with support and funding from seven local authorities, the Scottish Enterprise Network, the European Regional Development Fund, and the Millennium Commission. Planners decided early on to create a dramatic 21st-century landmark structure to reconnect the canals, instead of simply recreating the historic lock flight.
The wheel raises boats by 24 metres (79 ft), but the Union Canal is still 11 metres (36 ft) higher than the aqueduct which meets the wheel. Boats must also pass through a pair of locks between the top of the wheel and the Union Canal. The Falkirk Wheel is the only rotating boat lift of its kind in the world, and one of two working boat lifts in the United Kingdom, the other being the Anderton Boat Lift.
The two canals served by the wheel were previously connected by a series of 11 locks. With a 35-metre (115 ft) difference in height, it required 3,500 tonnes (3,400 long tons; 3,900 short tons) of water per run and took most of a day to pass through the flight.
By the 1930s these had fallen into disuse, and the locks were dismantled in 1933. The Forth and Clyde Canal closed at the end of 1962, and by the mid-1970s the Union Canal was filled in at both ends, rendered impassable by culverts in two places and run in pipes under a housing estate. The British Waterways Board (BWB) came into existence on 1 January 1963, the day the Forth and Clyde Canal was closed, with the objective of finding a broad strategy for the future of canals in the United Kingdom.
In 1976, the BWB decided after a meeting with local councils that the Forth and Clyde Canal, fragmented by various developments, was to have its remaining navigability preserved by building new bridges with sufficient headroom for boats and continuing to maintain the existing locks.[6] Restoration of sea-to-sea navigation was deemed too expensive at the time, but there were to be no further restrictions on its use. A 1979 survey report documented 69 obstructions to navigation, and sought the opinions of twenty interested parties to present the Forth and Clyde Local (Subject) Plan in 1980.
The Lotteries Act 1993 resulted in the creation of the Millennium Commission to disseminate funds raised by the sale of lottery tickets for selected "good causes." In 1996, when sufficient funds had been accumulated, the Commission invited applications to "do anything they thought desirable ... to support worthwhile causes which would mark the year 2000 and the start of the new millennium." The conditions were that the Commission would fund no more than half of the project, with the remaining balance being covered by project backers.
The BWB had made an earlier plan for the reopening of the canal link, which comprehensively covered the necessary work. In 1994, the BWB announced its plan to bid for funding, which was submitted in 1995 on behalf of the Millennium Link Partnership. The plans called for the canals to be opened to their original operating dimensions, with 3 metres (9.8 ft) of headroom above the water. The whole project had a budget of £78 million.
On 14 February 1997, the Commission announced it would support the Link with £32 million of funding, 42% of the project cost. The Wheel and its associated basin was priced at £17 million, more than a fifth of the total budget. Another £46 million had to be raised in the next two years before construction could commence, with contributions from BWB, seven local councils, Scottish Enterprise, and private donations being augmented by £8.6 million from the European Regional Development Fund.
The Morrison-Bachy Soletanche Joint Venture Team submitted their original design, which resembled a Ferris wheel with four gondolas, in 1999. It was agreed by all parties that the design was functional, but not the showpiece the BWB were looking for. After being asked to reconsider, a 20-strong team of architects and engineers was assembled by British Waterways. Under the leadership of Tony Kettle from architects RMJM, the initial concepts and images were created with the mechanical concepts proposed by the design team from Butterley and M G Bennetts. This was an intense period of work with the final design concept completed in a three-week period during the summer of 1999. The final design was a co-operative effort between the British Waterways Board, engineering consultants Arup, Butterley Engineering and RMJM.
Diagrams of gear systems that had been proposed in the very first concepts were modelled by Kettle using his 8-year-old daughter's Lego. Drawings and artist impressions were shown to clients and funders. The visitor centre was designed by another RMJM architect, Paul Stallan.
Inspirations for the design include a double-headed Celtic axe (a bearded axe), the propeller of a ship and the ribcage of a whale. Kettle described the Wheel as "a beautiful, organic flowing thing, like the spine of a fish,"[17] and the Royal Fine Art Commission for Scotland described it as "a form of contemporary sculpture."
Models and renderings of the Falkirk Wheel were displayed in a 2012 exhibition at the Victoria and Albert Museum in London. Since 2007, the Falkirk Wheel has been featured on the obverse of the new series of £50 notes issued by the Bank of Scotland. The series of notes commemorates Scottish engineering achievements with illustrations of bridges in Scotland such as the Glenfinnan Viaduct and the Forth Bridge.
In March 1999 Donald Dewar, the Secretary of State for Scotland, cut the first sod of turf to begin work at lock 31 on the Forth and Clyde Canal. Over 1000 people were employed in the construction of the wheel, which has been designed to last for at least 120 years.
The wheel was fully constructed and assembled at the Butterley Engineering plant in Ripley, Derbyshire. The structure was then dismantled in the summer of 2001, and transported on 35 lorry loads to Falkirk, before being reassembled into five sections on the ground and lifted into place. Construction of the canal required 250,000 m3 (8,800,000 cu ft) of excavation, a 160 m (520 ft) canal tunnel of 8 m (26 ft) diameter, aqueducts of 20 m (66 ft) and 120 m (390 ft), three sets of locks and a number of bridges, as well as 600 m (2,000 ft) of access roads. The 180 m (590 ft) Rough Castle Tunnel was driven in three stages, with the two upper quarters being drilled with a standard excavator before the lower half was dug using a modified road planer in 100 mm (4 in) layers. This technique was 15% cheaper and reduced the build time of the tunnel by two weeks.
The ground on which the wheel is built was previously used as an open cast fire clay mine, a coal mine, and a tar works, resulting in contamination of the canal with tar and mercury. Twenty metres (66 ft) of loosely packed backfill from the mining operations containing large sandstone boulders was not considered adequately solid foundation for the size of the structure, so deep foundations with thirty 22 m (72 ft) concrete piles socketed onto the bedrock were used.
Due to the changing load as the wheel rotates in alternating directions, some sections experience total stress reversals. In order to avoid fatigue that could lead to cracks, sections were bolted rather than welded, using over 14,000 bolts and 45,000 bolt holes.
The aqueduct, engineered by Arup, was originally described as "unbuildable", but was eventually realised using 40 mm (1.6 in) rebar. The original plans also showed the canal being built straight through the Antonine Wall, but this was changed after a petition in favour of two locks and a tunnel under the wall.
On 24 May 2002, Queen Elizabeth II opened the Falkirk Wheel as part of her Golden Jubilee celebrations. The opening was delayed a month due to flooding caused by vandals who forced open the wheel's gates. The damage, which cost £350,000 to repair, resulted in the dry well being flooded, damaging electrical and hydraulic equipment.
Operation
The wheel has an overall diameter of 35 m (115 ft) and consists of two opposing arms extending 15 m (49 ft) beyond the central axle and taking the shape of a Celtic-inspired, double-headed axe.Two sets of these axe-shaped arms are connected to a 3.8 m (12 ft) diameter central axle of length 28 m (92 ft). Two diametrically opposed water-filled caissons, each with a capacity of 250,000 litres (55,000 imp gal; 66,000 US gal), are fitted between the ends of the arms.
The caissons or gondolas always carry a combined weight of 500 tonnes (490 long tons; 550 short tons) of water and boats, with the gondolas themselves each weighing 50 tonnes (49 long tons; 55 short tons). Care is taken to maintain the water levels on each side, thus balancing the weight on each arm. According to Archimedes' principle, floating objects displace their own weight in water, so when the boat enters, the amount of water leaving the caisson weighs exactly the same as the boat. This is achieved by maintaining the water levels on each side to within a difference of 37 mm (1.5 in) using a site-wide computer control system comprising water level sensors, automated sluices and pumps. It takes 22.5 kilowatts (30.2 hp) to power ten hydraulic motors, which consume 1.5 kilowatt-hours (5,100 BTU) per half-turn, roughly the same as boiling eight kettles of water.
Each of the two caissons is 6.5 metres (21 ft) wide, and can hold up to four 20-metre-long (66 ft) canal boats. The wheel raises or lowers boats a total of 24 metres (79 ft), and two subsequent locks raise or lower boats another 11 metres (36 ft).
Watertight doors
Watertight doors at each end match doors located on the upper structure and lower dock pit. Due to space concerns, where a normal hinged door would dramatically reduce the useful length of the caisson, vertically rising hinged doors were chosen. The doors are raised from a recess in the base of the caisson and powered by a hydraulic lance when docked.
After the wheel arms are moved into the vertical position, the locking mechanisms are activated. These include securing pins that are protruded into the caisson bases, and hydraulic clamps that are raised to hold the caissons in place. Additionally, a set of larger securing pins at the lower structure is used to hold the wheel. Although the door of the upper caisson and the door that holds the water at the upper aqueduct are aligned, there is a gap between them. The upper aqueduct door has a U-shape watertight frame which can be extended to push against the caisson door to seal the gap. The water is pumped into the gap to fill to the water level. Once the water in the gap is equalized, the door on the aqueduct side is lowered, followed by the door on the caisson side, allowing the boat to pass. On the reverse direction, when the boat is in the caisson, the caisson door is raised, followed by the upper aqueduct door. The water is pumped out of the gap. Then the U-shape watertight seal is recessed back closer to the upper aqueduct door. Finally, the locking mechanisms are removed before the wheel is turned. This process is similar for the door at the lower canal basin as well.
Engine room
The area housing the machinery to drive the wheel is located in the final pillar of the aqueduct, and contains seven chambers connected by ladders.[38] Access is by a door located at ground level or an entrance halfway up the tower with a gantry crane to facilitate the installation of equipment.
The ground floor houses the transformers for powering the wheel. When the wheel was flooded by vandals in April 2002, this room was filled to within 8 cm (3 in) of the 11 kV busbars. On the first floor is a standby generator and switchgear should the mains supply to the wheel fail. The second floor houses a pair of hydraulic pumps that drive the hydraulic motors in the chamber above. Power is supplied directly to the axle with 10 hydraulic motors, which also double as brakes. Connected to each motor is a 100:1 gear system to reduce the rotation speed.
Mechanism
The caissons are required to turn with the wheel in order to remain level. Whilst the weight of the caissons on the bearings is generally sufficient to rotate them, a gearing mechanism using three large identically sized gears connected by two smaller ones ensures that they turn at precisely the correct speed and remain correctly balanced.
Each end of each caisson is supported on small wheels, which run on rails on the inside face of the 8 m (26 ft) diameter holes at the ends of the arms. The rotation is controlled by a train of gears: an alternating pattern of three 8 m (26 ft) diameter ring gears and two smaller idler gears, all with external teeth, as shown in the picture. The large central gear is fitted loosely over the axle at its machine-room end and fixed in place to prevent it from rotating. The two smaller gears are fixed to each of the arms of the wheel at its machine-room end. When the motors rotate the central axle, the arms swing and the small gears engage the central gear, which results in the smaller gears rotating at a higher speed than the wheel but in the same direction. The smaller gears engage the large ring gears at the end of the caissons, driving them at the same speed as the wheel but in the opposite direction. This cancels the rotation due to the arms and keeps the caissons stable and perfectly level.
Docking pit
The docking pit is a drydock-like port isolated from the lower canal basin by watertight gates and kept dry by water pumps. When the wheel stops with its arms in the vertical position it is possible for boats to enter and exit the lower caisson when the gates are open without flooding the docking-pit. The space below the caisson is empty.
Without the docking-pit, the caissons and extremities of the arms of the wheel would be immersed in water at the lower canal basin each time the wheel rotated. The buoyancy of the lower caisson would make it more difficult to turn the wheel.
Visitor centre
A visitor centre is located on the east side of the lower basin. Boat trips on the wheel depart approximately once an hour. Since the wheel opened, around 5.5 million people have visited and 1.3 million have taken a boat trip, with around 400,000 people visiting the wheel annually.
Media mentions
The wheel has been mentioned on Smithsonian Channel in the United States twice since 2017. The first was Aerial Britain when the episode covered Scotland in 2017. The second was How Did They Build That? as part of the "Arctic Structure and Auditoria" episode which aired in 2021. It was also described in detail in the series Impossible Engineering (Series 5, Episode 15) aired in 2020.
The wheel provided the inspiration for the "monorail elevator" in Bethesda's Fallout 76 computer game.
By the Berkeley Art Studio and Precita Eyes Muralists, 2017. Underneath the Chávez Student Center on the University of California, Berkeley campus, Berkeley, CA.
Photographed at the trade fair "CeBIT" 2009 in Hannover, Germany. Divider for different parts of the fair hall. But I do some work in photoshop to arrange it bright and colourful.
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La foto es una perspectiva de la CeBIT (feria de informática más grande de Europa que se celebra en Hannóver) 2009.
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Aufgenommen auf der CeBIT 2009 in Hannover. Trennwand in einer Messehalle. Allerdings habe ich in Photoshop etwas nachgeholfen. Das Original ist aus Stoff und weniger klar und deutlich.
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If you intend to use any of my pictures for non-commercial usage, you have to sign them with © alles-schlumpf
It would be nice if you contact me first.
If you have any commercial usage, you need to contact me always first. USE WITHOUT PERMISSION IS ILLEGAL.
You find some of my photos on Getty Images. Search for Alles-schlumpf.
Thank you.
A left of field look at the extermination of aboriginal or indigenous woman. The genocide of their genetics, their culture, and its extended application to the extermination of the woman of the west, and their genocide. A look into the meta data of a Canadian genocide in progress, and its reflection on the USA, and the west. Looking at statistically applied genocide again, using an analysis of meta data, and gross numbers, with a good dose of just join the dots, thrown in for good measure.
Number for number, the extermination of woman is the most effective way to galvanise genocide, within a group or population. Either via VD (venereal disease), social engineering, or otherwise… The murder of female blood lines, via sterilization using germ warfare and social engineering, is and has been extraordinarily effective. The effectiveness relies on three major points, one, a woman getting VD that terminates her ability to have children, the second is that since an in-utero baby and or non-conceived foetus is classified as not human yet, there can be no charge of murder, and the third point is, that a woman who chooses a childless existence after indoctrination are seen to be exerting her own free will, in a process of self-determination.
How would I know, or have a right to comment? At one stage I was approached to work in the Biosecurity facility in Victoria, Australia, an offer I declined. Why head hunt me? I had been doing theorisation at university on the logic patterns for treatments and curing of HIV, as a 19-year-old, it must have resonated with someone, for them to send someone to the university to see me. So, no, I am not some uneducated crack pot conspiracy theorist, and I hate to shatter some people’s little world or bubble, but people work at this type of horrid work both in defence and offence all the time. The other reason I am commenting is, I went behind, what some would call enemy lines, into the Arts humanities and observed firsthand, racist, and sexist indoctrination, of people just outside of their childhood. No, it should not have been seen as enemy lines or so I thought, as I am a feminist. But the level of misandry for white males was quite profound, and ironically misogynist behaviour conducted by females was quite shocking. Additionally, I feel at liberty to write, as I have studied and written about genocide at university.
So let’s get into it. Why murder or sterilize aboriginal or indigenous woman? One of the things I looked at was that men can impregnate hundreds in a lifetime, but a woman’s uterus is only so capable, it is in fact highly limited. I observed through finger printing or meta data and extrapolation that some abhorrent groups males and or females, are doing maths on how many women do they need to kill of aboriginal decent, before they get rid of all those that can be considered aboriginal. Why would someone or a group do something so horrible? This scenario will greatly aid foreign interests in the taking of countries like Australia and the Americas, in the future.
We are going to have a little look at a field of study that for some is unfortunately very large, and for some is a horrifically very creative field of endeavour, so my considerations and observations will be limited in scope, to keep this writing manageable.
My considerations of indigenous genocide raised many questions such as. Does giving up your land coincide or correlate with a reduction in a woman’s chance of genocide or an increase? And if so in either case why? If a woman will give up her uterus to outsiders, does she suffer a lower rate of genocide, or is it more? The techno YouTube hit by The Halluci Nation “Burn your village to the ground” help make me ponder similar questions, here is a link to the YouTube video www.youtube.com/watch?v=GNi__fnadTM&list=WL&index=82 It can be argued between warriors and wise men about the process of colonisation, its effect, and the motives for that colonization other than, the at times, murderous acquisition of land. But when it comes to the act of murderous colonisation, its effectiveness is amplified to an accelerated final solution of sorts. When you exterminate a woman’s genetics with the eradication of their unborn babies or foetuses before they are even conceived, it leaves no legal recourse. Murdering woman, and sterilizing them are potent weapons, when performing the act of genocide. When woman are used as breeding vessels, for foreign genetics, or sterilized via VD (venereal disease), or sterilized with anti-feminist dogma masquerading as feminist mantras, the result is a loss of land and resources. Before I go further, I will go on the record, that I have no issues with mixed race relationships, as I have been in a few. I have always found them enlightening, and culturally enriching, and it is my sincere hope that those relationships were mutually beneficial.
The relatively recent insertion into humanity and the debate about the purity of races goes back to a period most of us but not all of us wish had not happened, the second world war. And unusually it was a conundrum for those that argued it, and what would be the future outcomes in the west, if it had of been achieved globally. It presented a legal consideration that I have identified, and its possible application for many indigenous, and their extended families. In one respect it is not a complex one and is unusually of benefit to all nations who have an indigenous culture and or peoples. Provided an indigenous cultures and peoples still exist, it can be argued that under international law the west has a failsafe or caveat for future attempts of colonization via foreign powers. ie. if someone comes to our countries with colonialist intent trying to divide the tribes as it where, and says we, as in those considered nonindigenous have no write to be here, and that we, whoever we are, or may be have stolen the land, we politely ask our indigenous relatives, some of which need to be overtly aboriginal, to tell them to go away. They then say these are my blood relatives and this is not your land to comment on. For the new world order colonist, it is a slap in the face, and they are left eating their own words. It is a polite conversation, one that should end the colonialist’s verbal pursuit in its tracks, and it can only go further, if that foreign power, turns to violence, or a forced acquisition of the land through murder and or subjugation. It is simple legally, but a big ask emotionally, and politically, for all the family’s involved. As members of our families have murdered, other members of our families, and stolen land from them. It is like a doom’s day sentence of language, to get out of hell, one that relies on forgiveness, but not forgetting our at times horrific past. This approach helps failsafe against future forced or coerced loss of land. It was a principle based on a piece of mathematics an Australian soldier did on the synchronisation of fireflies’ flashes, and was popularised by the movie six degrees of separation. I just applied it to our families in OZ and the US when it came to the connections between blood relatives that are aboriginal or indigenous, and the rest of us, instead of social connections as was depicted in the original piece of math.
Although the theft of land and unhonored treaties is without question a horrific tragedy, and for some it is a Rorschach ink blot and not a legal contract, it presents us as in those in the west of all descriptions and spiritualties a means of great opportunity to stifle New World Order colonialist colonization of our shared family land. Regardless of race, if no one tries to politically capitalise on the process of the recognition of our family as a nation, and go outside of genuine good will, it is an utterly profound, legal, and social statement. Essentially it aids countries in the west like Australia and the US. Nations essentially made up of family, a family that includes aboriginal natives and or the indigenous. Like it or not. This legal consideration led me to consider if I could see this benefit as an individual, maybe, think tanks full of psychopaths brighter than me, who are hell bent on the acquisition of our land could too. And thus, we, or at least me, can see a motive for modern day colonialist destabilization of the west, along race, and spirituality lines, one that ends in a process of genocide. This scenario has been publicly debated and raised in a myriad of fashions, on a myriad of platforms, so my interpretation is just and extension of that open discourse. The dark part to the consideration is as far as I can statistically observe, though meta data, is it has resulted in current day murder or genocide, of aboriginal people, and their mixed-race relatives, who are bridges between the different races or family groups of people.
The extermination of woman and that process’s ability to kill nations is unquestionable. The question is not are they trying to kill off huge sections of the West’s population, as that is both a measurable and an observable given, the question is, is it non-discriminatory population control, or is it just straight-out genocide of targeted groups in the west? Meta data leads me to believe it is a statistical driven or targeted genocide. But who started it, and who perpetrates it now. Was this a process of neo feminism or woman’s science, to exterminate the uteruses, ovaries, and fallopian tubes of childbearing persons, or as they were historically called woman? Had they, whoever they are, othered people, until a state sanctioned and funded enterprise was created? Producing a sociological statistically driven apparatus to perpetrate genocide. There is no more effective way to terminate a culture than kill off its woman or sterilize them on mass, especially when their numbers are low to begin with. Why sterilize and neuter the woman? Because I presume, they have found out that murdering children is not well looked upon! You don’t have to kill the babies and children if they are not conceived. Sexually transmitted disease, and progressive ideology, have done an amazing job at exterminating female blood lines in the west, a highly ironic event for some feminists to learn, but not for this one to observe. How did I come up with this hypothesis, I extrapolated from Margret Sanger’s work. Margret Sangers work would and has enable mass baby elimination. Later others would extend on her eugenics train of thought in the west, and it would become adult murder as people went down the slippery slope of euthanasia, to the outright murder of healthy adults, via public health care, or a state sponsored system. From her work, she would go onto produce a statistically targeting medical industrial complex apparatus, that would extinguish or kill millions of unborn or not yet conceived foetuses, or as they were historically called babies. Her work was aided with the use of group speak and group think. In what could only be described as a state funded and sanctioned genocidal murder machine. Her ability and desire to exterminate the existence of black foetuses, historically called babies by some, is legendary on the net, and a little look into her motives should leave the hairs on every black, or mixed-race woman, on the planet standing on end. With her revealing in a letter, that and to quote, “We don’t want the word to go out that we want to exterminate the Negro population..." in a Letter to Dr. Clarence J. Gamble, December 10, 1939, p. 2
How prophetic it was that at 4:48 in the YouTube techno hit, “Burn your village to the ground” by The Halluci Nation, a man says, and to quote, “…they have to kill us, they have to kill us, because they can’t break our spirit…” that man was John Trudell. Here is a link to that YouTube music video. www.youtube.com/watch?v=GNi__fnadTM (Please note, there are graphic depictions of genocide, or mass murder shown, and it can be argued that those images should be viewed by adults only, or at least by a mature audience under supervision, and with wise adult guidance). When I first heard him say this, I was genuinely shocked, but on consideration, and with a little look at what happened to the indigenous around the world… I believe he had full, and firsthand knowledge, of the situation at hand. Looking at what Margeret Sanger had planned for black Americans, I can only concur with Trudell. And after a few months of letting it sink in, I had concluded my contemplation on what he had said, and, although still being shocked or confronted by his words, what he said I concluded in his short sentence, was utterly, and profoundly, true.
I like to do extrapolations both mathematical, and all manner of types of correlation and causations within my capabilities, because they generate subsequent considerations of interest in me. To trigger a few people, I do my own research. When I come across things that interest me, and I become inquisitive about things I deem as important, I look further. I had a look at what Mr Trudell said and its application and or implications to other groups of Americans, Black and White. It seemed almost like a dogma being applied currently on many fronts for all Americans, regardless of race, due to their resilience and adaptability. It had been tried before openly, and in wide open public view on the indigenous Americans and the black Americans. Whoever they are, seems to have just kept on going, finding new methods, and new groups, to apply genocide to, for the process to continue. That process is measurable, and identifiable genocide.
Part of the webster definition of what is an American, is and to quote “...a native or inhabitant of North America or South America…”. For me at least the key word is native, and the question it raises in me, is when and who does this apply to, or where does it start and end? Is it all Americans? I have written about writing from a distance about America in isolation here in Australia, and how sometimes it is beneficial. I can write in hindsight, unincumbered by the pressure to respond instantly to events, and it is especially advantages when contemplating the differences and similarities between Australia and the US. I concur and extend on John Trudell, the American, and or, its native or American spirit cannot be exterminated, someone is going to have to kill the owners of it, if they want to overthrow America. So, they, whoever they are, are giving it a good shot. Mr Trudell nailed it. Whoever is perpetrating genocide in the west and killing off Americans or “…we the people… “is doing it, because their spirit cannot be quashed. It should be noted that they are not discriminating on race now, when it comes to who they kill, as they are now killing blacks, whites, and natives, in what appears to be a demographically selective process. Boy have they been busy and gotten to work.
Previously the killing of the west could not be accomplished externally, so lest all thank the American military industrial complex for that. It could only be destroyed from within, but that is not the case anymore. How do they exterminate the people of the Americas, North and South. Via their own hands and words. The elephant in the room is, who could now move Americans against Americans and who are they? It is not a question of if it is happening, it is a question of who is doing it, and how are they manipulating the people, as in “…we the people…”, to be complicit, in such a diabolical series of events. A series of events, that have ended, and end, in Americans murdering other Americans. And where on further observation in the west, westerners now murder each other, for their own perceived safety and good?
Is Germ warfare being used on our own people? It is a horrible question, but I am going to ask it anyway. And I am going to have a look at the water shed moment of the 60s sexual revolution. The 60s saw the spread of enough VD to kill millions of US and western children or babies before they were born regardless of race. Yes, I just approached the where does life begin paradigm, or the conundrum, and found genocide. Ironically it is not murder under the now common definitions of group think, and group speak. Genocide has been rebranded as sexual liberation and not statistical sterilization, ending, and or, enabling genocide. Doubly ironic, is it effected the intellectuals mostly, in the summer of love. Latter it would spread through their use of drugs and the indoctrination of their children into an orgy of mass fornication. The whole process was aided by drugs that promoted hyper sexualization of the liberal left. From there it was a domino effect to the greater number, but less educated, and more religious, lower socioeconomic groups, essentially encompassing “…we the people…” Raising the question, who needs smallpox infested blankets to murder the Americans regardless of their race, when you can get them to hump themselves into a disease riddled oblivion? Martin Niemöller is utterly quotable in this instance, and a read of his most prophetic statement or poem can be a source of inspiration and insight for many, in my belief. It leaves you asking the question who are they, or who were they? It was a question posed by this very wise man, and interestingly he never directly says who they are.
This is his poem.
First, they came for the Communists
And I did not speak out
Because I was not a Communist
Then they came for the Socialists
And I did not speak out
Because I was not a Socialist
Then they came for the trade unionists
And I did not speak out
Because I was not a trade unionist
Then they came for the Jews
And I did not speak out
Because I was not a Jew
Then they came for me
And there was no one left
To speak out for me
Looking at the American indigenous. First, they came for the warriors regardless of colour creed or denomination, taking their guns. They then came for the religious or spiritual people and tried to exterminate those religious or spiritual people. They tried in vain to destroy their beliefs and teachings. Then they went after the woman and children. When that wasn’t aloud, they then got the woman and children to go after themselves, in an act of induced insanity. Like Martin Niemöller, I cannot identify the instigators, but I can see their effect. To insert some black humour, and in general I was never a fan of the show, this seen in the Simpsons, can be viewed www.youtube.com/watch?v=JFCgz959ARY. Just imagine, visualize, think, or insert different groups of Americans into the Simpsons family’s seats. Kind of like the Milgram experiment, on satirical steroids. Here is a wiki link to a description of the Milgram experiment en.wikipedia.org/wiki/Milgram_ It was an experiment where people were duped into believing they were doing good when they were not. The university system may not have looked at this paper in a long while or forgotten it. But I have not forgotten the principle once it was introduced to me. Ironically the universities may have felt immune or above the results of the experiment. But they have become the perpetrators, or vector, for the very thing they said they were there to stop, ie. harm.
We can list, or go through massacre, after massacre, of people during the colonization of the Americas, but I will not. Instead, I will take a closer look at a small number of murdered people. At university in a subject dedicated to the topic of genocide, I looked at and wept, at the mass murder of my family, by other members of my family. The part that made me weep was the consideration of mathematics and physics related to the event, and the consideration that every life is of immeasurable and unquantifiable value. The consideration was done via the extended theorisation and analysis of a small number. I wept off and on for days at what I saw, as I came to grips with what had happened to my family, but despite that I will take another look here too.
By looking at what appears to be a small number of women and children that were wounded, but then died of their injuries. These woman and children were seen as subhuman, but were not, they were very human. Just what happened to them was inhuman. Those people are the 47 woman and children that died of their wounds during the massacre at Wounded Knee. Consideration of these woman and children produces some shocking and chilling considerations in maths, as to how many people their families would have produced today. I will qualify my statement before going on, by saying when I use the words small number, that it is in no way a reflection of the cost, suffering, and misery their slaughter would have caused. And I hope to show that that, relatively small number when amplified over time produces a horrific number, that no human should feel emotionally immune or isolated from. When considering this number, I looked at Shindler. Shindler was a German industrialist, here is a link to the wiki page, for the movie that immortalised him in the west, en.wikipedia.org/wiki/Schindler%27s_List Shindler had saved about 1200 jews from the German gas chambers of world war two, and today their descendants are in the order of 7000. With exponential population growth this number, and all things not considered, this relatively small number, should become a larger number over time with more babies. That number will or should increase exponentially to a point. And the mathematics of the dead and their progeny when time is considered infinite becomes a very large number. It is a flawed, and highly simplistic isolated theoretical look, at the growth of a population of people. But the consideration of large numbers can help a person, get a grasp of the potential magnitude, of an event, or events. A small number of humans in this case can become a large number over time.
Despite these acts of genocide being a war crime, that is commemorated for all to see, people have recently in the west committed two things on mass. One, the error in thought that it would not happen again, let alone in the west. And two, the error in hubris that it could not happen to them, and or, that they would be the perpetrators of that genocide. But it has happened on both counts with modern techniques. How did it happen so fast? The west has now become tribal under university or higher education teaching, and or the dogma, spread by the influence, of the pseudo intellectual left. The group taught on mass not to other, now others everyone they can. They the left, left us all wide open for a blindside of colonial techniques to be used on us, and thus they let it spread to the greater community, or “…we the people…” What causes it was selective outrage on genocide and selective outrage on sex-based abuses. It was compounded by the ignorance of not being able to see, that foreign actors would profit or capitalize from that selective outrage. As it turned out by pitting citizen against citizen, apparently, “…we the people of the west where not people…” “…with unalienable rights...” we were not “…one nation…” of “…indivisible…” people, we were not people “…with liberty and justice for all…”.” We the people” of western nations turned out instead to be a rabble. But I can only hope it is at least hopefully, for a transient period.
Part of the old tried and true processes of colonialism is othering. Essentially 101 of colonialism. To enable othering, first you find the tribes that had a history of conflict between each other. The example of wounded knee comes back into play in the discussion of othering. As not to be left out are serval relevant sociological points on othering can be found in the above incident at Wounded Knee. One is that people can be conditioned to consider some groups of people to be of so little value that you can murder them on mass, the other is that these people can be conditioned to kill woman and children in cold blood, then take their photos so as to celebrate the incident, as if what they had did was something wonderful. The MO, or modus operandi, of othering a person or group to murder was and is to stoke that fire, or conflict, between groups or tribes, give them weapons to fight each other, but not enough power to be independent. The result is thus, get the tribes to murder each other, while you sit by and profit from that murder. Essentially the first rule of colonial conquest as taught in class 101 of colonialism at university. Furthermore, get them to divulge secrets about the other tribes, so that those secrets, could be capitalized on, when it came to their subjugation, or murder. This type of selective outrage or outright genocidal hypocrisy generated by othering was very observable in the me to movement when it comes to their hypocrisy in the treatment of indigenous woman and the treatment of Judaeo Christian children or woman. Later it spread or come from the UN or United Nations. They othered what could essentially be described as white men in an indiscriminate, blatant contradiction empowered by absolute contempt for due process, a fundamental of the law. Harvey Weinstein sexualized female adults with psychological manipulation and went to jail for it, but the left or the me to movement seem to be silent when it comes to sexualization of children, and the manipulation of those children into performing sex acts by the pseudo intellectual left, for their social profit. In an almost parallel of Weinstein, they the left substituted adult woman for children and they did it on mass. It appears some females and children are worth more than others, and we are not all created equal before the law, or to be precise, at least under the new leftist pseudo morality.
They the leftists then applied themselves against the nations that they should have been there to protect, the ones that had subsidised or funded their educations, or indoctrination. Colonialism continues in different forms, through divide and conquer, and the lies used to achieve it are aided by psychological manipulation. Mark Twain wrote and to quote "The glory which is built upon a lie soon becomes a most unpleasant incumbrance. ... How easy it is to make people believe a lie, and how hard it is to undo that work again!" according to my copilot.
Another case I found of great interest was the disappearance of, or the outright murder, or worse of 174 Canadian indigenous women, who have just vanished into thin air. It got some air play but didn’t seem to draw much worldwide scrutiny and even less critical thought from the international white left and right, especially when compared to other more recent but smaller white atheist tragedies, like the misgendering of children. All they the left seemed to do, was politized the horror story for media exploitation, while doing nothing, not to mention not report their potential proactive role in the process, that caused those women to be vanished into thin air. It did not end there as running parallel to these disappearances was the political move by the Canadian left to reintroduced and rebirth past atrocities from Canadian history. How did they do it? They did it with the aid of the modern-day arts humanity’s faculty. Somehow, despite all the waffling talk, and the best efforts of everyone, they managed to reconstruct the effects and processes of Canadian residential schools.
Like in Macbeth, the bloody hands cannot be washed clean, and it just seems to keep on cascading further out of control, and deeper into madness. We have an expression here in Australia and it is called a shit stain, in this case the abuse of woman and children is an utter shit stain on humanity that will and would not go away. Canada should not feel alone as here in the land of OZ, non-Christian atheists have used the public school system as indoctrination centres, or daytime social re-education camps for children. Just like the residential schools where the objective was to take the Indian out of the Indian, or to commit cultural genocide. The new school curriculum was designed here in Australia and the west to strip the Christians of the last vestiges of their religion or spirituality. It ended the same way as it did when the aboriginal protectorate board here in Australia took mixed race children from their parents and stripped them of any chance of their traditional teachings. People ended up hiding their children in bushes, so they were not taken away from their parents and or families. Or in the modern-day iteration of a repeat of history, they the persecuted would try to home school their children to protect and hide them from cultural and spiritual genocide.
The old Australian aboriginal protectorate board was responsible for the sexual farming out of some female children to some white Australians as domestic servants. And ironically the new age new world order atheists, would sexualize children and indoctrinate them on mass, in a process of state sanctioned and legally enforced grooming. A sexualization of children, that what would unfortunately leave the Australian numbers of raped indigenous girls used for sexual gratification in the homes that were meant to protect them to shame. Moving back to Canada, Despite or possibly outright because of it, it seems like residential schools were used as a smoke screen for the left, as they practiced and reintroduce the process of state sanctioned child obduction, and cultural genocide for selected white and black Canadians. Part of that process was to try to reengineer Canadian’s children on the biochemical level, manipulate their psychology and or disfigure them with scalpels. It was and is a process that leaves the promises of not repeating the residential school’s horrific results, to an utter shameless lie. The state turned into Jack the ripper, and Dr Frankenstein in the space of less than one generation, with social sciences that had taken generations to build and apply. While the public or “…we the people…” became the mob chasing all of the above, with torches into the night. It was all achieved, as the leaders of democratic countries, and a republic, did not obey the wills of their people, or the new age plebians, as some would have you believe they are. Fundamental human rights of children, and woman, to be protected from harm’s way, where “Gone with the Wind”, in a pollical battle for a populist win at the ballot box.
The left in its zealot like zeal to do good, or at least that is what they are saying they are consciously doing “…pathed a way to hell, with good intentions….” (to quote a Portuguese proverb) for millions of families. With what have been called good intentions, members of the government and the supposed higher educated or intellectual classes once again used the schools to do it. No Catholics required it seems this time. In fact, in total irony of the media propagated and promoted big government narrative, Catholics where and are being arrested for trying to stop the travesty. So, if it cannot be blamed on the Catholics this time, what or who is the common denominator? And what is the common objective for those adding and abetting the genocide. The common objective was as far as I can see is unaccountable murder, and the desire for unaccountable control. And to achieve that power grab it was aided and abetted via university or peer approved definitions of words. It enabled them to butcher little kids with blades, and sterilizing many with puberty blockers, under state encourage and enforced programs, created by the leftist state. They enforced it by legal orders. But what was the motive? Do they even know? How does this relate to a discussion on the genocide of woman? Well, if you can’t sterilize or murder the mother, you may as well sterilize her kids under state sanction and legal order, it appears?
Via university definitions of language, the atrocities didn’t end there. In a populist echo chamber the pseudointellectual left at universities worked out not just how to redefine a baby as an embryo up to full term, but they also worked out how to sell it with propaganda, in a fallacy of logic. This sale of a utopian existence for woman that encapsulated a childless, partnerless, future for millions, was like selling KFC shares to chickens in battery pens, (to verbally adapt one of the funniest Facebook memes I have ever seen). Whoever did it deserve a Nobel prize in advertising. Or at least a person of the year picture on the front of Time magazine. With VD being left untreated and or uncured in many cases, woman where both sterilized and neutered in a process that could be easily described as nothing other than genocide with no one to be held accountable, but the woman themselves. Some on the right blamed the women’s lax morals but they were wrong. It had been promoted and indoctrinated by the groups that withheld treatment or cure to those women. Although baby murder may be permitted on a word technicality, as far as I know genocide of blood lines and cultures are not. And to be noted the technicality that enabled the execution of both events via a few degrees of separation was the use of group think and group speak.
Canada produces a gold mine of inquiry, into the processes of state sanctioned genocide, and it is a very interesting case study when looking at the legislation for the euthanasia of the poor, or the people that had been selectively made poor by them, the leftist Canadian government. Who would question the ability of the left after that, to not offer euthanasia for women suffering depression for their childless, partnerless, existences. All the while they the pseudo intellectual left and their allies of diverse descriptions, perpetrated cultural genocide on Christianity and Christians. Where did or do they perpetrate it? The process occurs globally or all over the world, but it gets very little mainstream media air play. Not ironically, the leftists don’t block streets for months in unison with Christians, to protest mass murder, that is almost unmentionable outside of Christian chat pages. Chat pages now deemed as Christian nationalist hot beds of anti-democratic gatherings. Gatherings said to be against the state, by some in the pseudo leftist media, and weaponised law enforcement agencies.
I have a shirt that says “…if the government says you don’t need a gun, you need a gun!!!”. It had an American Indian man on it. I presume it was in reference to the slaughter of disarmed Aboriginal Americans murdered in cold blood by government forces, on their own land, once they had been disarmed. For me it is a very pro-American constitution or bill of rights statement. The shirt is a few sizes too big as I ordered an American size from here in Oz, so it looks like a skirt on me. I never wear it much if at all because of that. Despite that, I think it is very profound. Now it seems that if the government and pseudo left wing media, say, you should not have a media outlet, I would argue, to paraphrase my shirt, you need a media outlet. And you need them both for the same reason, your protection. Not so ironically both things are covered for in the American bill of rights. They were deemed so important that they the founding non birthing people, or as they were historically known the founding fathers, put them number one and two.
It appears that aboriginal Canadians and Christians now have something in common, and it is their attempted genocide. Attempted genocide of both of their blood lines and of their cultures. With someone or something instigating that process and sitting outside of the murderous anarchy. The left falls silent when it comes to the cultural and actual genetic genocide of Christians on a global scale. Why? Isn’t all life worth saving? Or is it that only the left, and the lefts supposed allies are worthy of life, and a self-determined existence, determined by the left. Apparently, all life is not worth saving, and we don’t all have “…unalienable rights…”
The numbers show the slow but sure death or stagnation of western populations, and a rapid genocide of its culture. But they are not alone, it had been perpetrated on the natives first, now it is applied to all north Americans, and to varying degrees most countries in the West. Where is the outcry from other feminists against the sterilization of millions of women and girls liberated of their sexual constraints? Where is the outcry for woman and girls of all races, denominations, and demographics in the west by the left? Why are these deaths of unborn children or babies not seen to be of the same value as colonized Americans or the murdered indigenous, by the left? Or hideously not ironic, in this inquiry, it can be asked, are they all considered on the same subhuman level by some? After having their woman murdered, their children stolen, sexualized, groomed, raped, and sterilized what will be the response of” …we the people...”???
They the left don’t seem to like, or use guns very much, as they I presume, know they are outnumbered on that front, well for the moment at least. Like any good army in that situation, they have chosen to out flank their opponents. Their opponents the constitutionalists, and their pesky second amendment, where outflanked by the left abusing the first amendment on mass. Not satisfied there, and enamoured by a blitzkrieg of success, they tried, or are trying it appears to reword, rewrite, or destroy the whole document, that has protected their families for several centuries. That document is the American constitution. The pseudo intellectual left has been involved at every point. They have think tanks, think tanks where they weaponize their own words, then ironically call others words violence. It is like a gorilla action, or pincer movement on the first amendment. Words that are used to attack it, the constitution, are part of language constructs, produced for the logic gating of people. They the left are involved in inciting violence with words, (as words are not violence per say), then said they were using them to create peace… They produced language constructs that logic gated people into doing things that are not in their favour. The right where duped or out flanked when they argued words where not violence, forgetting to add, that they can incite violence. They the intellectual left, logic gated millions of women into childlessness, and neutered them to boot, with the statistical outcomes via their use of language, at universities. Language recited verbatim by the reporters who did not report, and a mainstream media, that did not apply critical thought to what they were saying. Like cattle they were led to the slaughter for following the lefts new age new world order mantras.
It leaves the question as to who is prompting these people of the left to press the electric shocker until the person or peoples they are meant to be helping die? Or to be more literal and not use an analogy, based on the Milgram experiment, who prompts these people to commit genocide, on mass, for the perceived greater good? Who gets these people to commit Hara-kiri before the idol of the left. And why cannot they see what they are doing? Like good Zero pilots in a kamikaze act for the empire, the left sacrifice millions of woman’s breeding power, for a shadow emperor that is nowhere to be seen. There cannot be to many degrees of separation between the instigators and the perpetrators. So, who are they? Why is the death or nonexistence of so many babies, or children, caused by the neutering and or murder of their mothers, not up for constant public debate and scrutiny. Maybe because the left will not be critical of itself, as it can do no wrong. These considerations are not far right-wing propaganda, they are the very thing that the left use as mantras for their group speak and group think, but don’t do. Where is their commitment to a universal stance against genocide, that isn’t a selective biased application, or literally a front to commit the very act itself? Many white North Americans may have forgotten something, that something, is they are part of nations, and those nations help make up the people of the Americas.
How does the current or past genocide help any American? And as a feminist I must ask openly are American and the wests females under attack regardless of race? Are they weeding out the intellectuals first, with VD and old age childlessness, as their ovaries shrivel up? These are rhetorical questions. And it must be noted that I once said that the only people who can bring down an American president are the American people, and I latter extrapolated that the same could be said for its society. And to leave with yet another set of questions as always. Who, or what, stokes these tragedies to occur, and or, who is profiting from these current day colonialist like internal conflicts in the West?
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Although some religions have introduced us as sinners and guilty, it doesn't and hasn't changed
our reality. We are love covered by the conditioned mind which has taken command of our whole existence. Nevertheless it has never and will never be able to change our being.
Inside all and every single one of us there is a reality untouched by any mind and thanks to yoga and meditation, it is starting to reveal itself in a way it never had. Below are the six secrets we have found will lead to Living Your Truth and also Loving Your Life in the quickest amount of time.
Key 1: Know Your Truth
Exactly how can we listen to the body's knowledge if we're constantly hurrying, reflecting concerning the past, projecting into the future, as well as mishandling time? Our authentic self realities existing in silence. In order to disclose that self, we should find stillness and also silence for a dedicated time frame every day. During this moment, show on exactly how you were educated "fact." Were you encouraged to reject your personal fact? As an example, did you want to be an artist, instead were informed to obtain a degree in company due to the fact that the job market is a lot better? Were you interested in learning a particular sport, instead a moms and dad pressed you to play a different one at which they stood out? Lots of might have been shown that talking the truth was impolite if it somehow angered one more person, so you established the "Disease to Please" in order to maintain the peace and not hurt feelings. Journal concerning exactly what your reflections expose from youth as well as attach the dots onward to problems you could have today.
Key 2: Speak Your Truth
Once you have systems in position to aid you identify your fact, the following action is to be able to properly honor as well as interact it. Ask on your own: How do I really feel? What do I require? Just what do I want? Express the solutions without have to validate or safeguard. You have to start every interaction with the hope that your demands will certainly be satisfied. Occasionally, our requirements can not be fulfilled nor do we have the need or storage capacity to fulfill another person's, so we must also learn how to with dignity, yet absolutely, say and also get "no." Along with spoken expression, revealing your authentic self through garments, embellishing your individual area, and developing something from absolutely nothing (art, creating, etc.) are all fun as well as liberating ways to mirror your credibility back to you.
Key 3: Lose Your Mafia (FEAR) Mind
Consider exactly how much of your day is worked on autopilot. This is your subconscious mind which is helpful in enabling you to keep in mind ways to reach work and tie your shoes, yet is detrimental in that it creates you to hang onto the same ol' ways of believing and the "this is the means it's consistently been so this is the method it will certainly continue to be" attitude. This is where the initial key is also vital due to the fact that all unfavorable inner voices have a beginning. Allow yourself to peel back the layers to subject when/ where/ by which the fear came from and also why you have actually transformed it right into scripture. If your auto-pilot worry mind runs your life's show, it additionally extorts pleasure from it. Understanding that many anxiety is a sensation not a fact releases you to transform your feedback. Worry belongs to the human condition and insightful, instead you do have control over exactly how much it controls you. To be genuine, you need to want to extend of your comfort zone. Have faith that you will make it through, grow, as well as learn just what it is you are indicated to know when you do exactly what you are called to do. Fear can be your largest instructor or the obstruction to where you intend to go. You determine.
Key 4: You = The Only ONE
"Comparison is the thief of delight."-- Dwight Edwards
When you cannot accept and also celebrate your originality, you adapt as well as pack on your own down, ultimately bring about those high qualities being lost. This "opposite side" of us becomes our shadow self-- the component of ourselves that we reject, dismiss, and think to be unwanted. The building of the shadow self returns to your upbringing as well as what high qualities were kept in esteem. Residing in your fact indicates allowing and embracing all aspects of YOU. Because you are the just you, now and also evermore, attempting to live another's life is just impossible. Concentrate on the high qualities that set you apart, honor your stability in all you do, and also accept your shadow self with kindness. Nobody else has your distinct presents and also abilities.
Key 5: Downloaded Blueprints
A belief is merely a thought you've had sometimes. Any type of area of your life that is not working is more than likely built on a malfunctioning plan (aka belief) designed by others. Disclosing your restricting, acquired ideas is the start of redrawing your plan to actually match the life you wish to develop. Identify you have control to flip the old downloaded and install blueprint from the past into a new, fresh version that matches your reality. (Check out the Daily Living tab on my site for assist with downloaded and install blueprints around love, cash, and health and wellness.).
Key 6: Revealing as well as Building Core Self with Balance.
When encountered with a decision, ask yourself two concerns to find your reality and live from your core self. What is my highest excellent in this moment? Exactly what is the following ideal action for me to take? When you attain this quality, you are in balance as well as can examine where you run out equilibrium. In those locations that are imbalanced, replying these concerns will certainly set you on course to creating concrete modifications to come back to center. Chump changes will certainly include up to big shifts, so ditch the all-or-nothing mentality and also begin today to know your truth and melt in joy.
With love by Yogasensing
For the first two years of its existence, the Greater London Authority was based at Romney House, Marsham Street in Westminster.[2] Meetings of the London Assembly took place at Emmanuel Centre, also on Marsham Street.[3]
City Hall was constructed at a cost of £43 million [4] on a site formerly occupied by wharves serving the Pool of London. The building does not belong to the GLA but is leased under a 25-year rent.[5] Despite its name, City Hall is not in and does not serve a city (according to UK law), which often adds to the confusion of Greater London with the City of London, which has its headquarters at Guildhall. In June 2011, Mayor Boris Johnson announced that for the duration of the London 2012 Olympic Games, the building would be called London House.[6]
The predecessors of the Greater London Authority, the Greater London Council and the London County Council, had their headquarters at County Hall, upstream on the South Bank. Although County Hall's old council chamber is still intact, the building is unavailable for use by the GLA because of its conversion into, among other things, a luxury hotel, amusement arcade and aquarium.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on authentic facts. BEWARE!
Some background:
The РТАК-30 attack vintoplan (also known as vintokryl) owed its existence to the Mil Mi-30 plane/helicopter project that originated in 1972. The Mil Mi-30 was conceived as a transport aircraft that could hold up to 19 passengers or two tons of cargo, and its purpose was to replace the Mi-8 and Mi-17 Helicopters in both civil and military roles. With vertical takeoff through a pair of tiltrotor engine pods on the wing tips (similar in layout to the later V-22 Osprey) and the ability to fly like a normal plane, the Mil Mi-30 had a clear advantage over the older models.
Since the vintoplan concept was a completely new field of research and engineering, a dedicated design bureau was installed in the mid-Seventies at the Rostov-na-Donu helicopter factory, where most helicopters from the Mil design bureau were produced, under the title Ростов Тилт Ротор Авиационная Компания (Rostov Tilt Rotor Aircraft Company), or РТАК (RTRA), for short.
The vintoplan project lingered for some time, with basic research being conducted concerning aerodynamics, rotor design and flight control systems. Many findings later found their way into conventional planes and helicopters. At the beginning of the 1980s, the project had progressed far enough that the vintoplan received official backing so that РТАК scientists and Mil helicopter engineers assembled and tested several layouts and components for this complicated aircraft type.
At that time the Mil Mi-30 vintoplan was expected to use a single TV3-117 Turbo Shaft Engine with a four-bladed propeller rotors on each of its two pairs of stub wings of almost equal span. The engine was still installed in the fuselage and the proprotors driven by long shafts.
However, while being a very clean design, this original layout revealed several problems concerning aeroelasticity, dynamics of construction, characteristics for the converter apparatuses, aerodynamics and flight dynamics. In the course of further development stages and attempts to rectify the technical issues, the vintoplan layout went through several revisions. The layout shifted consequently from having 4 smaller engines in rotating pods on two pairs of stub wings through three engines with rotating nacelles on the front wings and a fixed, horizontal rotor over the tail and finally back to only 2 engines (much like the initial concept), but this time mounted in rotating nacelles on the wing tips and a canard stabilizer layout.
In August 1981 the Commission of the Presidium of the USSR Council of Ministers on weapons eventually issued a decree on the development of a flyworthy Mil Mi-30 vintoplan prototype. Shortly afterwards the military approved of the vintoplan, too, but desired bigger, more powerful engines in order to improve performance and weight capacity. In the course of the ensuing project refinement, the weight capacity was raised to 3-5 tons and the passenger limit to 32. In parallel, the modified type was also foreseen for civil operations as a short range feederliner, potentially replacing Yak-40 and An-24 airliners in Aeroflot service.
In 1982, РТАК took the interest from the military and proposed a dedicated attack vintoplan, based on former research and existing components of the original transport variant. This project was accepted by MAP and received the separate designation РТАК-30. However, despite having some close technical relations to the Mi-30 transport (primarily the engine nacelles, their rotation mechanism and the flight control systems), the РТАК-30 was a completely different aircraft. The timing was good, though, and the proposal was met with much interest, since the innovative vintoplan concept was to compete against traditional helicopters: the design work on the dedicated Mi-28 and Ka-50 attack helicopters had just started at that time, too, so that РТАК received green lights for the construction of five prototypes: four flyworthy machines plus one more for static ground tests.
The РТАК-30 was based on one of the early Mi-30 layouts and it combined two pairs of mid-set wings with different wing spans with a tall tail fin that ensured directional stability. Each wing carried a rotating engine nacelle with a so-called proprotor on its tip, each with three high aspect ratio blades. The proprotors were handed (i.e. revolved in opposite directions) in order to minimize torque effects and improve handling, esp. in the hover. The front and back pair of engines were cross-linked among each other on a common driveshaft, eliminating engine-out asymmetric thrust problems during V/STOL operations. In the event of the failure of one engine, it would automatically disconnect through torque spring clutches and both propellers on a pair of wings would be driven by the remaining engine.
Four engines were chosen because, despite the weight and complexity penalty, this extra power was expected to be required in order to achieve a performance that was markedly superior to a conventional helicopter like the Mi-24, the primary Soviet attack helicopter of that era the РТАК-30 was supposed to replace. It was also expected that the rotating nacelles could also be used to improve agility in level flight through a mild form of vectored thrust.
The РТАК-30’s streamlined fuselage provided ample space for avionics, fuel, a fully retractable tricycle landing gear and a two man crew in an armored side-by-side cockpit with ejection seats. The windshield was able to withstand 12.7–14.5 mm caliber bullets, the titanium cockpit tub could take hits from 20 mm cannon. An autonomous power unit (APU) was housed in the fuselage, too, making operations of the aircraft independent from ground support.
While the РТАК-30 was not intended for use as a transport, the fuselage was spacious enough to have a small compartment between the front wings spars, capable of carrying up to three people. The purpose of this was the rescue of downed helicopter crews, as a cargo hold esp. for transfer flights and as additional space for future mission equipment or extra fuel.
In vertical flight, the РТАК-30’s tiltrotor system used controls very similar to a twin or tandem-rotor helicopter. Yaw was controlled by tilting its rotors in opposite directions. Roll was provided through differential power or thrust, supported by ailerons on the rear wings. Pitch was provided through rotor cyclic or nacelle tilt and further aerodynamic surfaces on both pairs of wings. Vertical motion was controlled with conventional rotor blade pitch and a control similar to a fixed-wing engine control called a thrust control lever (TCL). The rotor heads had elastomeric bearings and the proprotor blades were made from composite materials, which could sustain 30 mm shells.
The РТАК-30 featured a helmet-mounted display for the pilot, a very modern development at its time. The pilot designated targets for the navigator/weapons officer, who proceeded to fire the weapons required to fulfill that particular task. The integrated surveillance and fire control system had two optical channels providing wide and narrow fields of view, a narrow-field-of-view optical television channel, and a laser rangefinder. The system could move within 110 degrees in azimuth and from +13 to −40 degrees in elevation and was placed in a spherical dome on top of the fuselage, just behind the cockpit.
The aircraft carried one automatic 2A42 30 mm internal gun, mounted semi-rigidly fixed near the center of the fuselage, movable only slightly in elevation and azimuth. The arrangement was also regarded as being more practical than a classic free-turning turret mount for the aircraft’s considerably higher flight speed than a normal helicopter. As a side effect, the semi-rigid mounting improved the cannon's accuracy, giving the 30 mm a longer practical range and better hit ratio at medium ranges. Ammunition supply was 460 rounds, with separate compartments for high-fragmentation, explosive incendiary, or armor-piercing rounds. The type of ammunition could be selected by the pilot during flight.
The gunner can select one of two rates of full automatic fire, low at 200 to 300 rds/min and high at 550 to 800 rds/min. The effective range when engaging ground targets such as light armored vehicles is 1,500 m, while soft-skinned targets can be engaged out to 4,000 m. Air targets can be engaged flying at low altitudes of up to 2,000 m and up to a slant range of 2,500 m.
A substantial range of weapons could be carried on four hardpoints under the front wings, plus three more under the fuselage, for a total ordnance of up to 2,500 kg (with reduced internal fuel). The РТАК-30‘s main armament comprised up to 24 laser-guided Vikhr missiles with a maximum range of some 8 km. These tube-launched missiles could be used against ground and aerial targets. A search and tracking radar was housed in a thimble radome on the РТАК-30’s nose and their laser guidance system (mounted in a separate turret under the radome) was reported to be virtually jam-proof. The system furthermore featured automatic guidance to the target, enabling evasive action immediately after missile launch. Alternatively, the system was also compatible with Ataka laser-guided anti-tank missiles.
Other weapon options included laser- or TV-guided Kh-25 missiles as well as iron bombs and napalm tanks of up to 500 kg (1.100 lb) caliber and several rocket pods, including the S-13 and S-8 rockets. The "dumb" rocket pods could be upgraded to laser guidance with the proposed Ugroza system. Against helicopters and aircraft the РТАК-30 could carry up to four R-60 and/or R-73 IR-guided AAMs. Drop tanks and gun pods could be carried, too.
When the РТАК-30's proprotors were perpendicular to the motion in the high-speed portions of the flight regime, the aircraft demonstrated a relatively high maximum speed: over 300 knots/560 km/h top speed were achieved during state acceptance trials in 1987, as well as sustained cruise speeds of 250 knots/460 km/h, which was almost twice as fast as a conventional helicopter. Furthermore, the РТАК-30’s tiltrotors and stub wings provided the aircraft with a substantially greater cruise altitude capability than conventional helicopters: during the prototypes’ tests the machines easily reached 6,000 m / 20,000 ft or more, whereas helicopters typically do not exceed 3,000 m / 10,000 ft altitude.
Flight tests in general and flight control system refinement in specific lasted until late 1988, and while the vintoplan concept proved to be sound, the technical and practical problems persisted. The aircraft was complex and heavy, and pilots found the machine to be hazardous to land, due to its low ground clearance. Due to structural limits the machine could also never be brought to its expected agility limits
During that time the Soviet Union’s internal tensions rose and more and more hampered the РТАК-30’s development. During this time, two of the prototypes were lost (the 1st and 4th machine) in accidents, and in 1989 only two machines were left in flightworthy condition (the 5th airframe had been set aside for structural ground tests). Nevertheless, the РТАК-30 made its public debut at the Paris Air Show in June 1989 (the 3rd prototype, coded “33 Yellow”), together with the Mi-28A, but was only shown in static display and did not take part in any flight show. After that, the aircraft received the NATO ASCC code "Hemlock" and caused serious concern in Western military headquarters, since the РТАК-30 had the potential to dominate the European battlefield.
And this was just about to happen: Despite the РТАК-30’s development problems, the innovative attack vintoplan was included in the Soviet Union’s 5-year plan for 1989-1995, and the vehicle was eventually expected to enter service in 1996. However, due to the collapse of the Soviet Union and the dwindling economics, neither the РТАК-30 nor its civil Mil Mi-30 sister did soar out in the new age of technology. In 1990 the whole program was stopped and both surviving РТАК-30 prototypes were mothballed – one (the 3rd prototype) was disassembled and its components brought to the Rostov-na-Donu Mil plant, while the other, prototype No. 1, is rumored to be stored at the Central Russian Air Force Museum in Monino, to be restored to a public exhibition piece some day.
General characteristics:
Crew: Two (pilot, copilot/WSO) plus space for up to three passengers or cargo
Length: 45 ft 7 1/2 in (13,93 m)
Rotor diameter: 20 ft 9 in (6,33 m)
Wingspan incl. engine nacelles: 42 ft 8 1/4 in (13,03 m)
Total width with rotors: 58 ft 8 1/2 in (17,93 m)
Height: 17 ft (5,18 m) at top of tailfin
Disc area: 4x 297 ft² (27,65 m²)
Wing area: 342.2 ft² (36,72 m²)
Empty weight: 8,500 kg (18,740 lb)
Max. takeoff weight: 12,000 kg (26,500 lb)
Powerplant:
4× Klimov VK-2500PS-03 turboshaft turbines, 2,400 hp (1.765 kW) each
Performance:
Maximum speed: 275 knots (509 km/h, 316 mph) at sea level
305 kn (565 km/h; 351 mph) at 15,000 ft (4,600 m)
Cruise speed: 241 kn (277 mph, 446 km/h) at sea level
Stall speed: 110 kn (126 mph, 204 km/h) in airplane mode
Range: 879 nmi (1,011 mi, 1,627 km)
Combat radius: 390 nmi (426 mi, 722 km)
Ferry range: 1,940 nmi (2,230 mi, 3,590 km) with auxiliary external fuel tanks
Service ceiling: 25,000 ft (7,620 m)
Rate of climb: 2,320–4,000 ft/min (11.8 m/s)
Glide ratio: 4.5:1
Disc loading: 20.9 lb/ft² at 47,500 lb GW (102.23 kg/m²)
Power/mass: 0.259 hp/lb (427 W/kg)
Armament:
1× 30 mm (1.18 in) 2A42 multi-purpose autocannon with 450 rounds
7 external hardpoints for a maximum ordnance of 2.500 kg (5.500 lb)
The kit and its assembly:
This exotic, fictional aircraft-thing is a contribution to the “The Flying Machines of Unconventional Means” Group Build at whatifmodelers.com in early 2019. While the propulsion system itself is not that unconventional, I deemed the quadrocopter concept (which had already been on my agenda for a while) to be suitable for a worthy submission.
The Mil Mi-30 tiltrotor aircraft, mentioned in the background above, was a real project – but my alternative combat vintoplan design is purely speculative.
I had already stashed away some donor parts, primarily two sets of tiltrotor backpacks for 1:144 Gundam mecha from Bandai, which had been released recently. While these looked a little toy-like, these parts had the charm of coming with handed propellers and stub wings that would allow the engine nacelles to swivel.
The search for a suitable fuselage turned out to be a more complex safari than expected. My initial choice was the spoofy Italeri Mi-28 kit (I initially wanted a staggered tandem cockpit), but it turned out to be much too big for what I wanted to achieve. Then I tested a “real” Mi-28 (Dragon) and a Ka-50 (Italeri), but both failed for different reasons – the Mi-28 was too slender, while the Ka-50 had the right size – but converting it for my build would have been VERY complicated, because the engine nacelles would have to go and the fuselage shape between the cockpit and the fuselage section around the original engines and stub wings would be hard to adapt. I eventually bought an Italeri Ka-52 two-seater as fuselage donor.
In order to mount the four engines to the fuselage I’d need two pairs of wings of appropriate span – and I found a pair of 1:100 A-10 wings as well as the wings from an 1:72 PZL Iskra (not perfect, but the most suitable donor parts I could find in the junkyard). On the tips of these wings, the swiveling joints for the engine nacelles from the Bandai set were glued. While mounting the rear wings was not too difficult (just the Ka-52’s OOB stabilizers had to go), the front pair of wings was more complex. The reason: the Ka-52’s engines had to go and their attachment points, which are actually shallow recesses on the kit, had to be faired over first. Instead of filling everything with putty I decided to cover the areas with 0.5mm styrene sheet first, and then do cosmetic PSR work. This worked quite well and also included a cover for the Ka-52’s original rotor mast mount. Onto these new flanks the pair of front wings was attached, in a mid position – a conceptual mistake…
The cockpit was taken OOB and the aircraft’s nose received an additional thimble radome, reminiscent of the Mi-28’s arrangement. The radome itself was created from a German 500 kg WWII bomb.
At this stage, the mid-wing mistake reared its ugly head – it had two painful consequences which I had not fully thought through. Problem #1: the engine nacelles turned out to be too long. When rotated into a vertical position, they’d potentially hit the ground! Furthermore, the ground clearance was very low – and I decided to skip the Ka-52’s OOB landing gear in favor of a heavier and esp. longer alternative, a full landing gear set from an Italeri MiG-37 “Ferret E” stealth fighter, which itself resembles a MiG-23/27 landing gear. Due to the expected higher speeds of the vintoplan I gave the landing gear full covers (partly scratched, plus some donor parts from an Academy MiG-27). It took some trials to get the new landing gear into the right position and a suitable stance – but it worked. With this benchmark I was also able to modify the engine nacelles, shortening their rear ends. They were still very (too!) close to the ground, but at least the model would not sit on them!
However, the more complete the model became, the more design flaws turned up. Another mistake is that the front and rear rotors slightly overlap when in vertical position – something that would be unthinkable in real life…
With all major components in place, however, detail work could proceed. This included the completion of the cockpit and the sensor turrets, the Ka-52 cannon and finally the ordnance. Due to the large rotors, any armament had to be concentrated around the fuselage, outside of the propeller discs. For this reason (and in order to prevent the rear engines to ingest exhaust gases from the front engines in level flight), I gave the front wings a slightly larger span, so that four underwing pylons could be fitted, plus a pair of underfuselage hardpoints.
The ordnance was puzzled together from the Italeri Ka-52 and from an ESCI Ka-34 (the fake Ka-50) kit.
Painting and markings:
With such an exotic aircraft, I rather wanted a conservative livery and opted for a typical Soviet tactical four-tone scheme from the Eighties – the idea was to build a prototype aircraft from the state acceptance trials period, not a flashy demonstrator. The scheme and the (guesstimated) colors were transferred from a Soviet air force MiG-21bis of that era, and it consists of a reddish light brown (Humbrol 119, Light Earth), a light, yellowish green (Humbrol 159, Khaki Drab), a bluish dark green (Humbrol 195, Dark Satin Green, a.k.a. RAL 6020 Chromdioxidgrün) and a dark brown (Humbrol 170, Brown Bess). For the undersides’ typical bluish grey I chose Humbrol 145 (FS 35237, Gray Blue), which is slightly lighter and less greenish than the typical Soviet tones. A light black ink wash was applied and some light post-shading was done in order to create panels that are structurally not there, augmented by some pencil lines.
The cockpit became light blue (Humbrol 89), with medium gray dashboard and consoles. The ejection seats received bright yellow seatbelts and bright blue pads – a detail seen on a Mi-28 cockpit picture.
Some dielectric fairings like the fin tip were painted in bright medium green (Humbrol 101), while some other antenna fairings were painted in pale yellow (Humbrol 71).
The landing gear struts and the interior of the wells became Aluminum Metalic (Humbrol 56), the wheels dark green discs (Humbrol 30).
The decals were puzzled together from various sources, including some Begemot sheets. Most of the stencils came from the Ka-52 OOB sheet, and generic decal sheet material was used to mark the walkways or the rotor tips and leading edges.
Only some light weathering was done to the leading edges of the wings, and then the kit was sealed with matt acrylic varnish.
A complex kitbashing project, and it revealed some pitfalls in the course of making. However, the result looks menacing and still convincing, esp. in flight – even though the picture editing, with four artificially rotating proprotors, was probably more tedious than building the model itself!
All the credit for this photo goes to my friend, whose photo you can see in comments.
We decided to go for a walk. It turned out to be freezing cold outside: the -14ºC felt more like -25ºC and we decided to come back home...before realizing we got a little lost. We had to walk another twenty minutes until the nearest tram station.
It was a cold weekend with a lot of snow and the forecast is an even colder week. All the city is buried under a layer of ice and snow. Some streets are more slippery than an ice skating.
I have more photos I want to share from this day, maybe in a stop motion. So stay tuned :)
PS: Damn Flickr sharpener :(
+ 1 in comments
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Before / after on my tumblr
A former Montreal transit bus enjoys a second life on the streets of Havana in this grainy print from February 1996. It is a GM New Look bus,universally nicknamed "Fishbowls". The type was introduced in 1959, coincidentally the same year that Fidel Castro took power, but the US trade embargo ensured that no Fishbowls were delivered new to Cuba. GM Fishbowls, with their raucous two-stroke Detroit Diesel engines, were ubiquitous throughout North America, with over 44,000 produced during the model's long lifespan. US production ceased in 1977, but Canadian output continued until 1986. Among the last in service with their original operators were the trolleybus Fishbowls that operated in Edmonton until 2009.
'Wind farming or co-existence': between the traditional way of farming and the newer, industrial wind farming. My entry in Spoonflower's Farming Contest. Design detail (part design only). Line art & imagination. © Su Schaefer 2014
A wind farm (or wind park) is a group of wind turbines in the same location used to produce energy. A large wind farm may consist of several hundred individual wind turbines and cover an area of hundreds of square miles, while the land between the turbines may be used for agricultural or other purposes. (Wikipedia has more information)
'Wind farming or co-existence' fabric
[Wind-farming-final]
The second oldest Ruston and Hornsby locomotive in existence at the time, although it had been long out of use by this visit on 6th September 1970. This 10hp 2ft gauge 4-wheel diesel-mechanical, (Works No.164346 built in 1932), was still fitted with its original distinctive 'keyhole' cab. The frame of dismantled Ruston (Works No.166028), also dating from 1932, was on the flat truck. The West Kent Main Sewerage Board's Long Reach Sewage Works at Littlebrook near Dartford, was quite positively the smelliest narrow gauge industrial location that I have ever visited, the open windows in this building did nothing to dissipate the pungent and eye-watering stench. In fact one of my colleagues had to go out into the fresh air to throw up! The old Ruston happily survives in preservation today at the Leighton Buzzard Light Railway. The 2ft gauge tramway had fallen into disuse as early as 1964 and most of the track had been lifted by March 1967.
© Gordon Edgar - All rights reserved. Please do not use my images without my explicit permission
Portrait of Heléna.
"and all the children are insane...
All the children are insane,
waiting for the summer rain, yeah...!"
What craziness is this, a day in that London on a weekday? Well, working one day last weekend, and another next weekend, meant I took a day in Lieu.
So there.
And top of my list of places to visit was St Magnus. This would be the fifth time I have tried to get inside, and the first since I wrote to the church asking whether they would be open a particular Saturday, and then any Saturday. Letters which were ignored
So, I walked out of Monument Station, down the hill there was St Magnus: would it be open?
It was, and inside it was a box, nay a treasure chest of delights.
--------------------------------------------------------------
St Magnus the Martyr, London Bridge is a Church of England church and parish within the City of London. The church, which is located in Lower Thames Street near The Monument to the Great Fire of London,[1] is part of the Diocese of London and under the pastoral care of the Bishop of London and the Bishop of Fulham.[2] It is a Grade I listed building.[3] The rector uses the title "Cardinal Rector". [4]
St Magnus lies on the original alignment of London Bridge between the City and Southwark. The ancient parish was united with that of St Margaret, New Fish Street, in 1670 and with that of St Michael, Crooked Lane, in 1831.[5] The three united parishes retained separate vestries and churchwardens.[6] Parish clerks continue to be appointed for each of the three parishes.[7]
St Magnus is the guild church of the Worshipful Company of Fishmongers and the Worshipful Company of Plumbers, and the ward church of the Ward of Bridge and Bridge Without. It is also twinned with the Church of the Resurrection in New York City.[8]
Its prominent location and beauty has prompted many mentions in literature.[9] In Oliver Twist Charles Dickens notes how, as Nancy heads for her secret meeting with Mr. Brownlow and Rose Maylie on London Bridge, "the tower of old Saint Saviour's Church, and the spire of Saint Magnus, so long the giant-warders of the ancient bridge, were visible in the gloom". The church's spiritual and architectural importance is celebrated in the poem The Waste Land by T. S. Eliot, who adds in a footnote that "the interior of St. Magnus Martyr is to my mind one of the finest among Wren's interiors".[10] One biographer of Eliot notes that at first he enjoyed St Magnus aesthetically for its "splendour"; later he appreciated its "utility" when he came there as a sinner.
The church is dedicated to St Magnus the Martyr, earl of Orkney, who died on 16 April in or around 1116 (the precise year is unknown).[12] He was executed on the island of Egilsay having been captured during a power struggle with his cousin, a political rival.[13] Magnus had a reputation for piety and gentleness and was canonised in 1135. St. Ronald, the son of Magnus's sister Gunhild Erlendsdotter, became Earl of Orkney in 1136 and in 1137 initiated the construction of St. Magnus Cathedral in Kirkwall.[14] The story of St. Magnus has been retold in the 20th century in the chamber opera The Martyrdom of St Magnus (1976)[15] by Sir Peter Maxwell Davies, based on George Mackay Brown's novel Magnus (1973).
he identity of the St Magnus referred to in the church's dedication was only confirmed by the Bishop of London in 1926.[16] Following this decision a patronal festival service was held on 16 April 1926.[17] In the 13th century the patronage was attributed to one of the several saints by the name of Magnus who share a feast day on 19 August, probably St Magnus of Anagni (bishop and martyr, who was slain in the persecution of the Emperor Decius in the middle of the 3rd century).[18] However, by the early 18th century it was suggested that the church was either "dedicated to the memory of St Magnus or Magnes, who suffer'd under the Emperor Aurelian in 276 [see St Mammes of Caesarea, feast day 17 August], or else to a person of that name, who was the famous Apostle or Bishop of the Orcades."[19] For the next century historians followed the suggestion that the church was dedicated to the Roman saint of Cæsarea.[20] The famous Danish archaeologist Professor Jens Jacob Asmussen Worsaae (1821–85) promoted the attribution to St Magnus of Orkney during his visit to the British Isles in 1846-7, when he was formulating the concept of the 'Viking Age',[21] and a history of London written in 1901 concluded that "the Danes, on their second invasion ... added at least two churches with Danish names, Olaf and Magnus".[22] A guide to the City Churches published in 1917 reverted to the view that St Magnus was dedicated to a martyr of the third century,[23] but the discovery of St Magnus of Orkney's relics in 1919 renewed interest in a Scandinavian patron and this connection was encouraged by the Rector who arrived in 1921
A metropolitan bishop of London attended the Council of Arles in 314, which indicates that there must have been a Christian community in Londinium by this date, and it has been suggested that a large aisled building excavated in 1993 near Tower Hill can be compared with the 4th-century Cathedral of St Tecla in Milan.[25] However, there is no archaeological evidence to suggest that any of the mediaeval churches in the City of London had a Roman foundation.[26] A grant from William I in 1067 to Westminster Abbey, which refers to the stone church of St Magnus near the bridge ("lapidee eccle sci magni prope pontem"), is generally accepted to be 12th century forgery,[27] and it is possible that a charter of confirmation in 1108-16 might also be a later fabrication.[28] Nonetheless, these manuscripts may preserve valid evidence of a date of foundation in the 11th century.
Archaeological evidence suggests that the area of the bridgehead was not occupied from the early 5th century until the early 10th century. Environmental evidence indicates that the area was waste ground during this period, colonised by elder and nettles. Following Alfred's decision to reoccupy the walled area of London in 886, new harbours were established at Queenhithe and Billingsgate. A bridge was in place by the early 11th century, a factor which would have encouraged the occupation of the bridgehead by craftsmen and traders.[30] A lane connecting Botolph's Wharf and Billingsgate to the rebuilt bridge may have developed by the mid-11th century. The waterfront at this time was a hive of activity, with the construction of embankments sloping down from the riverside wall to the river. Thames Street appeared in the second half of the 11th century immediately behind (north of) the old Roman riverside wall and in 1931 a piling from this was discovered during the excavation of the foundations of a nearby building. It now stands at the base of the church tower.[31] St Magnus was built to the south of Thames Street to serve the growing population of the bridgehead area[32] and was certainly in existence by 1128-33.[33]
The small ancient parish[34] extended about 110 yards along the waterfront either side of the old bridge, from 'Stepheneslane' (later Churchehawlane or Church Yard Alley) and 'Oystergate' (later called Water Lane or Gully Hole) on the West side to 'Retheresgate' (a southern extension of Pudding Lane) on the East side, and was centred on the crossroads formed by Fish Street Hill (originally Bridge Street, then New Fish Street) and Thames Street.[35] The mediaeval parish also included Drinkwater's Wharf (named after the owner, Thomas Drinkwater), which was located immediately West of the bridge, and Fish Wharf, which was to the South of the church. The latter was of considerable importance as the fishmongers had their shops on the wharf. The tenement was devised by Andrew Hunte to the Rector and Churchwardens in 1446.[36] The ancient parish was situated in the South East part of Bridge Ward, which had evolved in the 11th century between the embankments to either side of the bridge.[37]
In 1182 the Abbot of Westminster and the Prior of Bermondsey agreed that the advowson of St Magnus should be divided equally between them. Later in the 1180s, on their presentation, the Archdeacon of London inducted his nephew as parson.
Between the late Saxon period and 1209 there was a series of wooden bridges across the Thames, but in that year a stone bridge was completed.[39] The work was overseen by Peter de Colechurch, a priest and head of the Fraternity of the Brethren of London Bridge. The Church had from early times encouraged the building of bridges and this activity was so important it was perceived to be an act of piety - a commitment to God which should be supported by the giving of alms. London’s citizens made gifts of land and money "to God and the Bridge".[40] The Bridge House Estates became part of the City's jurisdiction in 1282.
Until 1831 the bridge was aligned with Fish Street Hill, so the main entrance into the City from the south passed the West door of St Magnus on the north bank of the river.[41] The bridge included a chapel dedicated to St Thomas Becket[42] for the use of pilgrims journeying to Canterbury Cathedral to visit his tomb.[43] The chapel and about two thirds of the bridge were in the parish of St Magnus. After some years of rivalry a dispute arose between the church and the chapel over the offerings given to the chapel by the pilgrims. The matter was resolved by the brethren of the chapel making an annual contribution to St Magnus.[44] At the Reformation the chapel was turned into a house and later a warehouse, the latter being demolished in 1757-58.
The church grew in importance. On 21 November 1234 a grant of land was made to the parson of St Magnus for the enlargement of the church.[45] The London eyre of 1244 recorded that in 1238 "A thief named William of Ewelme of the county of Buckingham fled to the church of St. Magnus the Martyr, London, and there acknowledged the theft and abjured the realm. He had no chattels."[46] Another entry recorded that "The City answers saying that the church of ... St. Magnus the Martyr ... which [is] situated on the king's highway ... ought to belong to the king and be in his gift".[47] The church presumably jutted into the road running to the bridge, as it did in later times.[48] In 1276 it was recorded that "the church of St. Magnus the Martyr is worth £15 yearly and Master Geoffrey de la Wade now holds it by the grant of the prior of Bermundeseie and the abbot of Westminster to whom King Henry conferred the advowson by his charter.
In 1274 "came King Edward and his wife [Eleanor] from the Holy Land and were crowned at Westminster on the Sunday next after the Feast of the Assumption of Our Lady [15 August], being the Feast of Saint Magnus [19 August]; and the Conduit in Chepe ran all the day with red wine and white wine to drink, for all such as wished."[50] Stow records that "in the year 1293, for victory obtained by Edward I against the Scots, every citizen, according to their several trade, made their several show, but especially the fishmongers" whose solemn procession including a knight "representing St Magnus, because it was upon St Magnus' day".
An important religious guild, the Confraternity de Salve Regina, was in existence by 1343, having been founded by the "better sort of the Parish of St Magnus" to sing the anthem 'Salve Regina' every evening.[51] The Guild certificates of 1389 record that the Confraternity of Salve Regina and the guild of St Thomas the Martyr in the chapel on the bridge, whose members belonged to St Magnus parish, had determined to become one, to have the anthem of St Thomas after the Salve Regina and to devote their united resources to restoring and enlarging the church of St Magnus.[52] An Act of Parliament of 1437[53] provided that all incorporated fraternities and companies should register their charters and have their ordinances approved by the civic authorities.[54] Fear of enquiry into their privileges may have led established fraternities to seek a firm foundation for their rights. The letters patent of the fraternity of St Mary and St Thomas the Martyr of Salve Regina in St Magnus dated 26 May 1448 mention that the fraternity had petitioned for a charter on the grounds that the society was not duly founded.
In the mid-14th century the Pope was the Patron of the living and appointed five rectors to the benefice.[56]
Henry Yevele, the master mason whose work included the rebuilding of Westminster Hall and the naves of Westminster Abbey and Canterbury Cathedral, was a parishioner and rebuilt the chapel on London Bridge between 1384 and 1397. He served as a warden of London Bridge and was buried at St Magnus on his death in 1400. His monument was extant in John Stow's time, but was probably destroyed by the fire of 1666.[57]
Yevele, as the King’s Mason, was overseen by Geoffrey Chaucer in his capacity as the Clerk of the King's Works. In The General Prologue of Chaucer's The Canterbury Tales the five guildsmen "were clothed alle in o lyveree Of a solempne and a greet fraternitee"[58] and may be thought of as belonging to the guild in the parish of St Magnus, or one like it.[59] Chaucer's family home was near to the bridge in Thames Street.
n 1417 a dispute arose concerning who should take the place of honour amongst the rectors in the City churches at the Whit Monday procession, a place that had been claimed from time to time by the rectors of St Peter Cornhill, St Magnus the Martyr and St Nicholas Cole Abbey. The Mayor and Aldermen decided that the Rector of St Peter Cornhill should take precedence.[61]
St Magnus Corner at the north end of London Bridge was an important meeting place in mediaeval London, where notices were exhibited, proclamations read out and wrongdoers punished.[62] As it was conveniently close to the River Thames, the church was chosen by the Bishop between the 15th and 17th centuries as a convenient venue for general meetings of the clergy in his diocese.[63] Dr John Young, Bishop of Callipolis (rector of St Magnus 1514-15) pronounced judgement on 16 December 1514 (with the Bishop of London and in the presence of Thomas More, then under-sheriff of London) in the heresy case concerning Richard Hunne.[64]
In pictures from the mid-16th century the old church looks very similar to the present-day St Giles without Cripplegate in the Barbican.[65] According to the martyrologist John Foxe, a woman was imprisoned in the 'cage' on London Bridge in April 1555 and told to "cool herself there" for refusing to pray at St Magnus for the recently deceased Pope Julius III.[66]
Simon Lowe, a Member of Parliament and Master of the Merchant Taylors' Company during the reign of Queen Mary and one of the jurors who acquitted Sir Nicholas Throckmorton in 1554, was a parishioner.[67] He was a mourner at the funeral of Maurice Griffith, Bishop of Rochester from 1554 to 1558 and Rector of St Magnus from 1537 to 1558, who was interred in the church on 30 November 1558 with much solemnity. In accordance with the Catholic church's desire to restore ecclesiastical pageantry in England, the funeral was a splendid affair, ending in a magnificent dinner.
Lowe was included in a return of recusants in the Diocese of Rochester in 1577,[69] but was buried at St Magnus on 6 February 1578.[70] Stow refers to his monument in the church. His eldest son, Timothy (died 1617), was knighted in 1603. His second son, Alderman Sir Thomas Lowe (1550–1623), was Master of the Haberdashers' Company on several occasions, Sheriff of London in 1595/96, Lord Mayor in 1604/05 and a Member of Parliament for London.[71] His youngest son, Blessed John Lowe (1553–1586), having originally been a Protestant minister, converted to Roman Catholicism, studied for the priesthood at Douay and Rome and returned to London as a missionary priest.[72] His absence had already been noted; a list of 1581 of "such persons of the Diocese of London as have any children ... beyond the seas" records "John Low son to Margaret Low of the Bridge, absent without licence four years". Having gained 500 converts to Catholicism between 1583 and 1586, he was arrested whilst walking with his mother near London Bridge, committed to The Clink and executed at Tyburn on 8 October 1586.[73] He was beatified in 1987 as one of the eighty-five martyrs of England and Wales.
Sir William Garrard, Master of the Haberdashers' Company, Alderman, Sheriff of London in 1553/53, Lord Mayor in 1555/56 and a Member of Parliament was born in the parish and buried at St Magnus in 1571.[74] Sir William Romney, merchant, philanthropist, Master of the Haberdashers' Company, Alderman for Bridge Within and Sheriff of London in 1603/04[75] was married at St Magnus in 1582. Ben Jonson is believed to have been married at St Magnus in 1594.[76]
The patronage of St Magnus, having previously been in the Abbots and Convents of Westminster and Bermondsey (who presented alternatively), fell to the Crown on the suppression of the monasteries. In 1553, Queen Mary, by letters patent, granted it to the Bishop of London and his successors.[77]
The church had a series of distinguished rectors in the second half of the 16th and first half of the 17th century, including Myles Coverdale (Rector 1564-66), John Young (Rector 1566-92), Theophilus Aylmer (Rector 1592-1625), (Archdeacon of London and son of John Aylmer), and Cornelius Burges (Rector 1626-41). Coverdale was buried in the chancel of St Bartholomew-by-the-Exchange, but when that church was pulled down in 1840 his remains were removed to St Magnus.[78]
On 5 November 1562 the churchwardens were ordered to break, or cause to be broken, in two parts all the altar stones in the church.[79] Coverdale, an anti-vestiarian, was Rector at the peak of the vestments controversy. In March 1566 Archbishop Parker caused great consternation among many clergy by his edicts prescribing what was to be worn and by his summoning the London clergy to Lambeth to require their compliance. Coverdale excused himself from attending.[80] Stow records that a non-conforming Scot who normally preached at St Magnus twice a day precipitated a fight on Palm Sunday 1566 at Little All Hallows in Thames Street with his preaching against vestments.[81] Coverdale's resignation from St Magnus in summer 1566 may have been associated with these events. Separatist congregations started to emerge after 1566 and the first such, who called themselves 'Puritans' or 'Unspottyd Lambs of the Lord', was discovered close to St Magnus at Plumbers' Hall in Thames Street on 19 June 1567.
St Magnus narrowly escaped destruction in 1633. A later edition of Stow's Survey records that "On the 13th day of February, between eleven and twelve at night, there happened in the house of one Briggs, a Needle-maker near St Magnus Church, at the North end of the Bridge, by the carelessness of a Maid-Servant setting a tub of hot sea-coal ashes under a pair of stairs, a sad and lamentable fire, which consumed all the buildings before eight of the clock the next morning, from the North end of the Bridge to the first vacancy on both sides, containing forty-two houses; water then being very scarce, the Thames being almost frozen over."[83] Susannah Chambers "by her last will & testament bearing date 28th December 1640 gave the sum of Twenty-two shillings and Sixpence Yearly for a Sermon to be preached on the 12th day of February in every Year within the Church of Saint Magnus in commemoration of God's merciful preservation of the said Church of Saint Magnus from Ruin, by the late and terrible Fire on London Bridge. Likewise Annually to the Poor the sum of 17/6."[84] The tradition of a "Fire Sermon" was revived on 12 February 2004, when the first preacher was the Rt Revd and Rt Hon Richard Chartres, Bishop of London.
Parliamentarian rule and the more Protestant ethos of the 1640s led to the removal or destruction of "superstitious" and "idolatrous" images and fittings. Glass painters such as Baptista Sutton, who had previously installed "Laudian innovations", found new employment by repairing and replacing these to meet increasingly strict Protestant standards. In January 1642 Sutton replaced 93 feet of glass at St Magnus and in June 1644 he was called back to take down the "painted imagery glass" and replace it.[86] In June 1641 "rail riots" broke out at a number of churches. This was a time of high tension following the trial and execution of the Earl of Strafford and rumours of army and popish plots were rife. The Protestation Oath, with its pledge to defend the true religion "against all Popery and popish innovation", triggered demands from parishioners for the removal of the rails as popish innovations which the Protestation had bound them to reform. The minister arranged a meeting between those for and against the pulling down of the rails, but was unsuccessful in reaching a compromise and it was feared that they would be demolished by force.[87] However, in 1663 the parish resumed Laudian practice and re-erected rails around its communion table.[88]
Joseph Caryl was incumbent from 1645 until his ejection in 1662. In 1663 he was reportedly living near London Bridge and preaching to an Independent congregation that met at various places in the City.[89]
During the Great Plague of 1665, the City authorities ordered fires to be kept burning night and day, in the hope that the air would be cleansed. Daniel Defoe's semi-fictictional, but highly realistic, work A Journal of the Plague Year records that one of these was "just by St Magnus Church"
Despite its escape in 1633, the church was one of the first buildings to be destroyed in the Great Fire of London in 1666.[91] St Magnus stood less than 300 yards from the bakehouse of Thomas Farriner in Pudding Lane where the fire started. Farriner, a former churchwarden of St Magnus, was buried in the middle aisle of the church on 11 December 1670, perhaps within a temporary structure erected for holding services.[92]
The parish engaged the master mason George Dowdeswell to start the work of rebuilding in 1668. The work was carried forward between 1671 and 1687 under the direction of Sir Christopher Wren, the body of the church being substantially complete by 1676.[93] At a cost of £9,579 19s 10d St Magnus was one of Wren's most expensive churches.[94] The church of St Margaret New Fish Street was not rebuilt after the fire and its parish was united to that of St Magnus.
The chancels of many of Wren’s city churches had chequered marble floors and the chancel of St Magnus is an example,[95] the parish agreeing after some debate to place the communion table on a marble ascent with steps[96] and to commission altar rails of Sussex wrought iron. The nave and aisles are paved with freestone flags. A steeple, closely modelled on one built between 1614 and 1624 by François d'Aguilon and Pieter Huyssens for the church of St Carolus Borromeus in Antwerp, was added between 1703 and 1706.[97] London's skyline was transformed by Wren's tall steeples and that of St Magnus is considered to be one his finest.[98]
The large clock projecting from the tower was a well-known landmark in the city as it hung over the roadway of Old London Bridge.[99] It was presented to the church in 1709 by Sir Charles Duncombe[100] (Alderman for the Ward of Bridge Within and, in 1708/09, Lord Mayor of London). Tradition says "that it was erected in consequence of a vow made by the donor, who, in the earlier part of his life, had once to wait a considerable time in a cart upon London Bridge, without being able to learn the hour, when he made a promise, that if he ever became successful in the world, he would give to that Church a public clock ... that all passengers might see the time of day."[101] The maker was Langley Bradley, a clockmaker in Fenchurch Street, who had worked for Wren on many other projects, including the clock for the new St Paul's Cathedral. The sword rest in the church, designed to hold the Lord Mayor's sword and mace when he attended divine service "in state", dates from 1708.
Duncombe and his benefactions to St Magnus feature prominently in Daniel Defoe's The True-Born Englishman, a biting satire on critics of William III that went through several editions from 1700 (the year in which Duncombe was elected Sheriff).
Shortly before his death in 1711, Duncombe commissioned an organ for the church, the first to have a swell-box, by Abraham Jordan (father and son).[103] The Spectator announced that "Whereas Mr Abraham Jordan, senior and junior, have, with their own hands, joinery excepted, made and erected a very large organ in St Magnus' Church, at the foot of London Bridge, consisting of four sets of keys, one of which is adapted to the art of emitting sounds by swelling notes, which never was in any organ before; this instrument will be publicly opened on Sunday next [14 February 1712], the performance by Mr John Robinson. The above-said Abraham Jordan gives notice to all masters and performers, that he will attend every day next week at the said Church, to accommodate all those gentlemen who shall have a curiosity to hear it".[104]
The organ case, which remains in its original state, is looked upon as one of the finest existing examples of the Grinling Gibbons's school of wood carving.[105] The first organist of St Magnus was John Robinson (1682–1762), who served in that role for fifty years and in addition as organist of Westminster Abbey from 1727. Other organists have included the blind organist George Warne (1792–1868, organist 1820-26 until his appointment to the Temple Church), James Coward (1824–80, organist 1868-80 who was also organist to the Crystal Palace and renowned for his powers of improvisation) and George Frederick Smith FRCO (1856–1918, organist 1880-1918 and Professor of Music at the Guildhall School of Music).[106] The organ has been restored several times - in 1760, 1782, 1804, 1855, 1861, 1879, 1891, 1924, 1949 after wartime damage and 1997 - since it was first built.[107] Sir Peter Maxwell Davies was one of several patrons of the organ appeal in the mid-1990s[108] and John Scott gave an inaugural recital on 20 May 1998 following the completion of that restoration.[109] The instrument has an Historic Organ Certificate and full details are recorded in the National Pipe Organ Register.[110]
The hymn tune "St Magnus", usually sung at Ascensiontide to the text "The head that once was crowned with thorns", was written by Jeremiah Clarke in 1701 and named for the church.
Canaletto drew St Magnus and old London Bridge as they appeared in the late 1740s.[112] Between 1756 and 1762, under the London Bridge Improvement Act of 1756 (c. 40), the Corporation of London demolished the buildings on London Bridge to widen the roadway, ease traffic congestion and improve safety for pedestrians.[113] The churchwardens’ accounts of St Magnus list many payments to those injured on the Bridge and record that in 1752 a man was crushed to death between two carts.[114] After the House of Commons had resolved upon the alteration of London Bridge, the Rev Robert Gibson, Rector of St Magnus, applied to the House for relief; stating that 48l. 6s. 2d. per annum, part of his salary of 170l. per annum, was assessed upon houses on London Bridge; which he should utterly lose by their removal unless a clause in the bill about to be passed should provide a remedy.[115] Accordingly, Sections 18 and 19 of 1756 Act provided that the relevant amounts of tithe and poor rate should be a charge on the Bridge House Estates.[116]
A serious fire broke out on 18 April 1760 in an oil shop at the south east corner of the church, which consumed most of the church roof and did considerable damage to the fabric. The fire burnt warehouses to the south of the church and a number of houses on the northern end of London Bridge.
As part of the bridge improvements, overseen by the architect Sir Robert Taylor, a new pedestrian walkway was built along the eastern side of the bridge. With the other buildings gone St Magnus blocked the new walkway.[117] As a consequence it was necessary in 1762 to 1763 to remove the vestry rooms at the West end of the church and open up the side arches of the tower so that people could pass underneath the tower.[118] The tower’s lower storey thus became an external porch. Internally a lobby was created at the West end under the organ gallery and a screen with fine octagonal glazing inserted. A new Vestry was built to the South of the church.[119] The Act also provided that the land taken from the church for the widening was "to be considered ... as part of the cemetery of the said church ... but if the pavement thereof be broken up on account of the burying of any persons, the same shall be ... made good ... by the churchwardens"
Soldiers were stationed in the Vestry House of St Magnus during the Gordon Riots in June 1780.[121]
By 1782 the noise level from the activities of Billingsgate Fish Market had become unbearable and the large windows on the north side of the church were blocked up leaving only circular windows high up in the wall.[122] At some point between the 1760s and 1814 the present clerestory was constructed with its oval windows and fluted and coffered plasterwork.[123] J. M. W. Turner painted the church in the mid-1790s.[124]
The rector of St Magnus between 1792 and 1808, following the death of Robert Gibson on 28 July 1791,[125] was Thomas Rennell FRS. Rennell was President of Sion College in 1806/07. There is a monument to Thomas Leigh (Rector 1808-48 and President of Sion College 1829/30,[126] at St Peter's Church, Goldhanger in Essex.[127] Richard Hazard (1761–1837) was connected with the church as sexton, parish clerk and ward beadle for nearly 50 years[128] and served as Master of the Parish Clerks' Company in 1831/32.[129]
In 1825 the church was "repaired and beautified at a very considerable expense. During the reparation the east window, which had been closed, was restored, and the interior of the fabric conformed to the state in which it was left by its great architect, Sir Christopher Wren. The magnificent organ ... was taken down and rebuilt by Mr Parsons, and re-opened, with the church, on the 12th February, 1826".[130] Unfortunately, as a contemporary writer records, "On the night of the 31st of July, 1827, [the church's] safety was threatened by the great fire which consumed the adjacent warehouses, and it is perhaps owing to the strenuous and praiseworthy exertions of the firemen, that the structure exists at present. ... divine service was suspended and not resumed until the 20th January 1828. In the interval the church received such tasteful and elegant decorations, that it may now compete with any church in the metropolis.
In 1823 royal assent was given to ‘An Act for the Rebuilding of London Bridge’ and in 1825 John Garratt, Lord Mayor and Alderman of the Ward of Bridge Within, laid the first stone of the new London Bridge.[132] In 1831 Sir John Rennie’s new bridge was opened further upstream and the old bridge demolished. St Magnus ceased to be the gateway to London as it had been for over 600 years. Peter de Colechurch[133] had been buried in the crypt of the chapel on the bridge and his bones were unceremoniously dumped in the River Thames.[134] In 1921 two stones from Old London Bridge were discovered across the road from the church. They now stand in the churchyard.
Wren's church of St Michael Crooked Lane was demolished, the final service on Sunday 20 March 1831 having to be abandoned due to the effects of the building work. The Rector of St Michael preached a sermon the following Sunday at St Magnus lamenting the demolition of his church with its monuments and "the disturbance of the worship of his parishioners on the preceeding Sabbath".[135] The parish of St Michael Crooked Lane was united to that of St Magnus, which itself lost a burial ground in Church Yard Alley to the approach road for the new bridge.[136] However, in substitution it had restored to it the land taken for the widening of the old bridge in 1762 and was also given part of the approach lands to the east of the old bridge.[137] In 1838 the Committee for the London Bridge Approaches reported to Common Council that new burial grounds had been provided for the parishes of St Michael, Crooked Lane and St Magnus, London Bridge.
Depictions of St Magnus after the building of the new bridge, seen behind Fresh Wharf and the new London Bridge Wharf, include paintings by W. Fenoulhet in 1841 and by Charles Ginner in 1913.[139] This prospect was affected in 1924 by the building of Adelaide House to a design by John James Burnet,[140] The Times commenting that "the new ‘architectural Matterhorn’ ... conceals all but the tip of the church spire".[141] There was, however, an excellent view of the church for a few years between the demolition of Adelaide Buildings and the erection of its replacement.[142] Adelaide House is now listed.[143] Regis House, on the site of the abandoned King William Street terminus of the City & South London Railway (subsequently the Northern Line),[144] and the Steam Packet Inn, on the corner of Lower Thames Street and Fish Street Hill,[145] were developed in 1931.
By the early 1960s traffic congestion had become a problem[147] and Lower Thames Street was widened over the next decade[148] to form part of a significant new east-west transport artery (the A3211).[149] The setting of the church was further affected by the construction of a new London Bridge between 1967 and 1973.[150] The New Fresh Wharf warehouse to the east of the church, built in 1939, was demolished in 1973-4 following the collapse of commercial traffic in the Pool of London[151] and, after an archaeological excavation,[152] St Magnus House was constructed on the site in 1978 to a design by R. Seifert & Partners.[153] This development now allows a clear view of the church from the east side.[154] The site to the south east of The Monument (between Fish Street Hill and Pudding Lane), formerly predominantly occupied by fish merchants,[155] was redeveloped as Centurion House and Gartmore (now Providian) House at the time of the closure of old Billingsgate Market in January 1982.[156] A comprehensive redevelopment of Centurion House began in October 2011 with completion planned in 2013.[157] Regis House, to the south west of The Monument, was redeveloped by Land Securities PLC in 1998.[158]
The vista from The Monument south to the River Thames, over the roof of St Magnus, is protected under the City of London Unitary Development Plan,[159] although the South bank of the river is now dominated by The Shard. Since 2004 the City of London Corporation has been exploring ways of enhancing the Riverside Walk to the south of St Magnus.[160] Work on a new staircase to connect London Bridge to the Riverside Walk is due to commence in March 2013.[161] The story of St Magnus's relationship with London Bridge and an interview with the rector featured in the television programme The Bridges That Built London with Dan Cruickshank, first broadcast on BBC Four on 14 June 2012.[162] The City Corporation's 'Fenchurch and Monument Area Enhancement Strategy' of August 2012 recommended ways of reconnecting St Magnus and the riverside to the area north of Lower Thames Street.
A lectureship at St Michael Crooked Lane, which was transferred to St Magnus in 1831, was endowed by the wills of Thomas and Susannah Townsend in 1789 and 1812 respectively.[164] The Revd Henry Robert Huckin, Headmaster of Repton School from 1874 to 1882, was appointed Townsend Lecturer at St Magnus in 1871.[165]
St Magnus narrowly escaped damage from a major fire in Lower Thames Street in October 1849.
During the second half of the 19th century the rectors were Alexander McCaul, DD (1799–1863, Rector 1850-63), who coined the term 'Judaeo Christian' in a letter dated 17 October 1821,[167] and his son Alexander Israel McCaul (1835–1899, curate 1859-63, rector 1863-99). The Revd Alexander McCaul Sr[168] was a Christian missionary to the Polish Jews, who (having declined an offer to become the first Anglican Bishop in Jerusalem)[169] was appointed professor of Hebrew and rabbinical literature at King's College, London in 1841. His daughter, Elizabeth Finn (1825–1921), a noted linguist, founded the Distressed Gentlefolk Aid Association (now known as Elizabeth Finn Care).[170]
In 1890 it was reported that the Bishop of London was to hold an inquiry as to the desirability of uniting the benefices of St George Botolph Lane and St Magnus. The expectation was a fusion of the two livings, the demolition of St George’s and the pensioning of "William Gladstone’s favourite Canon", Malcolm MacColl. Although services ceased there, St George’s was not demolished until 1904. The parish was then merged with St Mary at Hill rather than St Magnus.[171]
The patronage of the living was acquired in the late 19th century by Sir Henry Peek Bt. DL MP, Senior Partner of Peek Brothers & Co of 20 Eastcheap, the country's largest firm of wholesale tea brokers and dealers, and Chairman of the Commercial Union Assurance Co. Peek was a generous philanthropist who was instrumental in saving both Wimbledon Common and Burnham Beeches from development. His grandson, Sir Wilfred Peek Bt. DSO JP, presented a cousin, Richard Peek, as rector in 1904. Peek, an ardent Freemason, held the office of Grand Chaplain of England. The Times recorded that his memorial service in July 1920 "was of a semi-Masonic character, Mr Peek having been a prominent Freemason".[172] In June 1895 Peek had saved the life of a young French girl who jumped overboard from a ferry midway between Dinard and St Malo in Brittany and was awarded the bronze medal of the Royal Humane Society and the Gold Medal 1st Class of the Sociâetâe Nationale de Sauvetage de France.[173]
In November 1898 a memorial service was held at St Magnus for Sir Stuart Knill Bt. (1824–1898), head of the firm of John Knill and Co, wharfingers, and formerly Lord Mayor and Master of the Plumbers' Company.[174] This was the first such service for a Roman Catholic taken in an Anglican church.[175] Sir Stuart's son, Sir John Knill Bt. (1856-1934), also served as Alderman for the Ward of Bridge Within, Lord Mayor and Master of the Plumbers' Company.
Until 1922 the annual Fish Harvest Festival was celebrated at St Magnus.[176] The service moved in 1923 to St Dunstan in the East[177] and then to St Mary at Hill, but St Magnus retained close links with the local fish merchants until the closure of old Billingsgate Market. St Magnus, in the 1950s, was "buried in the stink of Billingsgate fish-market, against which incense was a welcome antidote".
A report in 1920 proposed the demolition of nineteen City churches, including St Magnus.[179] A general outcry from members of the public and parishioners alike prevented the execution of this plan.[180] The members of the City Livery Club passed a resolution that they regarded "with horror and indignation the proposed demolition of 19 City churches" and pledged the Club to do everything in its power to prevent such a catastrophe.[181] T. S. Eliot wrote that the threatened churches gave "to the business quarter of London a beauty which its hideous banks and commercial houses have not quite defaced. ... the least precious redeems some vulgar street ... The loss of these towers, to meet the eye down a grimy lane, and of these empty naves, to receive the solitary visitor at noon from the dust and tumult of Lombard Street, will be irreparable and unforgotten."[182] The London County Council published a report concluding that St Magnus was "one of the most beautiful of all Wren's works" and "certainly one of the churches which should not be demolished without specially good reasons and after very full consideration."[183] Due to the uncertainty about the church's future, the patron decided to defer action to fill the vacancy in the benefice and a curate-in-charge temporarily took responsibility for the parish.[184] However, on 23 April 1921 it was announced that the Revd Henry Joy Fynes-Clinton would be the new Rector. The Times concluded that the appointment, with the Bishop’s approval, meant that the proposed demolition would not be carried out.[185] Fr Fynes-Clinton was inducted on 31 May 1921.[186]
The rectory, built by Robert Smirke in 1833-5, was at 39 King William Street.[187] A decision was taken in 1909 to sell the property, the intention being to purchase a new rectory in the suburbs, but the sale fell through and at the time of the 1910 Land Tax Valuations the building was being let out to a number of tenants. The rectory was sold by the diocese on 30 May 1921 for £8,000 to Ridgways Limited, which owned the adjoining premises.[188] The Vestry House adjoining the south west of the church, replacing the one built in the 1760s, may also have been by Smirke. Part of the burial ground of St Michael Crooked Lane, located between Fish Street Hill and King William Street, survived as an open space until 1987 when it was compulsorily purchased to facilitate the extension of the Docklands Light Railway into the City.[189] The bodies were reburied at Brookwood Cemetery.
The interior of the church was restored by Martin Travers in 1924, in a neo-baroque style,[191] reflecting the Anglo-Catholic character of the congregation[192] following the appointment of Henry Joy Fynes-Clinton as Rector.[193] Fr Fynes, as he was often known, served as Rector of St Magnus from 31 May 1921 until his death on 4 December 1959 and substantially beautified the interior of the church.[194]
Fynes-Clinton held very strong Anglo-Catholic views, and proceeded to make St Magnus as much like a baroque Roman Catholic church as possible. However, "he was such a loveable character with an old-world courtesy which was irresistible, that it was difficult for anyone to be unpleasant to him, however much they might disapprove of his views".[195] He generally said the Roman Mass in Latin; and in personality was "grave, grand, well-connected and holy, with a laconic sense of humour".[196] To a Protestant who had come to see Coverdale's monument he is reported to have said "We have just had a service in the language out of which he translated the Bible".[197] The use of Latin in services was not, however, without grammatical danger. A response from his parishioners of "Ora pro nobis" after "Omnes sancti Angeli et Archangeli" in the Litany of the Saints would elicit a pause and the correction "No, Orate pro nobis."
In 1922 Fynes-Clinton refounded the Fraternity of Our Lady de Salve Regina.[198] The Fraternity's badge[199] is shown in the stained glass window at the east end of the north wall of the church above the reredos of the Lady Chapel altar. He also erected a statue of Our Lady of Walsingham and arranged pilgrimages to the Norfolk shrine, where he was one of the founding Guardians.[200] In 1928 the journal of the Catholic League reported that St Magnus had presented a votive candle to the Shrine at Walsingham "in token of our common Devotion and the mutual sympathy and prayers that are we hope a growing bond between the peaceful country shrine and the church in the heart of the hurrying City, from the Altar of which the Pilgrimages regularly start".[201]
Fynes-Clinton was General Secretary of the Anglican and Eastern Orthodox Churches Union and its successor, the Anglican and Eastern Churches Association, from 1906 to 1920 and served as Secretary to the Archbishop of Canterbury's Eastern Churches Committee from 1920 to around 1924. A Solemn Requiem was celebrated at St Magnus in September 1921 for the late King Peter of the Serbs, Croats and Slovenes.
At the midday service on 1 March 1922, J.A. Kensit, leader of the Protestant Truth Society, got up and protested against the form of worship.[202] The proposed changes to the church in 1924 led to a hearing in the Consistory Court of the Chancellor of the Diocese of London and an appeal to the Court of Arches.[203] Judgement was given by the latter Court in October 1924. The advowson was purchased in 1931, without the knowledge of the Rector and Parochial Church Council, by the evangelical Sir Charles King-Harman.[204] A number of such cases, including the purchase of the advowsons of Clapham and Hampstead Parish Churches by Sir Charles, led to the passage of the Benefices (Purchase of Rights of Patronage) Measure 1933.[205] This allowed the parishioners of St Magnus to purchase the advowson from Sir Charles King-Harman for £1,300 in 1934 and transfer it to the Patronage Board.
St Magnus was one of the churches that held special services before the opening of the second Anglo-Catholic Congress in 1923.[207] Fynes-Clinton[208] was the first incumbent to hold lunchtime services for City workers.[209] Pathé News filmed the Palm Sunday procession at St Magnus in 1935.[210] In The Towers of Trebizond, the novel by Rose Macauley published in 1956, Fr Chantry-Pigg's church is described as being several feet higher than St Mary’s Bourne Street and some inches above even St Magnus the Martyr.[211]
In July 1937 Fr Fynes-Clinton, with two members of his congregation, travelled to Kirkwall to be present at the 800th anniversary celebrations of St Magnus Cathedral, Kirkwall. During their stay they visited Egilsay and were shown the spot where St Magnus had been slain. Later Fr Fynes-Clinton was present at a service held at the roofless church of St Magnus on Egilsay, where he suggested to his host Mr Fryer, the minister of the Cathedral, that the congregations of Kirkwall and London should unite to erect a permanent stone memorial on the traditional site where Earl Magnus had been murdered. In 1938 a cairn was built of local stone on Egilsay. It stands 12 feet high and is 6 feet broad at its base. The memorial was dedicated on 7 September 1938 and a bronze inscription on the monument reads "erected by the Rector and Congregation of St Magnus the Martyr by London Bridge and the Minister and Congregation of St Magnus Cathedral, Kirkwall to commemorate the traditional spot where Earl Magnus was slain, AD circa 1116 and to commemorate the Octocentenary of St Magnus Cathedral 1937"
A bomb which fell on London Bridge in 1940 during the Blitz of World War II blew out all the windows and damaged the plasterwork and the roof of the north aisle.[213] However, the church was designated a Grade I listed building on 4 January 1950[214] and repaired in 1951, being re-opened for worship in June of that year by the Bishop of London, William Wand.[215] The architect was Laurence King.[216] Restoration and redecoration work has subsequently been carried out several times, including after a fire in the early hours of 4 November 1995.[217] Cleaning of the exterior stonework was completed in 2010.
Some minor changes were made to the parish boundary in 1954, including the transfer to St Magnus of an area between Fish Street Hill and Pudding Lane. The site of St Leonard Eastcheap, a church that was not rebuilt after the Great Fire, is therefore now in the parish of St Magnus despite being united to St Edmund the King.
Fr Fynes-Clinton marked the 50th anniversary of his priesthood in May 1952 with High Mass at St Magnus and lunch at Fishmongers' Hall.[218] On 20 September 1956 a solemn Mass was sung in St Magnus to commence the celebration of the 25th anniversary of the restoration of the Holy House at Walsingham in 1931. In the evening of that day a reception was held in the large chamber of Caxton Hall, when between three and four hundred guests assembled.[219]
Fr Fynes-Clinton was succeeded as rector in 1960 by Fr Colin Gill,[220] who remained as incumbent until his death in 1983.[221] Fr Gill was also closely connected with Walsingham and served as a Guardian between 1953 and 1983, including nine years as Master of the College of Guardians.[222] He celebrated the Mass at the first National Pilgrimage in 1959[223] and presided over the Jubilee celebrations to mark the 50th anniversary of the Shrine in 1981, having been present at the Holy House's opening.[224] A number of the congregation of St Stephen's Lewisham moved to St Magnus around 1960, following temporary changes in the form of worship there.
In 1994 the Templeman Commission proposed a radical restructuring of the churches in the City Deanery. St Magnus was identified as one of the 12 churches that would remain as either a parish or an 'active' church.[226] However, the proposals were dropped following a public outcry and the consecration of a new Bishop of London.
The parish priest since 2003 has been Fr Philip Warner, who was previously priest-in-charge of St Mary's Church, Belgrade (Diocese in Europe) and Apokrisiarios for the Archbishop of Canterbury to the Serbian Orthodox Church. Since January 2004 there has been an annual Blessing of the Thames, with the congregations of St Magnus and Southwark Cathedral meeting in the middle of London Bridge.[227] On Sunday 3 July 2011, in anticipation of the feast of the translation of St Thomas Becket (7 July), a procession from St Magnus brought a relic of the saint to the middle of the bridge.[228]
David Pearson specially composed two new pieces, a communion anthem A Mhànais mo rùin (O Magnus of my love) and a hymn to St Magnus Nobilis, humilis, for performance at the church on the feast of St Magnus the Martyr, 16 April 2012.[229] St Magnus's organist, John Eady, has won composition competitions for new choral works at St Paul's Cathedral (a setting of Veni Sancte Spiritus first performed on 27 May 2012) and at Lincoln Cathedral (a setting of the Matin responsory for Advent first performed on 30 November 2013).[230]
In addition to liturgical music of a high standard, St Magnus is the venue for a wide range of musical events. The Clemens non Papa Consort, founded in 2005, performs in collaboration with the production team Concert Bites as the church's resident ensemble.[231] The church is used by The Esterhazy Singers for rehearsals and some concerts.[232] The band Mishaped Pearls performed at the church on 17 December 2011.[233] St Magnus featured in the television programme Jools Holland: London Calling, first broadcast on BBC2 on 9 June 2012.[234] The Platinum Consort made a promotional film at St Magnus for the release of their debut album In the Dark on 2 July 2012.[235]
The Friends of the City Churches had their office in the Vestry House of St Magnus until 2013.
Martin Travers modified the high altar reredos, adding paintings of Moses and Aaron and the Ten Commandments between the existing Corinthian columns and reconstructing the upper storey. Above the reredos Travers added a painted and gilded rood.[237] In the centre of the reredos there is a carved gilded pelican (an early Christian symbol of self-sacrifice) and a roundel with Baroque-style angels. The glazed east window, which can be seen in an early photograph of the church, appears to have been filled in at this time. A new altar with console tables was installed and the communion rails moved outwards to extend the size of the sanctuary. Two old door frames were used to construct side chapels and placed at an angle across the north-east and south-east corners of the church. One, the Lady Chapel, was dedicated to the Rector's parents in 1925 and the other was dedicated to Christ the King. Originally, a baroque aumbry was used for Reservation of the Blessed Sacrament, but later a tabernacle was installed on the Lady Chapel altar and the aumbry was used to house a relic of the True Cross.
The interior was made to look more European by the removal of the old box pews and the installation of new pews with cut-down ends. Two new columns were inserted in the nave to make the lines regular. The Wren-period pulpit by the joiner William Grey[238] was opened up and provided with a soundboard and crucifix. Travers also designed the statue of St Magnus of Orkney, which stands in the south aisle, and the statue of Our Lady of Walsingham.[239]
On the north wall there is a Russian Orthodox icon, painted in 1908. The modern stations of the cross in honey-coloured Japanese oak are the work of Robert Randall and Ashley Sands.[240] One of the windows in the north wall dates from 1671 and came from Plumbers' Hall in Chequer Yard, Bush Lane, which was demolished in 1863 to make way for Cannon Street Railway Station.[241] A fireplace from the Hall was re-erected in the Vestry House. The other windows on the north side are by Alfred Wilkinson and date from 1952 to 1960. These show the arms of the Plumbers’, Fishmongers’ and Coopers’ Companies together with those of William Wand when Bishop of London and Geoffrey Fisher when Archbishop of Canterbury and (as noted above) the badge of the Fraternity of Our Lady de Salve Regina.
The stained glass windows in the south wall, which are by Lawrence Lee and date from 1949 to 1955, represent lost churches associated with the parish: St Magnus and his ruined church of Egilsay, St Margaret of Antioch with her lost church in New Fish Street (where the Monument to the Great Fire now stands), St Michael with his lost church of Crooked Lane (demolished to make way for the present King William Street) and St Thomas Becket with his chapel on Old London Bridge.[242]
The church possesses a fine model of Old London Bridge. One of the tiny figures on the bridge appears out of place in the mediaeval setting, wearing a policeman's uniform. This is a representation of the model-maker, David T. Aggett, who is a Liveryman of the Worshipful Company of Plumbers and was formerly in the police service.[243]
The Mischiefs by Fire Act 1708 and the Fires Prevention (Metropolis) Act 1774 placed a requirement on every parish to keep equipment to fight fires. The church owns two historic fire engines that belonged to the parish of St Michael, Crooked Lane.[244] One of these is in storage at the Museum of London. The whereabouts of the other, which was misappropriated and sold at auction in 2003, is currently unknown.
In 1896 many bodies were disinterred from the crypt and reburied at the St Magnus's plot at Brookwood Cemetery, which remains the church's burial ground.
Prior to the Great Fire of 1666 the old tower had a ring of five bells, a small saints bell and a clock bell.[246] 47 cwt of bell metal was recovered[247] which suggests that the tenor was 13 or 14 cwt. The metal was used to cast three new bells, by William Eldridge of Chertsey in 1672,[248] with a further saints bell cast that year by Hodson.[249] In the absence of a tower, the tenor and saints bell were hung in a free standing timber structure, whilst the others remained unhung.[250]
A new tower was completed in 1704 and it is likely that these bells were transferred to it. However, the tenor became cracked in 1713 and it was decided to replace the bells with a new ring of eight.[251] The new bells, with a tenor of 21 cwt, were cast by Richard Phelps of the Whitechapel Bell Foundry. Between 1714 and 1718 (the exact date of which is unknown), the ring was increased to ten with the addition of two trebles given by two former ringing Societies, the Eastern Youths and the British Scholars.[252] The first peal was rung on 15 February 1724 of Grandsire Caters by the Society of College Youths. The second bell had to be recast in 1748 by Robert Catlin, and the tenor was recast in 1831 by Thomas Mears of Whitechapel,[253] just in time to ring for the opening of the new London Bridge. In 1843, the treble was said to be "worn out" and so was scrapped, together with the saints bell, while a new treble was cast by Thomas Mears.[254] A new clock bell was erected in the spire in 1846, provided by B R & J Moore, who had earlier purchased it from Thomas Mears.[255] This bell can still be seen in the tower from the street.
The 10 bells were removed for safe keeping in 1940 and stored in the churchyard. They were taken to Whitechapel Bell Foundry in 1951 whereupon it was discovered that four of them were cracked. After a long period of indecision, fuelled by lack of funds and interest, the bells were finally sold for scrap in 1976. The metal was used to cast many of the Bells of Congress that were then hung in the Old Post Office Tower in Washington, D.C.
A fund was set up on 19 September 2005, led by Dickon Love, a member of the Ancient Society of College Youths, with a view to installing a new ring of 12 bells in the tower in a new frame. This was the first of three new rings of bells he has installed in the City of London (the others being at St Dunstan-in-the-West and St James Garlickhythe). The money was raised and the bells were cast during 2008/9 by the Whitechapel Bell Foundry. The tenor weighed 26cwt 3qtr 9 lbs (1360 kg) and the new bells were designed to be in the same key as the former ring of ten. They were consecrated by the Bishop of London on 3 March 2009 in the presence of the Lord Mayor[256] and the ringing dedicated on 26 October 2009 by the Archdeacon of London.[257] The bells are named (in order smallest to largest) Michael, Margaret, Thomas of Canterbury, Mary, Cedd, Edward the Confessor, Dunstan, John the Baptist, Erkenwald, Paul, Mellitus and Magnus.[258] The bells project is recorded by an inscription in the vestibule of the church.
The first peal on the twelve was rung on 29 November 2009 of Cambridge Surprise Maximus.[260] Notable other recent peals include a peal of Stedman Cinques on 16 April 2011 to mark the 400th anniversary of the granting of a Royal Charter to the Plumbers' Company,[261] a peal of Cambridge Surprise Royal on 28 June 2011 when the Fishmongers' Company gave a dinner for Prince Philip, Duke of Edinburgh at their hall on the occasion of his 90th birthday[262] and a peal of Avon Delight Maximus on 24 July 2011 in solidarity with the people of Norway following the tragic massacre on Utoeya Island and in Oslo.[263] On the latter occasion the flag of the Orkney Islands was flown at half mast. In 2012 peals were rung during the Thames Diamond Jubilee Pageant on 3 June and during each of the three Olympic/Paralympic marathons, on 5 and 12 August and 9 September.
The BBC television programme, Still Ringing After All These Years: A Short History of Bells, broadcast on 14 December 2011, included an interview at St Magnus with the Tower Keeper, Dickon Love,[264] who was captain of the band that rang the "Royal Jubilee Bells" during the Thames Diamond Jubilee Pageant on 3 June 2012 to celebrate the Diamond Jubilee of Queen Elizabeth II.[265] Prior to this, he taught John Barrowman to handle a bell at St Magnus for the BBC coverage.
The bells are currently rung every Sunday around 12:15 (following the service) by the Guild of St Magnus.
Every other June, newly elected wardens of the Fishmongers' Company, accompanied by the Court, proceed on foot from Fishmongers' Hall[267] to St Magnus for an election service.[268] St Magnus is also the Guild Church of The Plumbers' Company. Two former rectors have served as master of the company,[269] which holds all its services at the church.[270] On 12 April 2011 a service was held to commemorate the 400th anniversary of the granting of the company's Royal Charter at which the Bishop of London, the Rt Revd and Rt Hon Richard Chartres KCVO, gave the sermon and blessed the original Royal Charter. For many years the Cloker Service was held at St Magnus, attended by the Coopers' Company and Grocers' Company, at which the clerk of the Coopers' Company read the will of Henry Cloker dated 10 March 1573.[271]
St Magnus is also the ward church for the Ward of Bridge and Bridge Without, which elects one of the city's aldermen. Between 1550 and 1978 there were separate aldermen for Bridge Within and Bridge Without, the former ward being north of the river and the latter representing the City's area of control in Southwark. The Bridge Ward Club was founded in 1930 to "promote social activities and discussion of topics of local and general interest and also to exchange Ward and parochial information" and holds its annual carol service at St Magnus.
Something or nothing?
There are only two alternatives, something or nothing. Existence or non-existence?
Existence is a fact!
We know something exists (the physical universe),
but why?
Two questions arise …why is there something rather than nothing?
And where did everything that exists come from? Obviously, something cannot arise from nothing, no sane person would entertain such an impossible prospect. However, an incredible fantasy that the universe actually created itself from nothing, has been proposed by some, high profile atheists, and presented to the public as though it is science. A sort of ‘theory of everything’ that purports to eliminate a creator.
“Because there is a law, such as gravity, the universe can and will create itself from nothing”
Professor Stephen Hawking.
It is not intelligent, sensible or scientific to believe that everything created itself from absolutely nothing.
In a state of infinite and eternal nothingness, nothing exists and nothing happens - EVER.
Nothing means ‘nothing’. Nothing tangible, no physical laws, no information, not even abstract things, like mathematics. If nothing exists there can be no numbers or anything based on numbers.
Furthermore, you don’t need to be a genius, or a scientist, to understand that something CANNOT create itself.
Put simply, it is self-evident that - to create itself, something would have to pre-exist its own creation to carry out the act of creating. And, if it already exists, it doesn’t need to create itself.
And, if anything at all already exists, i.e. in this case ‘gravity’, (which is simply an inherent property of matter), it cannot be called 'nothing'.
Moreover, ‘gravity’ cannot be a creative agent, it is merely an inherent property of matter – it is obvious that a property of something cannot create that which it is a property of. Thus, we are obliged to conclude that nonsense remains nonsense, even when presented by high profile scientists.
“Fallacies remain fallacies, even when they become fashionable.” GK Chesterton.
Such incredible, nonsensical propositions are just vain attempts to undermine the well, established, law of cause and effect, which is fatal to atheist ideology.
Religion?
Once we admit the obvious fact that the universe cannot arise of its own accord from nothing (nothing will remain nothing forever), the only alternative is that ‘something’ has always existed – an infinite ‘something’. For anything to happen, such as the origin of the universe, the infinite something, cannot just exist in a state of eternal, passive inactivity, it must be capable of positive activity.
If we examine the characteristics, powers, qualities and attributes which exist now, we must conclude that the ‘something’, that has always existed, must have amazing (godlike) powers to be able to produce all the wonderful qualities we see in the universe, including: information, natural laws, life, intelligence, consciousness, etc.
This means we need to believe in some sort of ‘godlike entity’. The only remaining question is - which god? Is it a creator or simply nature or natural forces? Seeking an answer to that question is the essential role of religion, which is based on reason, rather than blind faith.
Why God MUST exist ...
There are only two states of being (existence) – temporal and infinite. That. which has a beginning, is ‘temporal’. That which has no beginning is ‘infinite’.
Everything that exists must be one or the other.
The temporal (unlike the infinite) is not autonomous or non-contingent, it, essentially, relies on something else for its beginning (its cause) and its continued existence.
The universe and all natural things are temporal. Hence, they ALL require a cause or causes.
They could NOT exist without a cause to bring them into being. This is a FACT accepted by science, and enshrined in the Law of Cause and Effect.
The Law of Cause and Effect tells us that every, natural effect requires a cause. And that - an effect cannot be greater than its cause/s.
This is a fundamental principle, essential to the scientific method.
No temporal effect can be greater than (superior to) the sum-total of its cause or causes
It is obvious that - something cannot give what it doesn’t possess.
A temporal entity can be a subsidiary cause of another temporal entity, but cannot be the initial (first) cause of the entire, temporal realm - which includes ALL natural effects and entities.
Entropy
The initial (first) cause of the temporal realm had to be something non-temporal (uncaused), i.e. something infinite.
The word ‘temporal’ is derived from tempus, Latin for time. - All temporal things are subject to time - and, as well as having a beginning in time, natural things can also expect to naturally degenerate, with the passage of time, towards a decline in function, order and existence. The material universe is slowly in decline and dying.
The natural realm is not just temporal, but also temporary (finite). Science acknowledges this with the Second Law of Thermodynamics (law of entropy).
As all natural things are temporal, we know that the initial (first), infinite cause of everything temporal cannot be a natural agent or entity.
The infinite, first cause of everything natural can also be regarded as ‘supernatural’, in the sense that it is not subject to natural laws that are intrinsic only to natural things, which it caused.
This fact is verified by science, in the First Law of Thermodynamics, which tells us that there is no ‘natural’ means by which matter/energy can be created.
However, as the first cause existed before the natural realm (which is subject to natural laws, without exception), the issue of the first cause being exempt from natural laws (supernatural) is not something extraordinary or magical. It is the original and normal default state of that infinite something which caused/created the natural realm.
If the material universe was infinite, we wouldn’t have entropy. Entropy is a characteristic only of natural entities.
The infinite cannot be subject to entropy, it does not deteriorate, it remains the same forever.
Entropy can apply only to temporal, natural entities.
Therefore, we know that the material universe, as a temporal entity, had to have a beginning and will have an end.
That which existed before the universe, as an original cause of everything material, had to be infinite, because you cannot have an infinite chain of temporal (material) events. The temporal can only exist if it is sustained by the infinite.
As all natural entities are temporal, the (infinite) first cause could not possibly be a natural entity.
So, the Second Law of Thermodynamics supports and confirms the only logical conclusion we can reach from the Law of Cause and Effect, that a natural, first cause is impossible, according to science.
This is fatal to the atheist ideology of naturalism because it means there is no alternative to an infinite, supernatural, first cause (a Creator God).
Can there be multiple infinite, first causes (polytheism)?
It is evident that there can be only one ‘infinite’ entity. If, for example, there are two infinite entities, neither could have its own, unique properties.
Why?
Because, unless they possessed identical properties, neither would be infinite. However, if they both possessed the very same properties, there would be no distinction between them, they would be identical and thus a single entity.
To put it another way …
God, as an infinite being, can only be a single entity, if He was not, and there was another infinite being, the properties which were pertinent to the other infinite being would be a limitation on His infinite character, and vice versa. So, neither entity would be infinite.
Creation - an act of will?
For an infinite cause to produce a temporal effect, such as the universe, an active character and an act of will must be involved. If the first cause was just a blind, mechanistic, natural thing, the universe would just be a continuation of the infinite nature of the first cause, not temporal (subject to time). For example, if the nature of water in infinite time was to be frozen, it would continue its frozen nature infinitely. There must be an active agent involved.
Time applies to the temporal, not the infinite. The infinite is omnipresent, it always was, it always is, and it always will be. It is the “Alpha and the Omega” as the Bible explains.
Jesus referred to Himself as “I am” which means He was claiming to be the infinite creator.
Therefore, what we know about the characteristics of this supernatural entity, are as follows:
The single, supernatural entity:
1. Has always existed, has no cause, and is not subject to time. (is infinite, eternally self-existent, autonomous and non-contingent).
2. Is the first, original and deliberate cause of everything temporal (including the universe and every natural entity and effect).
3. Cannot be, in any way, inferior to any temporal or natural thing that exists.
In simple terms, this means that the single, infinite, supernatural, first cause of everything that exists in the temporal realm, has the capability of creating everything that exists, and cannot be inferior in any powers and attributes to anything that exists. This is the entity we recognise as the creator God.
The Bible tells us that we were made in the image of this God. This is logical because it is obvious, we cannot be superior to this God (an effect cannot be greater than its cause).
So, all our qualities and attributes must be possessed by the God in whose image we were made.
All our attributes come from the creator, or supernatural, first cause.
Remember, the logic that something cannot give what it doesn’t possess.
We have life. Thus, our creator must be alive.
We are intelligent. Thus, our creator must be intelligent.
We are conscious. Thus, our creator must be conscious.
We can love. Thus, our creator must love.
We understand justice. Thus, our creator must be just, etc. etc.
Therefore, we can logically discern the character and attributes of the creator from what is seen in His creation.
This FACT - that an effect cannot be greater than its cause/s, is recognised as a basic principle of science, and is it crucial to understanding the nature and attributes of the first cause.
It means nothing in the universe that exists, resulting from the action of the first cause, can be in anyway superior to the first cause. We must conclude that, at least, some attributes of the first cause can be seen in the universe.
Atheists frequently ask how can we possibly know what God is like?
The Bible (which is inspired by God) tells us many things about the character of God, but regardless of scripture, the universe itself gives us evidence of God’s nature.
For example: can the properties of human beings, in any way, be superior to the first cause?
To suggest they are, would be to violate the scientific principle that an effect cannot be greater than its cause.
All the powers, properties, qualities and attributes we observe in the universe, including all human qualities, must be also evident in the first cause.
If there is life in the universe, the first cause must have life.
If there is intelligence in the universe the first cause must have intelligence.
The same applies to consciousness, skill, design, purpose, justice, love, beauty, forgiveness, mercy etc.
Therefore, we must conclude that the eternally, self-existent, non-natural (supernatural), first cause, has life, is conscious, has intelligence and created the temporal as an act of will.
We know, from the law of cause and effect, that the first cause cannot possibly be any of the natural processes frequently proposed by atheists, such as: the so-called, big bang explosion, singularity or quantum mechanics.
They are all temporal, moreover, it is obvious that none of them are adequate to produce the effect. They are all grossly inferior to the result.
To sum up:
Using impeccable logic and reason, supported by our understanding of established, natural, physical laws (which apply to everything of a natural, temporal nature) acknowledged by science, humans have been able to discover the existence of a single, infinite, supernatural, living, intelligent, loving and just creator God.
God discovered, not invented!
Contrary to the narrative perpetuated by atheists, a personal, creator God is not a “human invention”, and He is certainly not a backward substitute for reason or science, but rather, He is an enlightened, human discovery, based on unimpeachable logic, reason, rationality, natural laws and scientific understanding.
The real character of atheism.
Is belief in God just superstitious, backward thinking, suitable only for the uneducated or scientific illiterates, as atheists would have us believe?
The widely acknowledged, best brain in modern atheism proposed the following (quoted earlier), which it was claimed by some, made belief in God redundant:
"Because there is a law, such as gravity, the universe can and will create itself from nothing"
This is the essence of Professor Stephen Hawking's so-called, 'theory of everything' summed up in a single sentence.
It doesn’t take a genius to understand it is atheism, not monotheism, which is a throwback to a former unenlightened period in human history. A period when Mother Nature or other natural or material, temporal entities were regarded as having autonomous, godlike, creative powers.
The discredited concept of worshipping nature itself (naturalism) or various material things (Sun, Moon, idols etc.) as some sort of autonomous, non-contingent, creative, or self-creative agents, used to be called paganism. Now it has been re-invented as 21st century, atheism...
"The universe can and will create itself from nothing"- Professor Stephen Hawking.
“It is absurd for the Evolutionist to complain that it is unthinkable for an admittedly unthinkable God to make everything out of nothing, and then pretend that it is more thinkable that nothing should turn itself into everything.” - G.K. Chesterton.
God’s power.
Everything that exists is dependent on the original and ultimate cause (God) for its origin, continued existence and operation.
This means God affords everything all the power it needs to function. Everything operates only with God’s power. We couldn’t even lift a little finger, if the power to do so was not permitted by God.
What caused God?
Ever since the 18th century, atheist philosophers such as David Hume and Bertrand Russell have attempted to debunk the logical evidence for a creator God, as the infinite, first cause and creator of the universe.
The basic premise of their argument is that a long chain of causes and effects, going back in time, did not necessarily require a beginning (no first cause, but rather an infinite regress), and that, if every effect requires an adequate cause (as the Law of Cause and Effect states), then God (a first cause) could no more exist without a cause, than anything else.
This latter point is summed up in the what many atheists deem to be the killer question:
“What caused God then?”
This question wasn’t sensible in the 18th century, and is not sensible today, but incredibly, atheists still think it is a valid argument and continue to use it on a regular basis.
As explained previously, the Law of Cause and Effect applies to all temporal entities.
Temporal entities have a beginning, and therefore need a cause. They are all contingent or dependent on a cause or causes without exception.
It is obvious to any sensible person that the first cause, because it is FIRST, had nothing preceding it.
First means first, it doesn’t mean second or third. If we could go back far enough with a chain of causes and effects, however long the chain, at some stage we must reach an ultimate beginning, i.e. the cause which is first, having no previous cause. This first cause must have always existed, it is essentially self-existent from an infinite past - and for an infinite future. It must be completely autonomous and non-contingent, not relying on any cause or anything else for its existence. Not temporal, but infinite.
So, the answer to the question is that - God was not caused.
He is the eternally, self-existent, ultimate, non-contingent, supernatural, first. infinite cause of everything temporal.
As explained earlier, the first cause could not be a natural entity, it had to be supernatural, as all natural entities are temporal and contingent (they all require causes).
What about the infinite regress argument?
This is an atheist argument against the need for a first cause. Their proposition is that; a long chain of causes and effects, going back in time, did not necessarily require a beginning. This proposition is nonsensical.
Why?
It is evident that you cannot have a chain of temporal effects going backwards in time, forever. It is the inherent nature of all temporal things to have a beginning. Likewise, for a long chain of temporal causes and effects, there must be a beginning at some point in time. Contingent things do not become non-contingent, simply by being in a long chain.
Temporal + temporal can never equal infinite.
In addition, the Second Law of Thermodynamics tells us that everything physical is subject to entropy.
It is an absurd notion that there could be an indefinitely, long chain (with no beginning) in which, although every link in the chain is subject to entropy, the complete chain is not, having been able to exist for an infinite past. Incredibly, what these atheists propose is that; a chain consisting entirely of temporal elements, all of which individually require a beginning and depend on causes, and are subject to entropy, as a whole, can be infinitely long, with no beginning. And by some miracle would be unaffected by law of entropy (throughout an infinite past) which would have caused its demise.
What about the fact that infinite regress is acceptable in maths?
Maths is a type of information - and information, like truth, is not purely physical.
It can require physical media to make it tangible, but while the physical media is always subject to entropy, information is not. 1+1 = 2 will always be true, it is unaffected by time, or even whether there are any humans left to do mathematical calculations.
Jesus said; Heaven and Earth may pass away, but my words will go on forever. Jesus is pointing out that truth and information are unaffected by entropy.
For example: historical truths, such as the fact that Henry VIII had six wives, will always be true. Time cannot erode or change that truth. Even if all human records of this truth were destroyed, it would never cease to be true.
As the Christian, apologist Peter Keeft has made clear, maths is entirely dependent on a positive integer, i.e. the number one. Without this positive integer, no maths is possible.
The concept of number 1 also exists as a characteristic of the one, infinite, first cause. - God is one. - God embodies that positive integer (number one/first cause), essential for the operation of maths. Without the number one, there could be no number two or three, etc. etc. There could be no positive numbers, no negative numbers and no fractions.
The fact that an infinite ‘first’ cause exists, means that number one is bound to exist. In a state of eternal and infinite nothingness, there would be no information and no numbers and nothing would be ‘first’. So, like everything else, maths is made possible only by the existence of the one, infinite, first cause (God).
As Peter Keeft puts it ...
“it is often asked why there can’t be infinite regress, with no first being. Infinite regress is perfectly acceptable in mathematics: negative numbers go on to infinity just as positive numbers do. So why can’t time be like the number series, with no highest number either negatively (no first in the past) or positively (no last in the future)? The answer is that real beings are not like numbers: they need causes, for the chain of real beings moves in one direction only, from past to future, and the future is caused by the past. Positive numbers are not caused by negative numbers. There is, in fact, a parallel in the number series for a first cause: the number one. If there were no first positive integer, no unit one, there could be no subsequent addition of units. Two is two ones, three is three ones, and soon. If there were no first, there could be no second or third.”
Consider this simple chain of causes and effects:
A causes B
B causes C
C causes D
D causes E
‘A, B, C & D’ are all causes and may all look similar, but they are not, there is an enormous and crucial difference between them.
Causes B, C & D are fundamentally different from cause A.
Why? Because A is the very first cause and thus had no previous cause. It exists without a cause. It doesn’t rely on anything else for its existence, it is completely independent of causes - while B, C & D would not exist without A. They are entirely dependent on A.
Causes; B, C & D are also effects, whereas A is not an effect, only a cause.
So, we can say that the first cause ‘A’ is both self-existent and necessary. It is necessary because the rest of the chain of causes and effects could not exist without it.
We also must say that the subsequent causes and effects B, C, D and E are all contingent. That is; they are not self-existent, they all depend entirely on other causes to exist. We can also say that A is eternally self-existent, i.e. it has always existed, it had no beginning.
Why? Because if A came into being at some point, there must have been something other than itself that brought it into being … which would mean A was not the first cause (A could not create A) … the something that brought A into being would be the first cause. In which case, A would be contingent and no different from B, C, D & E. We can also say that A is adequate to produce all the properties of B, C, D & E.
Why? Well, in the case of E, we can see that it relies entirely on D for its existence. E can in no way be superior to D, because D had to contain within itself everything necessary to produce E.
The same applies to D, it cannot be superior to C. Furthermore, neither E or D can be superior to C, because both rely on C for their existence, and C had to contain everything necessary to produce D & E.
Likewise, with B, which is wholly responsible for the existence of C, D & E.
As they all depend on A for their existence and all their properties, abilities and potentials, none can be superior to A, whether singly or combined. A had to contain everything necessary to produce B, C, D & E including all their properties, abilities and potentials.
Thus, we deduce that; nothing in the universe can be superior in any way to the very first cause of the universe, because the whole universe, and all material things that exist, depend entirely on the abilities and properties of the first cause to produce them.
Conclusion …
A first cause must be uncaused, must have always existed, and cannot be in any way inferior to all subsequent causes and effects. In other words, the first cause of the universe must be eternally, self-existent and omnipotent (greater than everything that exists). No natural entity can have those attributes, that is why a Supernatural, Creator God MUST exist.
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FOUNDATIONS OF SCIENCE
The Law of Cause and Effect. Dominant Principle of Classical Physics. David L. Bergman and Glen C. Collins
www.thewarfareismental.net/b/wp-content/uploads/2011/02/b...
"The Big Bang's Failed Predictions and Failures to Predict: (Updated Aug 3, 2017.) As documented below, trust in the big bang's predictive ability has been misplaced when compared to the actual astronomical observations that were made, in large part, in hopes of affirming the theory."
The world class boanical collections in Waimea Valley owe there existence to Mir. Keith Woolliams, a dedicated botanical horticulturist who was trained at the Royal Botanic Garden at Kew, on the outskirts of London.
Keith led a rich life traveling around the globe studying botanical collections in England, Japan, Papua New Guinea and Bermuda. He brought to Hawaii his expertise and knowledge of uncommon horticultural treasures, and he acquired seeds, plants, and cuttings from remote places and botanical gardens all over the world. In pre-internet days dozens of letters and packages were dispatched and received daily.
His theme of "Conservation Through Cultivation" resulted in a balance of rare and useful native and Polynesian-introduced plants among exotic horticultural specimens.
What was once an ungroomed valley, filled with koa haole and ravaged by feral cattle was transformed into what you see today by Keith and the many dedicated people he inspired. They oversaw the design, landscaping and construction of the pathways, stone walls and stairs that frame the gardens. Keith's high standards for record keeping and signage persist to this day. He left us in 1998 with a library full of his propagation knowledge, cultivation practices and plant lore which survives to ensure that the precious life forms brought to this valley will thrive here long into the future.
Keith was an inspiring advocate for Hawatian plant conservation and he influenced many young people across the state. He connected Waimea with state, federal and international agencies such as the Center for Plant Conservation, the International Union for the Conservation of Nature, and the Botanical Gardens Conservation International - partnerships that Waimea Valley continues to uphold today.
Keith was instrumental in bringing in critically endangered plants from Japan's Ogasawara Islands, hibiscus relatives from all over the world, and with international colleagues he tried to assemble wild-source collections of every species of Erythrina in the world. In the periodical, "Notes from Waimea Arboretum and Botanical Garden" published twice a year until 1992 he stated "Waimea is a labeled and documented collection of plants for educational and scientific purposes, a living gene pool for future generations".
It is with great honor and gratitude that we remember Mr. Keith Woolliams and his dedication to Waimea Valley.
75x90 cm - Picture taken in my Art Gallery
What do we see here?
First of all: this art looks like ordinary painting done with a brush. It is not. It is a totaly different and complicate process. If you don´t know already how to make batik, please read the article below to understand the difference to our thinking about painting. The batik-artist doesn´t draw with colours, he draws with wax and the colouring is done by dipping the whole batik into the desired colour. Then removing the wax in boiling water and starting new for the next colour. And this so many times as the different colours in the finished batik. This takes month o finish. And you have to think opposit: you don´t draw the painting - you draw what will not be the painting!
That´s why this thousands of years old technic is declared as a
UNESCO Heritage Of Human Art.
You can see in his Batik Paintings elements of islamic art
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BATIK
Batik is a technique of wax-resist dyeing applied to the whole cloth. This technique originated from the island of Java, Indonesia. Batik is made either by drawing dots and lines of the resist with a spouted tool called a canting, or by printing the resist with a copper stamp called a cap. The applied wax resists dyes and therefore allows the artisan to colour selectively by soaking the cloth in one colour, removing the wax with boiling water, and repeating if multiple colours are desired.
Batik is an ancient art form of Indonesia made with wax resistant dye on fabrics. Indonesian coastal batik (batik pesisir) made in the island of Java has a history of acculturation, a mixture of native and foreign cultures. It is a newer model compared to inland batik, and it uses more colors, though the patterns are a lot less intricate. This is because inland batik used to be made by select experts living in palace areas, while coastal batik can be made by anyone.
Batik is very important to Indonesians and many people would wear it to formal or casual events. Batik is commonly used by Indonesians in various rituals, ceremonies, traditions, celebrations, and even in daily uses.
On October 2, 2009, UNESCO officially recognized the batik (written batik (batik tulis) and stamped batik (batik cap)) as a Masterpiece of Oral and Intangible Heritage of Humanity from Indonesia, and encouraged the Indonesian people and the Indonesian government to safeguard, transmit, promote, and develop the craftsmanship of batik. Since then, Indonesia celebrates "the National Batik Day" (in Indonesian: Hari Batik Nasional) annually on October 2. Nowadays, Indonesians would wear batik in honor of this ancient tradition.
In the same year, UNESCO also recognized "Education and training in Indonesian Batik intangible cultural heritage for elementary, junior, senior, vocational school and polytechnic students, in collaboration with the Batik Museum in Pekalongan" as Masterpiece of Oral and Intangible Heritage of Humanity in Register of Good Safeguarding Practices List.
Batik is considered a cultural icon in modern Indonesia, where "National Batik Day" (in Indonesian: Hari Batik Nasional) is celebrated annually on October 2. Many Indonesians continue to wear batik on a daily basis for casual and formal occasions.
ETYMOLOY
The word batik is Javanese in origin. It comes from the Javanese ambatik that consist of amba means "wide" or "large", and tik or nitik means "dot" or "make a dot". The word bathikan also means "drawing" or "writing" in Javanese. When the word is absorbed to Malay (including both Indonesian and Malaysian standards), the "th-" sound is reduced to a "t-" sound more pronouncable to non-Javanese speakers.
The word batik is first recorded in English in the Encyclopædia Britannica of 1880, in which it is spelled as battik. It is attested in the Indonesian Archipelago during the Dutch colonial period in various forms such as mbatik, mbatek, batik and batek. Batik known as euyeuk in Sundanese, cloth can be processed into a form of batik by a pangeyeuk (batik maker).
HISTORY
Batik is an ancient fabric wax-resist dyeing tradition of Java, Indonesia. The art of batik is most highly developed and some of the best batiks in the world still made there. In Java, all the materials for the process are readily available – cotton and beeswax and plants from which different vegetable dyes are made. Indonesian batik predates written records: G. P. Rouffaer argues that the technique might have been introduced during the 6th or 7th century from India or Sri Lanka. On the other hand, the Dutch archaeologist J.L.A. Brandes and the Indonesian archaeologist F.A. Sutjipto believe Indonesian batik is a native tradition, since several regions in Indonesia such as Toraja, Flores, and Halmahera which were not directly influenced by Hinduism, have attested batik making tradition as well.
The existence of the oldest Batik activities came from Ponorogo which was still called Wengker before the 7th century, the Kingdom in Central Java learned batik from Ponorogo. Because of this, Ponorogo batik is somewhat similar to batik circulating in Central Java, except that the batik produced by Ponorogo is generally dark black or commonly called batik irengan because it is close to magical elements. so that it was developed by the kingdoms in Central Java and Yogyakarta.
Based on the contents of the Sundanese Manuscript, Sundanese people have known about Batik since the 12th century. Based on ancient Sundanese manuscript Sanghyang Siksa Kandang Karesian written 1518 AD, it is recorded that Sundanese having batik which is identical and representative of Sundanese culture in general. Several motif are even noted in the text, based on those data sources the process of Batik Sundanese creation begins step by step.
Rouffaer reported that the gringsing pattern was already known by the 12th century in Kediri, East Java. He concluded that this delicate pattern could be created only by using the canting, an etching tool that holds a small reservoir of hot wax invented in Java around that time. The carving details of clothes worn by East Javanese Prajnaparamita statues from around the 13th century show intricate floral patterns within rounded margins, similar to today's traditional Javanese jlamprang or ceplok batik motif. The motif is thought to represent the lotus, a sacred flower in Hindu-Buddhist beliefs. This evidence suggests that intricate batik fabric patterns applied with the canting existed in 13th-century Java or even earlier. By the last quarter of the 13th century, the batik cloth from Java has been exported to Karimata islands, Siam, even as far as Mosul.
In Europe, the technique was described for the first time in the "History of Java", published in London in 1817 by Stamford Raffles, who had been a British governor of Bengkulu, Sumatra. In 1873 the Dutch merchant Van Rijckevorsel gave the pieces he collected during a trip to Indonesia to the ethnographic museum in Rotterdam. Today the Tropenmuseum houses the biggest collection of Indonesian batik in the Netherlands. The Dutch and Chinese colonists were active in developing batik, particularly coastal batik, in the late colonial era. They introduced new patterns as well as the use of the cap (copper block stamps) to mass-produce batiks. Displayed at the Exposition Universelle at Paris in 1900, the Indonesian batik impressed the public and artists.
In the 1920s, Javanese batik makers migrating to Malay Peninsula (present-day Malaysia, South Thailand, and southern tip of Myanmar) introduced the use of wax and copper blocks to its east coast.
In Subsaharan Africa, Javanese batik was introduced in the 19th century by Dutch and English traders. The local people there adapted the Javanese batik, making larger motifs with thicker lines and more colours. In the 1970s, batik was introduced to Australia, where aboriginal artists at Erna Bella have developed it as their own craft.
In Africa, it was originally practised by the Yoruba tribe in Nigeria, Soninke and Wolof in Senegal.[20] This African version, however, uses cassava starch or rice paste, or mud as a resist instead of beeswax.
TECHNIQUES
Initially, batik making techniques only used "written batik" (batik tulis) techniques. This batik tulis is known as the original batik from generation to generation from the Indonesian nation's ancestors because the process and workmanship are still very traditional and manual. Then the technique developed with the discovery of the stamped batik (batik cap) technique which made batik work faster. The batik tulis and batik cap techniques are recognized by UNESCO as a Masterpiece of Oral and Intangible Heritage of Humanity from Indonesia because it still uses waxes in the making process.
WRITTEN BATIK (BATIK TULIS)
Written batik or batik tulis (Javanese script: ꦧꦠꦶꦏ꧀ꦠꦸꦭꦶꦱ꧀; Pegon: باتيق توليس) is made by writing wax liquid on the surface of the cloth with a tool called canting. Canting made of copper with a handle made of bamboo or wood. The making of hand-written batik takes approximately 1–3 months depending on the complexity and detail of batik. Because the working techniques are still traditional and manual, making hand-written batik takes longer and is more complicated than other batik techniques. In addition, the fundamental difference between written batik compared to other batik is that there are differences in each pattern, for example, a number of points or curved lines that are not the same because they are made manually by hand. This characteristic of hand-written batik makes hand-written batik more valuable and unique compared to other batiks.Written batik technique is the most complicated, smooth, and longest process to work with, so a piece of original batik tulis cloth is usually sold at a higher price. However, this is the advantage of batik with the written process, which is more exclusive because it is purely handmade. In Indonesia, premium hand-written batik clothes are usually only worn by certain people at special events, in the form of long-sleeved shirts or modern batik dresses. The batik motif in Indonesia has developed depending on its history and place of origin.
STAMPED BATIK (BATIK CAP)
Stamped batik or batik cap (Javanese script: ꦧꦠꦶꦏ꧀ꦕꦥ꧀; Pegon: باتيق چڤ) is batik whose manufacturing process uses a stamp tool. This stamp tool is made of copper plates which form a batik motif on one of its surfaces. Stamp tool or canting cap is made by people who are experts in that field. Making batik with cap works the same way as using a stamp, but using waxes, not ink. This experience process is not easy to do. To make one piece of batik cloth, the process of deepening is carried out several times depending on the number of colors desired. Cap is used to replacing the canting function so that it can shorten the manufacturing time. Batik cap is produced from the process of dyeing a tool made of copper which has been shaped in such a way on the cloth. The batik cap motif is considered to have less artistic value because all the motifs are exactly the same. The price of printed batik is cheaper than written batik because it can be made en masse. The distinctive feature of batik cap can be seen from the repeating pattern and/or ornament motif. Historically, this batik cap process was discovered and popularized by the brethren as a solution to the limited capacity of batik production if it was only processed with hand-written techniques (batik tulis). The process of making this type of batik takes approximately 2–3 days. The advantages of batik cap are easier, faster batik processing, and the most striking of which is the more neat and repetitive motifs. While the drawbacks of batik cap include the mainstream design because it usually goes into mass production, in terms of art it looks stiffer and the motifs are not too detailed, and what is certain is the possibility of having the same batik as other people is greater.
PAINTED BATIK (BATIK TULIS)
Painted batik, batik painting, or batik lukis (Javanese script: ꦧꦠꦶꦏ꧀ꦭꦸꦏꦶꦱ꧀; Pegon: باتيق لوكيس) is a technique of making batik by painting (with or without a pattern) on a white cloth using a medium or a combined medium like canting, brush, banana stalk, broomsticks, cotton, toothpicks, patchwork, or other media depending on the expression of a painter. Batik painting is the result of the development of batik art. The essence of batik painting is the process of making batik that does not use traditional motifs that are commonly found. The resulting motifs are the creation of the maker, usually producing contemporary (free) motifs or patterns with brighter, more striking colors, and more diverse color variations. The coloring in painted batik tends to be free and plays with many colors that are not often found in written batik (batik tulis). There are also gradation effects and other painting effects. The drawings are made as if painted batik is an ordinary painting poured on cloth using wax as the medium.
In principle, painted batik is almost the same way with written batik in the making process. Because of the development of classic written batik, painted batik still contains the same elements as written batik in the aspects of materials, processing, coloring, and highlighting (removing the wax). But there are also many differences due to the influence of modern painting, such as in terms of appearance, especially in motifs and colors. The most important thing in making painted batik is the combination of the batik work and coloring depending on the taste of the batik maker. Painted batik is popular because it has a very affordable price and a very creative manufacturing process. Painted batik can be used as decoration or ready-to-wear clothing (fashion). Painted batik which has human objects, landscapes, still objects, and other objects, are in high demand for display paintings.
MAKING PROCESS
The making of Indonesian batik is a labor-intensive process. The following are the stages in the process of making the original batik tulis cloth from the first steps to the last process: nyungging, njaplak, nglowong, ngiseni, nyolet, mopok, nembok, ngelir, nembok, the first nglorod, ngrentesi, nyumri, nyoja, and the second nglorod.
Firstly, a cloth is washed, soaked, and beaten with a large mallet. Patterns are drawn with pencil and later redrawn using hot wax, usually made from a mixture of paraffin or beeswax, sometimes mixed with plant resins, which functions as a dye-resist. The wax can be applied with a variety of tools. A pen-like instrument called a canting (Javanese pronunciation: [tʃantiŋ], sometimes spelled with old Dutch orthography tjanting) is the most common. A canting is made from a small copper reservoir with a spout on a wooden handle. The reservoir holds the resist which flows through the spout, creating dots and lines as it moves. For larger patterns, a stiff brush may be used.[38] Alternatively, a copper block stamp called a cap (Javanese pronunciation: [tʃap]; old spelling tjap) is used to cover large areas more efficiently.
After the cloth is dry, the resist is removed by boiling or scraping the cloth. The areas treated with resist keep their original colour; when the resist is removed the contrast between the dyed and undyed areas forms the pattern. This process is repeated as many times as the number of colours desired.
The most traditional type of batik, called written batik (batik tulis), is drawn using only the canting. The cloth needs to be drawn on both sides and dipped in a dye bath three to four times. The whole process may take up to a year; it yields considerably finer patterns than stamped batik (batik cap).
CULTURE
Batik is an ancient cultural element that is widespread in Indonesia. Making batik, in the sense of written batik, is not only a physical activity but has a deep dimension that contains prayer, hope, and lessons. Batik motifs in ancient Javanese society have a symbolic meaning and can be used as a means of communication for ancient Javanese people. The ancient Javanese community realized that through batik motifs the social stratification of society could be identified. Basically, the use of batik should not be arbitrary for both men and women because every element in Javanese clothing, especially batik, is always full of symbols and meanings.
Many Indonesian batik patterns are symbolic. Infants are carried in batik slings decorated with symbols designed to bring the child luck, and certain batik designs are reserved for brides and bridegrooms, as well as their families. Batik garments play a central role in certain Javanese rituals, such as the ceremonial casting of royal batik into a volcano. In the Javanese naloni mitoni ceremony, the mother-to-be is wrapped in seven layers of batik, wishing her good things. Batik is also prominent in the tedak siten ceremony when a child touches the earth for the first time. Specific pattern requirement are often reserved for traditional and ceremonial contexts.
TRADITIONAL COSTUME IN THE JAVANESE ROYAL PALACE
Batik is the traditional costume of the royal and aristocratic families in Java for many centuries until now. The use of batik is still sustainable and is a mandatory traditional dress in the rules of the Javanese palaces to this day. Initially, the tradition of making batik was considered a tradition that could only be practiced in the palace and was designated as the clothes of the king, family, and their followers, thus becoming a symbol of Javanese feudalism. Because many of the king's followers lived outside the palace, this batik art was brought by them outside the palace and carried out in their respective places. The batik motifs of each social class are differentiated according to social strata and nobility in the palace. The motifs of the Parang Rusak, semen gedhe, kawung, and udan riris are the batik motifs used by the aristocrats and courtiers in garebeg ceremonies, pasowanan, and welcoming honor guests. During the colonial era, Javanese courts issued decrees that dictated certain patterns to be worn according to a person's rank and class within the society. Sultan Hamengkubuwono VII, who ruled the Yogyakarta Sultanate from 1921 to 1939, reserved several patterns such as the Parang Rusak and Semen Agung for members of the Yogyakartan royalties and restricted commoners from wearing them.
TRADITIONAL DANCE COSTUMES
Batik is used for traditional dance performances in Java. Costume is one of the main things in presenting traditional Javanese dance. Kemben is a piece of cloth worn from the chest to the waist. Tapih is used to fasten the jarit of the dancers, it is decorated with a distinctive batik motif, and fastened with a stagen belt. Sampur is used by wrapping them around the dancer's body. This cloth is also known as Kancrik Prade which is usually dominated by yellow or red. Jarit is a subordinate, uses a long batik cloth. Some examples of Javanese dances include Bedhaya, Srimpi, Golek, Beksan, wayang wong, gambyong, and so on.
BIRTH CEREMONIES
In Javanese tradition, when a mother-to-be reaches her seventh month of pregnancy, a seven-month event or a mitoni ceremony will be held. One of the things that must be done in the ceremony is that the prospective mother must try on the seven kebayas and seven batik cloths. The batik used has rules and is not just any batik. Each batik cloth has a high philosophical value which is also a strand and hope for the Almighty so that the baby who is born has a good personality.
Prospective mothers must alternate wearing 6 batik cloths and 1 striated batik cloth. This batik substitution has a rule, that the last batik to be worn is the one with a simple motif. The motif rulers include:
Wahyu tumurun motif – This motif contains the hope that the baby will have a good position.
Cakar motif – This motif is expected to make the child diligent in seeking sustenance.
Udan liris motif – It is hoped that the child will have a tough character.
Kesatrian motif – It is hoped the child has a chivalrous nature.
Sidomukti motif – It is hoped that the child's life will be good and honorable.
Babon angrem motif – Motif depicting a hatchling hen, symbolizes the mother's love for her child.
Lurik lasem motif – The simplest motif. It has a philosophy that human life should be simple. There is also another philosophy, there are two lines in lurik lasem batik, namely the vertical line indicating the relationship between humans and God and the horizontal line indicating the relationship between humans and fellow humans.
WEDDING CEREMONIES
Every motif in classical Javanese batik always has its own meaning and philosophy, including for wedding ceremonies. Because each motif attached to Javanese batik has a different story and philosophy. In Javanese wedding ceremony, certain batik designs are reserved for brides and bridegrooms, as well as their families. Such as the truntum motif (flower motif in the shape of the sun) is used for midodareni ceremony (the procession of the night before the wedding ceremony, symbolizing the last night before the child separates from parents). This motif is also used during the panggih ceremony (the procession when the bride and groom meet after being secluded) by the parents of the bride and groom. The truntum motif means a symbol of love that never ends, when used by the parents of the bride and groom, it symbolizes the love of the parents for the child that never ends.
Some of the batik motifs that can be used for weddings are the grompol motif (hopefully the bride and groom will get a blessing and a bright future), Sidho asih motif (hopefully that the bride and groom will love each other), Sidho luhur motif (hopefully that the bride will have a noble and praiseworthy character), and ceker ayam motif (hopefully the bride and groom have the spirit of being married and given prosperity).
DEATH CEREMONIES (LURUB LAYON)
In Javanese society batik cloth is also used for death ceremonies, namely as a cover for the body or what is known as the lurub layon ceremony. The batik motif that symbolizes grief is the slobok motif. This batik motif symbolizes the hope that spirits will find it easy and smooth on their way to God. The word slobog is taken from the Javanese word lobok, which means loose. This motif is a geometric triangular shape that is usually black and white. The basic color of this batik is often black or brown with a natural dye which is often called soga.
In Madurese society, one of the batik motifs used for the cloth covering the corpse from generation to generation is the biren rice tompah motif. This biren leaf motif is filled with spilled rice using natural dyes. The washing also uses natural ingredients, squeezed papaya leaves.
FORMAL AND INFORMAL DAILY DRESS
Contemporary practice often allows people to pick any batik patterns according to one's taste and preference from casual to formal situations, and Batik makers often modify, combine, or invent new iterations of well-known patterns. Besides that, now batik has become a daily dress whether it is at work, school, or formal and non-formal events in Indonesia. Many young designers have started their fashion design work by taking batik as their inspiration for making clothes designs. The creativity of these young designers has given birth to various designs of batik clothes that are very elegant and meet the demands of a modern lifestyle.
In October 2009, UNESCO designated Indonesian batik as a Masterpiece of Oral and Intangible Heritage of Humanity. As part of the acknowledgment, UNESCO insisted that Indonesia preserve its heritage. The day, 2 October 2009 has been stated by Indonesian government as National Batik Day, as also at the time the map of Indonesian batik diversity by Hokky Situngkir was opened for public for the first time by the Indonesian Ministry of Research and Technology.
Study of the geometry of Indonesian batik has shown the applicability of fractal geometry in traditional designs.
PATTERNS AND MOTIVS
The popularity of batik in Indonesia has varied. Historically, it was essential for ceremonial costumes and it was worn as part of a kebaya dress, commonly worn every day. The use of batik was already recorded in the 12th century, and the textile has become a strong source of identity for Indonesians crossing religious, racial, and cultural boundaries. It is also believed the motif made the batik famous.
KAWUNG
The kawung motif originated in the city of Yogyakarta and comes in a variety of styles. The motif has a geometrically organized pattern of spheres that resembles the kawung fruit (palm fruit). This pattern is thought to also be a representation of a lotus flower with four blooming crown petals, representing purity. The geometrically organized kawung pattern is seen as a representation of authority in Javanese society. Power is symbolized by the dot in the center of the geometrically aligned ovals. This reflects the position of rulers being the center of authority, which may now be understood as a depiction of the relationship between the people and the government. Other kawung symbolisms are connected to wisdom, such as representing the ancient Javanese philosophy of life of sedulur papat lima pancer. As a result, it is intended signify human existence, in the hopes that a person would not forget their roots. The color scheme of the kawung batik pattern, which includes a combination of dark and bright hues represents human traits. As the kawung pattern is frequently regarded as a palm tree's fruit that is thought to be extremely beneficial for people, it is believed that whomever uses this motif would have a positive influence on the environment. Furthermore, the kawung batik motif is seen as a sign of power and justice. Since the Kawung motif is frequently associated with a symbolism of authority and has many philosophical meanings, it was formerly used only by the Javanese royal family. Over time, numerous influences such as colonization have influenced its exclusivity, enabling the kawung motif to be utilized by the general public.
PARANG
The word Parang comes from the word coral or rock. The motif depicts a diagonal line descending from high to low and has a slope of 45 degrees. The basic pattern is the letter S. The meaning of the parang motif can be interpreted in two ways. Some speculate this theme is derived from the pattern of the sword worn by knights and kings when fighting. Others say Panembahan Senapati designed the pattern while watching the South Sea waves crash against the beach's rocks, with the ocean waves symbolizing the center of natural energy, or the king. The parang motif's oblique construction is also a sign of strength, greatness, authority, and speed of movement. The parang motif, like the kawung design, is a batik larang as it is exclusively worn by the monarch and his relatives. The size of the parang motif also represents the wearer's position in the royal family's hierarchy.[68] The parang pattern has many variations, each of which has its own meaning and is allocated to a certain member of the royal family based on their rank. Barong, rusak, gendreh, and klithik are some variations of the parang motif. In general, the motif is meant to represent a person's strong will and determination. It also represents a strong relationship and bond, both in terms of efforts to improve oneself, efforts to fight for prosperity, as well as forms of family ties. Since members of the royal family are the only ones who may wear the parang motif, the parang batik is often passed down among generations.
MEGA MENDUNG
The mega mendung pattern has become a symbol of the city of its origin, Cirebon, due to its widespread popularity. The entrance of the Chinese traders is credited with the birth of the mega mendung motif. The motif is formed like a cloud, representing nirvana and the transcendental notion of divinity in Chinese culture. In another variant, the inspiration for this motif came from someone having seen a cloud reflected in a puddle of water while the weather was overcast. Mega mendung motifs must have a seven color gradations. The motif's name means "the sky will rain", and the motif's seven color gradations are supposed to represent the seven layers of the sky. The term mendung, which means "cloudy", is used in the pattern's name to represent patience. This means humans should not be quick to anger and should exercise patience even when confronted with emotional events. The cloud's structure should also be consistent, as the direction must be horizontal rather than vertical. The clouds must also be flat, as the cloud's purpose is to shield those beneath it from the scorching sun. As a result, the mega mendung design communicates that leaders must protect their people.
TUJUH RUPA
This pattern originates in Pekalongan and is the product of a fusion of Indonesian and Chinese cultures. Ceramic ornaments from China are frequently used in the Tujuh Rupa motif. However, the embellishments on these motifs sometimes include brilliantly colored ornaments of natural elements such as animals and plants. The Tujuh Rupa motifs signifies ancestral ties and to represent gentleness and compassion. The motifs portrayed frequently represent aspects of coastal people's life, such as their ability to adapt to other cultures.
TRUNTUM
The Truntum pattern was developed by Kanjeng Ratu Kencana (Queen Sunan Paku Buwana III) in the years 1749-1799 as a symbol of true, unconditional, and eternal love. It embodies a hope that as love becomes stronger, it will become more fruitful. Truntum comes from the word nuntun (guide). According to legend, Kanjeng Ratu Kencana's spouse disregarded her because he was preoccupied with his new concubine. She was inspired to design a batik with a truntum motif shaped like a star after looking up at the clear, star-studded sky. The king subsequently discovered the Queen creating the lovely pattern, and his feelings for her grew stronger with each passing day. Furthermore, the truntum pattern represents loyalty and devotion. The parents of the bride and groom usually use this motif on the wedding day. The hope is that the bride and groom would experience such steadfast love.
SOGAN
As the coloring technique of this Soga motif employs natural dyes extracted from the trunk of the soga tree, the batik motif is therefore known as Sogan. Traditional Sogan batik is a kind of batik unique to the Javanese Keraton, specifically Keraton Yogyakarta and Keraton Solo. The traditional Keraton patterns are generally followed by this Sogan motifs.The colors of Sogan Yogya and Solo are what differentiates the two Sogan motif variations from each other. Yogya sogan motifs are predominantly dark brown, black, and white, whereas Solo sogan motifs are often orange-brown and brown. The Sogan motif uses five primary colors to represent the human nature: black, red, yellow, white, and green are the five colors. The color black is used to represent worldliness, while red represents anger, yellow represents desire, and white represents righteousness. Brown, on the other hand, is a hue associated with solemnity and the distinctiveness of the Javanese culture, which places a strong emphasis on the inner self as a means of expression and impression. Furthermore, the color brown can be viewed as a symbol of modesty and humility, signifying a closeness to nature, which in turn implies a connection to the people.
LASEM
Lasem batik is a form of coastal batik that developed through a cross-cultural exchange between native Javanese batik that were influenced by the Keraton motif and the incorporation of foreign cultural aspects, particularly Chinese culture. Therefore, the Lasem Batik has a distinct look and is rich in Chinese and Javanese cultural subtleties. The Lasem motif is distinguished by its distinctive red hue, known as getih pitik or 'chicken blood'.[83] This is not to imply it is coloured with chicken blood, but in the past, the dye powder, which was generally imported from Europe, was combined with Lasem water to turn it crimson. Even if it is close to the traditional Lasem hue, the red colour is now a little different. The Lasem motif comes in many variations, but the most common is that of China's famed Hong bird. The origin of the motif started when Admiral Cheng Ho's crew member Bi Nang Un is reported to have moved to Central Java with his wife Na Li Ni, where she learnt to create batik motifs. Na Li Ni is credited as being the first to use dragon designs, hong birds, Chinese money, and the color red in batik. As a result, the Lasem patterns and colors have symbolic connotations linked to Chinese and Javanese philosophy, resulting in the motif carrying a meaning of unity and a representation of Chinese and Javanese acculturation.
SIDOMUKTI
The Sidomukti batik motif is a Surakarta, Central Java-based motif. The Sidomulyo motif has been developed into this motif, whereby Paku Buwono IV altered the backdrop of the white Sidomulyo batik motif to the ukel motif, which was eventually dubbed the Sidomukti batik motif. This batik design is a kind of Keraton batik produced using natural soga dyes. On Sidomukti batik cloth, the color of soga or brown is the traditional batik colour. The term Sidomukti comes from the word Sido, which means "to become" or "accepted", and "mukti", which means "noble", "happy", "powerful", "respected", and "prosperous". As a result, the Sidomukti motif represents the desire to achieve inner and external happiness, or for married couples, the hope of a bright and happy future for the bride and groom. The Sidomukti motifs are made up of various ornaments with different meanings and philosophies. A butterfly is the main ornament of this motif. Enlightenment, liberty, and perfection are all associated with this ornamentation. Furthermore, the butterfly represents beauty, great aspirations, and a brighter future. The Singgasana ornament, also known as the throne ornament, is the second ornament. This ornament is meant to important positions, implying that the person who wears it will ascend in rank and status. It is also envisioned that the individual would be recognized and appreciated by a large number of people. The Meru ornament, often known as mountain ornaments, is the third ornament. Meru is defined as a lofty mountain top where the gods live in Javanese Hindu tradition. Because the Meru ornament represents grandeur, magnificence, and firmness, it represents a want for the wearer to be successful. The flower ornament is the last ornament, and it is intended to represent beauty. This ornament represents the hope for something wonderful in life that is sturdy and substantial to hang on to, despite the numerous challenges that may arise.
SIDOMULYO
The Sidomulyo batik motif dates back to the Kartasura Mataram period, when Sultan Pakubuwono IV changed the pattern's base with isen-isen ukel. The Sidomulyo pattern is a type of Keraton batik, and originates from Surakarta, Central Java.[90] Sido means "to become" or "accepted" in Javanese, whereas mulyo means "noble”. During the wedding ceremony, a bride and groom generally wear a batik fabric with the Sidomulyo motif in the hope that the family would thrive in the future. Because the Sidomulyo and Sidolmukti batik motifs are essentially the same with the only difference being the minor color variations, the ornamentations and meanings of the two motifs are the same.
SEKAR JAGAD
The Sekar Jagad motif has been popular since the 18th century. The name Sekar Jagad is derived from the words kaart, meaning map in Dutch, and Jagad, meaning means world in Javanese, as the pattern resembles a map when viewed from above. As a result, Batik Sekar Jagad is intended to depict the beauty and diversity of the world's various ethnic groups. There are also others who claim that the Sekar Jagad motif is derived from the Javanese words sekar (flower) and jagad (world), as the motif could also symbolize the beauty of the flowers that are spread all over the world. The existence of curving lines matching the shape of islands that are adjacent to each other is one of the features of the Sekar Jagad motif, making it look like a map. This motif is distinct in that it is irregularly patterned, as opposed to other batik motifs that have a repeating pattern. The Sekar Jagad motif itself is also characterized by the presence of isen-isen in the island shaped lines of the motif that contains various motifs such as kawung, truntum, slopes, flora and fauna and others.
TERMINOLOGY
Batik is traditionally sold in 2.25-metre lengths used for kain panjang or sarong. It is worn by wrapping it around the hip, or made into a hat known as blangkon. The cloth can be filled continuously with a single pattern or divided into several sections.
Certain patterns are only used in certain sections of the cloth. For example, a row of isosceles triangles, forming the pasung motif, as well as diagonal floral motifs called dhlorong, are commonly used for the head. However, pasung and dhlorong are occasionally found in the body. Other motifs such as buketan (flower bouquet) and birds are commonly used in either the head or the body.
The head is a rectangular section of the cloth which is worn at the front. The head section can be at the middle of the cloth, or placed at one or both ends. The papan inside of the head can be used to determine whether the cloth is kain panjang or sarong.
The body is the main part of the cloth, and is filled with a wide variety of patterns. The body can be divided into two alternating patterns and colours called pagi-sore ('dawn-dusk'). Brighter patterns are shown during the day, while darker pattern are shown in the evening. The alternating colours give the impression of two batik sets.
Margins are often plain, but floral and lace-like patterns, as well as wavy lines described as a dragon, are common in the area beside seret.
TYPES
As each region has its own traditional pattern, batiks are commonly distinguished by the region they originated in, such as batik Solo, batik Yogyakarta, batik Pekalongan, and batik Madura. Batiks from Java can be distinguished by their general pattern and colours into batik pedalaman (inland batik) or batik pesisiran (coastal batik).[9] Batiks which do not fall neatly into one of these two categories are only referred to by their region. A mapping of batik designs from all places in Indonesia depicts the similarities and reflects cultural assimilation within batik designs.
JAVANESE BATIK
INLAND BATIK (BATIK PEDALAMAN)
Inland batik, batik pedalaman or batik kraton (Javanese court batik) is the oldest form of batik tradition known in Java. Inland batik has earthy colour[96] such as black, indigo, brown, and sogan (brown-yellow colour made from the tree Peltophorum pterocarpum), sometimes against a white background, with symbolic patterns that are mostly free from outside influence. Certain patterns are worn and preserved by the royal courts, while others are worn on specific occasions. At a Javanese wedding for example, the bride wears specific patterns at each stage of the ceremony. Noted inland batiks are produced in Solo and Jogjakarta, cities traditionally regarded as the centre of Javanese culture. Batik Solo typically has sogan background and is preserved by the Susuhunan and Mangkunegaran Court. Batik Jogja typically has white background and is preserved by the Yogyakarta Sultanate and Pakualaman Court.
COASTAL BATIK (BATIK PESISIRAN)
Coastal batik or batik pesisiran is produced in several areas of northern Java and Madura. In contrast to inland batik, coastal batiks have vibrant colours and patterns inspired by a wide range of cultures as a consequence of maritime trading.[96] Recurring motifs include European flower bouquets, Chinese phoenix, and Persian peacocks. Noted coastal batiks are produced in Pekalongan, Cirebon, Lasem, Tuban, and Madura. Pekalongan has the most active batik industry.
A notable sub-type of coastal batik called Jawa Hokoka is not attributed to a particular region. During the Japanese occupation of Indonesia in early 1940, the batik industry greatly declined due to material shortages. The workshops funded by the Japanese however were able to produce extremely fine batiks called Jawa Hokokai. Common motifs of Hokokai includes Japanese cherry blossoms, butterflies, and chrysanthemums.
Another coastal batik called tiga negeri (batik of three lands) is attributed to three regions: Lasem, Pekalongan, and Solo, where the batik would be dipped in red, blue, and sogan dyes respectively. As of 1980, batik tiga negeri was only produced in one city.
BLACKSTYLE BATIK (BATIK IRENGAN)
"Black-style Batik" or "Irengan batik" is batik with an average black background, this is because Ponorogo has always had activities that are close to magical practices, so most irengan batik from Ponorogo is used as a black magic ritual, Dutch people know batik irengan this with gothic batik.
SUNDANESE BATIK
There are several types of batik that come from Sundanese land.
PARAHYANGAN BATIK
Sundanese or Parahyangan Batik is the term for batik from the Parahyangan region of West Java and Banten. Although Parahyangan batiks can use a wide range of colours, a preference for indigo is seen in some of its variants. Natural indigo dye made from Indigofera is among the oldest known dyes in Java, and its local name tarum has lent its name to the Citarum river and the Tarumanagara kingdom, which suggests that ancient West Java was once a major producer of natural indigo. Noted Parahyangan batik is produced in Ciamis, Garut, and Tasikmalaya. Other traditions include Batik Kuningan influenced by batik Cirebon, batik Banten that developed quite independently, and an older tradition of batik Baduy.
BANTENESE BATIK
Bantenese batik employs bright pastel colours and represents a revival of a lost art from the Sultanate of Banten, rediscovered through archaeological work during 2002–2004. Twelve motifs from locations such as Surosowan and several other places have been identified. It is said that tribal people used to wear it.
BADUY BATIK
Baduy batik only employs indigo colour in shades ranged from bluish black to deep blue. It is traditionally worn as iket, a type of Sundanese headress similar to Balinese udeng, by Outer Baduy people of Lebak Regency, Banten.
MALAY BATIK
Trade relations between the Melayu Kingdom in Jambi and Javanese coastal cities have thrived since the 13th century. Therefore, coastal batik from northern Java probably influenced Jambi. In 1875, Haji Mahibat from Central Java revived the declining batik industry in Jambi. The village of Mudung Laut in Pelayangan district is known for producing batik Jambi. Batik Jambi, as well as Javanese batik, influenced the Malaysian batik.
The batik from Bengkulu, a city on west coast of Sumatra, is called batik besurek, which literary means "batik with letters" as they draw inspiration from Arabic calligraphy.
MINANGKABAU BATIK
The Minangkabau people also produce batik called batiak tanah liek (clay batik), which use clay as dye for the fabric. The fabric is immersed in clay for more than one day and later designed with motifs of animal and flora.
BALINESE BATIK
Batik making in the island of Bali is relatively new, but a fast-growing industry. Many patterns are inspired by local designs, which are favoured by the local Balinese and domestic tourists. Objects from nature such as frangipani and hibiscus flowers, birds or fishes, and daily activities such as Balinese dancer and ngaben processions or religious and mythological creatures such as barong, kala and winged lion are common. Modern batik artists express themselves freely in a wide range of subjects.
Contemporary batik is not limited to traditional or ritual wearing in Bali. Some designers promote Balinese batik as an elegant fabric that can be used to make casual or formal cloth. Using high class batik, like hand made batik tulis, can show social status.
POPULARITY
The batik industry of Java flourished from the late 1800s to the early 1900s, but declined during the Japanese occupation of Indonesia. With increasing preference of western clothing, the batik industry further declined following the Indonesian independence. Batik has somewhat revived at the turn of the 21st century, through the efforts of Indonesian fashion designers to innovate batik by incorporating new colors, fabrics, and patterns. Batik has become a fashion item for many Indonesians, and may be seen on shirts, dresses, or scarves for casual wear; it is a preferred replacement for jacket-and-tie at certain receptions. Traditional batik sarongs are still used in many occasions.
After the UNESCO recognition for Indonesian batik on 2 October 2009, the Indonesian administration asked Indonesians to wear batik on Fridays, and wearing batik every Friday has been encouraged in government offices and private companies ever since. 2 October is also celebrated as National Batik Day in Indonesia. Batik had helped improve the small business local economy, batik sales in Indonesia had reached Rp 3.9 trillion (US$436.8 million) in 2010, an increase from Rp 2.5 trillion in 2006. The value of batik exports, meanwhile, increased from $14.3 million in 2006 to $22.3 million in 2010.
Batik is popular in the neighboring countries of Singapore and Malaysia. It is produced in Malaysia with similar, but not identical, methods to those used in Indonesia. Batik is featured in the national airline uniforms of the three countries, represented by batik prints worn by flight attendants of Singapore Airlines, Garuda Indonesia and Malaysian Airlines. The female uniform of Garuda Indonesia flight attendants is a modern interpretation of the Kartini style kebaya with parang gondosuli motifs.
BATIK MUSEUMS
Indonesia as the origin and paradise of batik has several museums that store various types of batik cloth that are hundreds of years old and a collection of equipment for batik that is still well preserved and maintained. Here are some museums in Indonesia that hold various types of batik collections:
MUSEUM BATIK KERATON YOGYAKARTA
Museum Batik Keraton Yogyakarta is located inside the Palace of Yogyakarta Sultanate, Yogyakarta. The museum which was inaugurated by Sultan Hamengku Buwono X on 31 October 2005 has thousands of batik collections. Some of batik collections here include kawung, semen, gringsing, nitik, cuwiri, parang, barong, grompol, and other motifs.
These batik collections come from different eras, from the era of Sultan Hamengkubuwono VIII to Sultan Hamengkubuwono X. The batik collections come from gifts from sultans, batik entrepreneurs, and batik collectors. Not only batik, visitors can also see equipment for making batik, raw materials for dyes, irons, sculptures, paintings, and batik masks. Unlike other museums in the Yogyakarta Palace complex, the Batik Museum management does not allow visitors to bring in cameras. This is in order to protect the batik from being photographed by irresponsible people, to then imitate the motive. This museum is part of a tour package offered by the Yogyakarta Palace. Open every day from 08.00–13.30 WIB, on Fridays at 08.00–13.00 WIB, and closes at the palace ceremony day.
MUSEUM BATIK YOGYAKARTA
Museum Batik Yogyakarta is located at Jalan Dr. Sutomo 13A, Bausasran, Yogyakarta. This museum is managed by the married couple Hadi and Dewi Nugroho. On 12 May 1977, this museum was inaugurated by the Yogyakarta Special Region Regional Office of P&K. This museum occupies an area of 400 m2 and is also used as the owner's residence. In 2000, this museum received an award from MURI for the work 'The Biggest Embroidery', batik measuring 90 x 400 cm2. Then in 2001, this museum received another award from MURI as the initiator of the establishment of the first Embroidery Museum in Indonesia. This museum holds more than 1,200 batik collections consisting of 500 pieces of written batik, 560 stamped batik, 124 canting (batik tools), and 35 pans and coloring materials, including wax. Its excellent collection consists of various batik fabrics from the 18th to early 19th centuries in the form of long cloths and sarongs. Other collections include batik by Van Zuylen and Oey Soe Tjoen, as well as batik made in the 1700s. Yogyakarta Batik Museum also provides batik training for visitors who want to learn to make batik, which results can be taken home. The museum is open every Monday to Saturday at 09.00–15.00.
MUSEUM BATIK PEKALONGAN
Museum Batik Pekalongan is located at Jalan Jetayu No.1, Pekalongan, Central Java. This museum has 1.149 batik collections, including batik cloth, hundreds of years old of batik wayang beber, and traditional weaving tools. Museum Batik Pekalongan maintains a large collection of old to modern batik, both those from coastal areas, inland areas, other areas of Java, and batik from various regions in Nusantara such as from Sumatra, Kalimantan, Papua, and batik technique type fabrics from abroad.
Not only displaying batik collections, but Museum Batik Pekalongan is also a batik training center and a batik learning center. Students and general visitors can learn to make batik or do research on batik culture. The museum opens every day from 08.00 to 15.00.
Museum Batik Danar Hadi is located on Jalan Slamet Riyadi, Solo City (Surakarta), Central Java. The museum, which was founded in 1967, offers the best quality batik collections from various regions such as the original Javanese Batik Keraton, Javanese Hokokai batik (batik influenced by Japanese culture), coastal batik (Kudus, Lasem, and Pekalongan), Sumatran batik, and various types of batik. This museum has a collection of batik cloth reaching 1000 pieces and has been recognized by MURI (Indonesian Record Museum) as the museum with the largest collection of batik. Visitors can see the process of making batik and can even take part in batik making workshop in person. Museum Batik Danar Hadi is open every day from 09:00 WIB in the morning to 16:30 WIB in the afternoon.
MUSEUM BATIK INDONESIA
Museum Batik Indonesia which is located in Taman Mini Indonesia Indah (TMII), Cipayung, Jakarta is divided into six areas, namely the area of introduction, treasures, batik techniques, forms, and types of decoration, development of the batik world and the gallery of fame. Visitors can also enjoy the hundreds of batik motifs available in this place. The museum opens every day at 07.00 AM–10.00 PM.
MUSEUM TEKSTIL JAKARTA
Museum Tekstil Jakarta is located on Jalan KS Tubun No. 4, Petamburan, West Jakarta. On June 28, 1976, this building was inaugurated as a textile museum by Mrs. Tien Soeharto (First Lady at that time) witnessed by Mr. Ali Sadikin as the Governor of DKI Jakarta. The initial collections collected at the Textile Museum were obtained from donations from Wastraprema (about 500 collections), then further increased through purchases by the Museum and History Service, as well as donations from the community, both individually and in groups. Until now, the Textile Museum's collection was recorded at 1.914 collections.
The batik gallery is designed to showcase a number of ancient batik and batik developments (contemporary) from time to time. The batik gallery itself is the embryo of the National Batik Museum which is managed by the Indonesian Batik Foundation and the Jakarta Textile Museum. The museum opens on Tuesday–Sunday at 09.00–15.00.
Batik outside Indonesia
MALAYSIA
The origin of batik production in Malaysia it is known trade relations between the Melayu Kingdom in Jambi and Javanese coastal cities have thrived since the 13th century, the northern coastal batik producing areas of Java (Cirebon, Lasem, Tuban, and Madura) has influenced Jambi batik. This Jambi (Sumatran) batik, as well as Javanese batik, has influenced the batik craft in the Malay peninsula.
Dr. Fiona Kerlogue of the Horniman museum argued that the Malaysian printed wax textiles, made for about a century, are a different tradition from traditional Indonesian batik. The method of producing Malaysian batik is different, as the patterns are larger and simpler with only occasional use of the canting for intricate patterns. It relies heavily on brush painting to apply colours to fabrics. The colours also tend to be lighter and more vibrant than deep coloured Javanese batik. The most popular motifs are leaves and flowers. Malaysian batik often displays plants and flowers to avoid the interpretation of human and animal images as idolatry, in accordance with local Islamic doctrine.
INDIA
Indians are known to use resist method of printing designs on cotton fabrics, which can be traced back 2,000 years.[when?][citation needed] Initially, wax and even rice starch were used for printing on fabrics. Until recently batik was made only for dresses and tailored garments, but modern batik is applied in numerous items, such as murals, wall hangings, paintings, household linen, and scarves, with livelier and brighter patterns. Contemporary batik making in India is also done by the Deaf women of Delhi, these women are fluent in Indian Sign Language and also work in other vocational programs.
SRI LANKA
Over the past century, batik making in Sri Lanka has become firmly established. The batik industry in Sri Lanka is a small scale industry which can employ individual design talent and mainly deals with foreign customers for profit. It is now the most visible of the island's crafts with galleries and factories, large and small, having sprung up in many tourist areas. Rows of small stalls selling batiks can be found all along Hikkaduwa's Galle Road strip. Mahawewa, on the other hand, is famous for its batik factories.
CHINA
Batik is done by the ethnic people in the South-West of China. The Miao, Bouyei and Gejia people use a dye resist method for their traditional costumes. The traditional costumes are made up of decorative fabrics, which they achieve by pattern weaving and wax resist. Almost all the Miao decorate hemp and cotton by applying hot wax then dipping the cloth in an indigo dye. The cloth is then used for skirts, panels on jackets, aprons and baby carriers. Like the Javanese, their traditional patterns also contain symbolism, the patterns include the dragon, phoenix, and flowers.
AFRICA
Although modern history would suggest that the batik was introduced to Africa by the Dutch (especially in South Africa), the batik making process has been practiced in Africa long before the arrival of the colonial powers.[citation needed] One of the earlier sightings are to be found in Egypt, where batik-like material used in the embalming of mummies. The most developed resist-dyeing skills are to be found in Nigeria where the Yoruba make adire cloths. Two methods of resist are used: adire eleso which involves tied and stitched designs and adire eleko that uses starch paste. The paste is most often made from cassava starch, rice, and other ingredients boiled together to produce a smooth thick paste. The Yoruba of West Africa use cassava paste as a resist while the Soninke and Wolof people in Senegal uses rice paste. The Bamana people of Mali use mud as a resist. Batik was worn as a symbol of status, ethnic origin, marriage, cultural events, etc.
The African wax prints (Dutch wax prints) was introduced during the colonial era, through Dutch's textile industry's effort to imitate the batik making process. The imitation was not successful in Europe, but experienced a strong reception in Africa instead. Nowadays batik is produced in many parts of Africa and it is worn by many Africans as one of the symbols of culture.
Nelson Mandela was a noted wearer of batik during his lifetime. Mandela regularly wore patterned loose-fitting shirt to many business and political meetings during 1994–1999 and after his tenure as President of South Africa, subsequently dubbed as a Madiba shirt based on Mandela's Xhosa clan name. There are many who claim the Madiba shirt's invention. But in fact, according to Yusuf Surtee, a clothing-store owner who supplied Mandela with outfits for decades, said the Madiba design is based on Mandela's request for a shirt similar to Indonesian president Suharto's batik attire.
WIKIPEDIA
www.emergencyrooms.org/biennalist.html
www.emergencyrooms.org/formats.html
more here about the Biennale :
Ralph Rugoff has declared: «May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).»
ALBANIA
Maybe the cosmos is not so extraordinary
Commissioner: Ministry of Culture Republic of Albania. Curator: Alicia Knock.
Exhibitor: Driant Zeneli.
ALGERIA***
Time to shine bright
Commissioner/Curator: Hellal Mahmoud Zoubir, National Council of Arts and Letters Ministry of Culture. Exhibitors: Rachida Azdaou, Hamza Bounoua, Amina Zoubir, Mourad Krinah, Oussama Tabti.
Venue: Fondamenta S. Giuseppe, 925
ANDORRA
The Future is Now / El futur és ara
Commissioner: Eva Martínez, “Zoe”. Curators: Ivan Sansa, Paolo De Grandis.
Exhibitor: Philippe Shangti.
Venue: Istituto Santa Maria della Pietà, Castello 3701
ANTIGUA & BARBUDA
Find Yourself: Carnival and Resistance
Commissioner: Daryll Matthew, Minister of Sports, Culture, National Festivals and the Arts. Curator: Barbara Paca with Nina Khrushcheva. Exhibitors: Timothy Payne, Sir Gerald Price, Joseph Seton, and Frank Walter; Intangible Cultural, Heritage Artisans and Mas Troup.
Venue: Centro Culturale Don Orione Artigianelli, Dorsoduro 919
ARGENTINA
El nombre de un país / The name of a country
Commissioner: Sergio Alberto Baur Ambasciatore. Curator: Florencia Battiti. Exhibitor: Mariana Telleria.
Venue: Arsenale
ARMENIA (Republic of)
Revolutionary Sensorium
Commissioner: Nazenie Garibian, Deputy Minister. Curator: Susanna Gyulamiryan.
Exhibitors: "ArtlabYerevan" Artistic Group (Gagik Charchyan, Hovhannes Margaryan, Arthur Petrosyan, Vardan Jaloyan) and Narine Arakelian.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
AUSTRALIA
ASSEMBLY
Commissioner: Australia Council for the Arts. Curator: Juliana Engberg. Exhibitor: Angelica Mesiti.
Venue: Giardini
AUSTRIA
Discordo Ergo Sum
Commissioner: Arts and Culture Division of the Federal Chancellery of Austria.
Curator: Felicitas Thun-Hohenstein. Exhibitor: Renate Bertlmann.
Venue: Giardini
AZERBAIJAN (Republic of )
Virtual Reality
Commissioner: Mammad Ahmadzada, Ambassador of the Republic of Azerbaijan.
Curators: Gianni Mercurio, Emin Mammadov. Exhibitors: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva.
Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949
BANGLADESH (People’s Republic of)
Thirst
Commissioner: Liaquat Ali Lucky. Curators: Mokhlesur Rahman, Viviana Vannucci.
Exhibitors: Bishwajit Goswami, Dilara Begum Jolly, Heidi Fosli, Nafis Ahmed Gazi, Franco Marrocco, Domenico Pellegrino, Preema Nazia Andaleeb, Ra Kajol, Uttam Kumar karmaker.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
BELARUS (Republic of)
Exit / Uscita
Commissioner: Siarhey Kryshtapovich. Curator: Olga Rybchinskaya. Exhibitor: Konstantin Selikhanov.
Venue: Spazio Liquido, Sestiere Castello 103, Salizada Streta
BELGIUM
Mondo Cane
Commissioner: Fédération Wallonie-Bruxelles. Curator: Anne-Claire Schmitz.
Exhibitor: Jos de Gruyter & Harald Thys.
Venue: Giardini
BOSNIA and HERZEGOVINA
ZENICA-TRILOGY
Commissioner: Senka Ibrišimbegović, Ars Aevi Museum for Contemporary Art Sarajevo.
Curators: Anja Bogojević, Amila Puzić, Claudia Zini. Exhibitor: Danica Dakić.
Venue: Palazzo Francesco Molon Ca’ Bernardo, San Polo 2184/A
BRAZIL
Swinguerra
Commissioner: José Olympio da Veiga Pereira, Fundação Bienal de São Paulo.
Curator: Gabriel Pérez-Barreiro. Exhibitor: Bárbara Wagner & Benjamin de Burca.
Venue: Giardini
BULGARIA
How We Live
Commissioner: Iaroslava Boubnova, National Gallery in Sofia. Curator: Vera Mlechevska.
Exhibitors: Rada Boukova , Lazar Lyutakov.
Venue: Palazzo Giustinian Lolin, San Marco 2893
CANADA
ISUMA
Commissioner: National Gallery of Canada. Curators: Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer, Candice Hopkins. Exhibitors: Isuma (Zacharias Kunuk, Norman Cohn, Paul Apak, Pauloosie Qulitalik).
Venue: Giardini
CHILE
Altered Views
Commissioner: Varinia Brodsky, Ministry of Cultures, Arts and Heritage.
Curator: Agustín Pérez. Rubio. Exhibitor: Voluspa Jarpa.
Venue: Arsenale
CHINA (People’s Republic of)
Re-睿
Commissioner: China Arts and Entertainment Group Ltd. (CAEG).
Curator: Wu Hongliang. Exhibitors: Chen Qi, Fei Jun, He Xiangyu, Geng Xue.
Venue: Arsenale
CROATIA
Traces of Disappearing (In Three Acts)
Commissioner: Ministry of Culture of the Republic of Croatia. Curator: Katerina Gregos.
Exhibitor: Igor Grubić.
Venue: Calle Corner, Santa Croce 2258
CUBA
Entorno aleccionador (A Cautionary Environment)
Commissioner: Norma Rodríguez Derivet, Consejo Nacional de Artes Plásticas.
Curator: Margarita Sanchez Prieto. Exhibitors: Alejandro Campins, Alex Hérnandez, Ariamna Contino and Eugenio Tibaldi. Venue: Isola di San Servolo
CYPRUS (Republic of)
Christoforos Savva: Untimely, Again
Commissioner: Louli Michaelidou. Curator: Jacopo Crivelli Visconti. Exhibitor: Christoforos Savva.
Venue: Associazione Culturale Spiazzi, Castello 3865
CZECH (Republic) and SLOVAK (Republic)
Stanislav Kolíbal. Former Uncertain Indicated
Commissioner: Adam Budak, National Gallery Prague. Curator: Dieter Bogner.
Exhibitor: Stanislav Kolibal.
Venue: Giardini
DOMINICAN (Republic) *
Naturaleza y biodiversidad en la República Dominicana
Commissioner: Eduardo Selman, Minister of Culture. Curators: Marianne de Tolentino, Simone Pieralice, Giovanni Verza. Exhibitors: Dario Oleaga, Ezequiel Taveras, Hulda Guzmán, Julio Valdez, Miguel Ramirez, Rita Bertrecchi, Nicola Pica, Marraffa & Casciotti.
Venue: Palazzo Albrizzi Capello, Cannaregio 4118 – Sala della Pace
EGYPT
khnum across times witness
Commissioner: Ministry of Culture. Curator: Ahmed Chiha.
Exhibitors: Islam Abdullah, Ahmed Chiha, Ahmed Abdel Karim.
Venue: Giardini
ESTONIA
Birth V
Commissioner: Maria Arusoo, Centre of Contemporary Arts of Estonia. Curators: Andrew Berardini, Irene Campolmi, Sarah Lucas, Tamara Luuk. Exhibitor: Kris Lemsalu.
Venue: c/o Legno & Legno, Giudecca 211
FINLAND (Alvar Aalto Pavilion)
A Greater Miracle of Perception
Commissioner: Raija Koli, Director Frame Contemporary Art Finland.
Curators: Giovanna Esposito Yussif, Bonaventure Soh Bejeng Ndikung, Christopher Wessels. Exhibitors: Miracle Workers Collective (Maryan Abdulkarim, Khadar Ahmed, Hassan Blasim, Giovanna Esposito Yussif, Sonya Lindfors, Bonaventure Soh Bejeng Ndikung, Outi Pieski, Leena Pukki, Lorenzo Sandoval, Martta Tuomaala, Christopher L. Thomas, Christopher Wessels, Suvi West).
Venue: Giardini
FRANCE
Deep see blue surrounding you / Vois ce bleu profond te fondre
Commissioner: Institut français with the Ministry for Europe and Foreign Affairs and the Ministry of Culture. Curator: Martha Kirszenbaum. Exhibitor: Laure Prouvost.
Venue: Giardini
GEORGIA
REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation
Commissioner: Ana Riaboshenko. Curator: Margot Norton. Exhibitor: Anna K.E.
Venue: Arsenale
GERMANY
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office, Germany. Curator: Franciska Zólyom. Exhibitor: Natascha Süder Happelmann.
Venue: Giardini
GHANA ***
Ghana Freedom
Commissioner: Ministry of Tourism, Arts and Culture. Curator: Nana Oforiatta Ayim.
Exhibitors: Felicia Abban, John Akomfrah, El Anatsui, Lynette Yiadom Boakye, Ibrahim Mahama, Selasi Awusi Sosu.
Venue: Arsenale
GREAT BRITAIN
Cathy Wilkes
Commissioner: Emma Dexter. Curator: Zoe Whitley. Exhibitor: Cathy Wilkes.
Venue: Giardini
GREECE
Mr Stigl
Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan Organization of Museums of Visual Arts of Thessaloniki - MOMus).
Curator: Katerina Tselou. Exhibitors: Panos Charalambous, Eva Stefani, Zafos Xagoraris.
Venue: Giardini
GRENADA
Epic Memory
Commissioner: Susan Mains. Curator: Daniele Radini Tedeschi.
Exhibitors: Amy Cannestra, Billy Gerard Frank, Dave Lewis, Shervone Neckles, Franco Rota Candiani, Roberto Miniati, CRS avant-garde.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
GUATEMALA
Interesting State
Commissioner: Elder de Jesús Súchite Vargas, Minister of Culture and Sports of Guatemala. Curator: Stefania Pieralice. Exhibitors: Elsie Wunderlich, Marco Manzo.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
HAITI
THE SPECTACLE OF TRAGEDY
Commissioner: Ministry of Culture and Communication.
Curator: Giscard Bouchotte. Exhibitor: Jean Ulrick Désert.
Venue: Circolo Ufficiali Marina, Calle Seconda de la Fava, Castello 2168
HUNGARY
Imaginary Cameras
Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.
Curator: Zsuzsanna Szegedy-Maszák. Exhibitor: Tamás Waliczky.
Venue: Giardini
ICELAND
Chromo Sapiens – Hrafnhildur Arnardóttir / Shoplifter
Commissioner: Eiríkur Þorláksson, Icelandic Ministry of Education, Science and Culture.
Curator: Birta Gudjónsdóttir. Exhibitor: Hrafnhildur Arnardóttir / Shoplifter.
Venue: Spazio Punch, Giudecca 800
INDIA
Our time for a future caring
Commissioner: Adwaita Gadanayak National Gallery of Modern Art.
Curator: Roobina Karode, Director & Chief Curator, Kiran Nadar Museum of Art. Exhibitors: Atul Dodiya, Ashim Purkayastha, GR Iranna, Jitish Kallat, Nandalal Bose, Rummana Hussain, Shakuntala Kulkarni.
Venue: Arsenale
INDONESIA
Lost Verses
Commissioner: Ricky Pesik & Diana Nazir, Indonesian Agency for Creative Economy.
Curator: Asmudjo Jono Irianto. Exhibitors: Handiwirman Saputra and Syagini Ratna Wulan.
Venue: Arsenale
IRAN (Islamic Republic of)
of being and singing
Commissioner: Hadi Mozafari, General Manager of Visual Arts Administration of Islamic Republic of Iran. Curator: Ali Bakhtiari.
Exhibitors: Reza Lavassani, Samira Alikhanzadeh, Ali Meer Azimi.
Venue: Fondaco Marcello, San Marco 3415
IRAQ
Fatherland
Commissioner: Fondazione Ruya. Curators: Tamara Chalabi, Paolo Colombo.
Exhibitor: Serwan Baran.
Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052
IRELAND
The Shrinking Universe
Commissioner: Culture Ireland. Curator: Mary Cremin. Exhibitor: Eva Rothschild.
Venue: Arsenale
ISRAEL
Field Hospital X
Commissioner: Michael Gov, Arad Turgeman. Curator: Avi Lubin. Exhibitor: Aya Ben Ron.
Venue: Giardini
ITALY
Commissioner: Federica Galloni, Direttore Generale Arte e Architettura Contemporanee e Periferie Urbane, Ministero dei Beni e delle Attività Culturali. Curator: Milovan Farronato.
Exhibitors: Enrico David, Liliana Moro, Chiara Fumai.
Venue: Padiglione Italia, Tese delle Vergini, Arsenale
IVORY COAST
The Open Shadows of Memory
Commissioner: Henri Nkoumo. Curator: Massimo Scaringella. Exhibitors: Ernest Dükü, Ananias Leki Dago, Valérie Oka, Tong Yanrunan.
Venue: Castello Gallery, Castello 1636/A
JAPAN
Cosmo-Eggs
Commissioner: The Japan Foundation. Curator: Hiroyuki Hattori. Exhibitors: Motoyuki Shitamichi, Taro Yasuno, Toshiaki Ishikura, Fuminori Nousaku.
Venue: Giardini
KIRIBATI
Pacific Time - Time Flies
Commissioner: Pelea Tehumu, Ministry of Internal Affairs. Curators: Kautu Tabaka, Nina Tepes. Exhibitors: Kaeka Michael Betero, Daniela Danica Tepes, Kairaken Betio Group; Teroloang Borouea, Neneia Takoikoi, Tineta Timirau, Teeti Aaloa, Kenneth Ioane, Kaumai Kaoma, Runita Rabwaa, Obeta Taia, Tiribo Kobaua, Tamuera Tebebe, Rairauea Rue, Teuea Kabunare, Tokintekai Ekentetake, Katanuti Francis, Mikaere Tebwebwe, Terita Itinikarawa, Kaeua Kobaua, Raatu Tiuteke, Kaeriti Baanga, Ioanna Francis, Temarewe Banaan, Aanamaria Toom, Einako Temewi, Nimei Itinikarawa, Teniteiti Mikaere, Aanibo Bwatanita, Arin Tikiraua.
Venue: European Cultural Centre, Palazzo Mora, Strada Nuova 3659
KOREA (Republic of)
History Has Failed Us, but No Matter
Commissioner: Arts Council Korea. Curator: Hyunjin Kim. Exhibitors: Hwayeon Nam, siren eun young jung, Jane Jin Kaisen.
Venue: Giardini
KOSOVO (Republic of)
Family Album
Commissioner: Arta Agani. Curator: Vincent Honore. Exhibitor: Alban Muja.
Venue: Arsenale
LATVIA
Saules Suns
Commissioner: Dace Vilsone. Curators: Valentinas Klimašauskas, Inga Lāce.
Exhibitor: Daiga Grantiņa.
Venue: Arsenale
LITHUANIA
Sun & Sea (Marina)
Commissioner: Rasa Antanavičıūte. Curator: Lucia Pietroiusti.
Exhibitors: Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite.
Venue: Magazzino No. 42, Marina Militare, Arsenale di Venezia, Fondamenta Case Nuove 2738c
LUXEMBOURG (Grand Duchy of)
Written by Water
Commissioner: Ministry of Culture of Luxembourg.
Curator: Kevin Muhlen. Exhibitor: Marco Godinho.
Venue: Arsenale
NORTH MACEDONIA (Republic of )
Subversion to Red
Commissioner: Mira Gakina. Curator: Jovanka Popova. Exhibitor: Nada Prlja.
Venue: Palazzo Rota Ivancich, Castello 4421
MADAGASCAR ***
I have forgotten the night
Commissioner: Ministry of Communication and Culture of the Republic of Madagascar. Curators: Rina Ralay Ranaivo, Emmanuel Daydé.
Exhibitor: Joël Andrianomearisoa.
Venue: Arsenale
MALAYSIA ***
Holding Up a Mirror
Commissioner: Professor Dato’ Dr. Mohamed Najib Dawa, Director General of Balai Seni Negara (National Art Gallery of Malaysia), Ministry of Tourism, Arts and Culture of Malaysia. Curator: Lim Wei-Ling. Exhibitors: Anurendra Jegadeva, H.H.Lim, Ivan Lam, Zulkifli Yusoff.
Venue: Palazzo Malipiero, San Marco 3198
MALTA
Maleth / Haven / Port - Heterotopias of Evocation
Commissioner: Arts Council Malta. Curator: Hesperia Iliadou Suppiej. Exhibitors: Vince Briffa, Klitsa Antoniou, Trevor Borg.
Venue: Arsenale
MEXICO
Actos de Dios / Acts of God
Commissioner: Gabriela Gil Verenzuela. Curator: Magalí Arriola. Exhibitor: Pablo Vargas Lugo.
Venue: Arsenale
MONGOLIA
A Temporality
Commissioner: The Ministry of Education, Culture, Science and Sports of Mongolia.
Curator: Gantuya Badamgarav. Exhibitor: Jantsankhorol Erdenebayar with the participation of traditional Mongolian throat singers and Carsten Nicolai (Alva Noto).
Venue: Bruchium Fermentum, Calle del Forno, Castello 2093-2090
MONTENEGRO
Odiseja / An Odyssey
Commissioner: Nenad Šoškić. Curator: Petrica Duletić. Exhibitor: Vesko Gagović.
Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE (Republic of)
The Past, the Present and The in Between
Commissioner: Domingos do Rosário Artur. Curator: Lidija K. Khachatourian.
Exhibitors: Gonçalo Mabunda, Mauro Pinto, Filipe Branquinho.
Venue: Palazzo Mora, Strada Nova, 3659
NETHERLANDS (The)
The Measurement of Presence
Commissioner: Mondriaan Fund. Curator: Benno Tempel. Exhibitors: Iris Kensmil, Remy Jungerman. Venue: Giardini
NEW ZEALAND
Post hoc
Commissioner: Dame Jenny Gibbs. Curators: Zara Stanhope and Chris Sharp.
Exhibitor: Dane Mitchell.
Venue: Palazzina Canonica, Riva Sette Martiri
NORDIC COUNTRIES (FINLAND - NORWAY - SWEDEN)
Weather Report: Forecasting Future
Commissioner: Leevi Haapala / Museum of Contemporary Art Kiasma / Finnish National Gallery, Katya García-Antón / Office for Contemporary Art Norway (OCA), Ann-Sofi Noring / Moderna Museet. Curators: Leevi Haapala, Piia Oksanen. Exhibitors: Ane Graff, Ingela Ihrman, nabbteeri.
Venue: Giardini
PAKISTAN ***
Manora Field Notes
Commissioner: Syed Jamal Shah, Pakistan National Council of the Arts, PNCA.
Curator: Zahra Khan. Exhibitor: Naiza Khan.
Venue: Tanarte, Castello 2109/A and Spazio Tana, Castello 2110-2111
PERU
“Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle
Commissioner: Armando Andrade de Lucio. Curator: Gustavo Buntinx. Exhibitors: Christian Bendayán, Otto Michael (1859-1934), Manuel Rodríguez Lira (1874-1933), Segundo Candiño Rodríguez, Anonymous popular artificer.
Venue: Arsenale
PHILIPPINES
Island Weather
Commissioner: National Commission for Culture and the Arts (NCCA) / Virgilio S. Almario.
Curator: Tessa Maria T. Guazon. Exhibitor: Mark O. Justiniani.
Venue: Arsenale
POLAND
Flight
Commissioner: Hanna Wroblewska. Curators: Łukasz Mojsak, Łukasz Ronduda.
Exhibitor: Roman Stańczak.
Venue: Giardini
PORTUGAL
a seam, a surface, a hinge or a knot
Commissioner: Directorate-General for the Arts. Curator: João Ribas. Exhibitor: Leonor Antunes.
Venue: Fondazione Ugo e Olga Levi Onlus, Palazzo Giustinian Lolin, San Marco 2893
ROMANIA
Unfinished Conversations on the Weight of Absence
Commissioner: Attila Kim. Curator: Cristian Nae. Exhibitor: Belu-Simion Făinaru, Dan Mihălțianu, Miklós Onucsán.
Venues: Giardini and New Gallery of the Romanian Institute for Culture and Humanistic Research (Campo Santa Fosca, Palazzo Correr, Cannaregio 2214)
RUSSIA
Lc 15:11-32
Commissioner: Semyon Mikhailovsky. Curator: Mikhail Piotrovsky. Exhibitors: Alexander Sokurov, Alexander Shishkin-Hokusai.
Venue: Giardini
SAN MARINO (Republic of)
Friendship Project International
Commissioner: Vito Giuseppe Testaj. Curator: Vincenzo Sanfo. Exhibitors: Gisella Battistini, Martina Conti, Gabriele Gambuti, Giovanna Fra, Thea Tini, Chen Chengwei, Li Geng, Dario Ortiz, Tang Shuangning, Jens W. Beyrich, Xing Junqin, Xu de Qi, Sebastián.
Venue: Palazzo Bollani, Castello 3647; Complesso dell’Ospedaletto, Castello 6691
SAUDI ARABIA
After Illusion بعد توهم
Commissioner: Misk Art Insitute. Curator: Eiman Elgibreen. Exhibitor: Zahrah Al Ghamdi.
Venue: Arsenale
SERBIA
Regaining Memory Loss
Commissioner: Vladislav Scepanovic. Curator: Nicoletta Lambertucci. Exhibitor: Djordje Ozbolt.
Venue: Giardini
SEYCHELLES (Republic of)
Drift
Commissioner: Galen Bresson. Curator: Martin Kennedy.
Exhibitors: George Camille and Daniel Dodin.
Venue: Palazzo Mora, Strada Nova, 3659
SINGAPORE
Music For Everyone: Variations on a Theme
Commissioner: Rosa Daniel, Chief Executive Officer, National Arts Council (NAC).
Curator: Michelle Ho. Exhibitor: Song-Ming Ang.
Venue: Arsenale
SLOVENIA (Republic of)
Here we go again... SYSTEM 317
A situation of the resolution series
Commissioner: Zdenka Badovinac, Director Moderna galerija / Museum of Modern Art, Ljubljana. Curator: Igor Španjol. Exhibitor: Marko Peljhan.
Venue: Arsenale
SOUTH AFRICA (Republic of)
The stronger we become
Commissioner: Titi Nxumalo, Console Generale. Curators: Nkule Mabaso, Nomusa Makhubu. Exhibitors: Dineo Seshee Bopape, Tracey Rose, Mawande Ka Zenzile.
Venue: Arsenale
SPAIN
Perforated by Itziar Okariz and Sergio Prego
Commissioner: AECID Agencia Espanola de Cooperacion Internacional Para El Desarrollo. Ministerio de Asuntos Exteriores, Union Europea y Cooperacion. Curator: Peio Aguirre.
Exhibitors: Itziar Okariz, Sergio Prego.
Venue: Giardini
SWITZERLAND
Moving Backwards
Commissioner: Swiss Arts Council Pro-Helvetia: Marianne Burki, Sandi Paucic, Rachele Giudici Legittimo. Curator: Charlotte Laubard. Exhibitors: Pauline Boudry/Renate Lorenz.
Venue: Giardini
SYRIAN ARAB (Republic)
Syrian Civilization is still alive
Commissioner/Curator: Emad Kashout. Exhibitors: Abdalah Abouassali, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia, Giuseppe Biasio.
Venue: Isola di San Servolo; Chiesetta della Misericordia, Campo dell'Abbazia, Cannaregio
THAILAND
The Revolving World
Commissioner: Vimolluck Chuchat, Office of Contemporary Art and Culture, Ministry of Culture, Thailand. Curator: Tawatchai Somkong. Exhibitors: Somsak Chowtadapong, Panya Vijinthanasarn, Krit Ngamsom.
Venue: In Paradiso 1260, Castello
TURKEY
We, Elsewhere
Commissioner: IKSV. Curator: Zeynep Öz. Exhibitor: İnci Eviner.
Venue: Arsenale
UKRAINE
The Shadow of Dream cast upon Giardini della Biennale
Commissioner: Svitlana Fomenko, First Deputy Minister of Culture. Curators: Open group (Yurii Biley, Pavlo Kovach, Stanislav Turina, Anton Varga). Exhibitors: all artists of Ukraine.
Venue: Arsenale
UNITED ARAB EMIRATES
Nujoom Alghanem: Passage
Commissioner: Salama bint Hamdan Al Nahyan Foundation.
Curators: Sam Bardaouil and Till Fellrath. Exhibitor: Nujoom Alghanem.
Venue: Arsenale
UNITED STATES OF AMERICA
Martin Puryear: Liberty
Commissioner/Curator: Brooke Kamin Rapaport. Exhibitor: Martin Puryear.
Venue: Giardini
URUGUAY
“La casa empática”
Commissioner: Alejandro Denes. Curators: David Armengol, Patricia Bentancur.
Exhibitor: Yamandú Canosa.
Venue: Giardini
VENEZUELA (Bolivarian Republic of)
Metaphore of three windows
Venezuela: identity in time and space
Commissioner/Curator: Oscar Sottillo Meneses. Exhibitors: Natalie Rocha Capiello, Ricardo García, Gabriel López, Nelson Rangelosky.
Venue: Giardini
ZIMBABWE (Republic of)
Soko Risina Musoro (The Tale without a Head)
Commissioner: Doreen Sibanda, National Gallery of Zimbabwe. Curator: Raphael Chikukwa. Exhibitors: Georgina Maxim, Neville Starling , Cosmas Shiridzinomwa, Kudzanai Violet Hwami.
Venue: Istituto Provinciale per L’infanzia “Santa Maria Della Pietà”. Calle della Pietà Castello n. 3701 (ground floor)
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invited artist :
Lawrence Abu Hamdan (Jordan / Beirut)
Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),
Darren Bader (USA),Nairy Baghramian (Iran / Germany,
Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,
Christoph Büchel (Switzerland / Iceland,
Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA
Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,
Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)
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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
وینس 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ಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism
Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia
Ralph Rugoff Ralph_Rugoff #RalphRugoff RalphRugoff 2019
pavilion giardini artcontemporain contemporary kunst modern #artcontemporain art artsenal gallery gallerie museum
artist curator commissaire country contemporary ultracontemporary art kunst perfomance sport jogging emergency room urgency panic saving artist role responsability
#art #artist #artistic #artists #arte #
Definition
absolutism doctrine of government by a single absolute ruler; autocracy
absurdism doctrine that we live in an irrational universe
academicism doctrine that nothing can be known
accidentalism theory that events do not have causes
acosmism disbelief in existence of eternal universe distinct from God
adamitism nakedness for religious reasons
adevism denial of gods of mythology and legend
adiaphorism doctrine of theological indifference or latitudinarianism
adoptionism belief that Christ was the adopted and not natural son of God
aestheticism doctrine that beauty is central to other moral principles
agapism ethics of love
agathism belief in ultimate triumph of good despite evil means
agnosticism doctrine that we can know nothing beyond material phenomena
anarchism doctrine that all governments should be abolished
animism attribution of soul to inanimate objects
annihilationism doctrine that the wicked are utterly destroyed after death
anthropomorphism attribution of human qualities to non-human things
anthropotheism belief that gods are only deified men
antidisestablishmentarianism doctrine opposed to removing Church of England's official religion status
antilapsarianism denial of doctrine of the fall of humanity
antinomianism doctrine of the rejection of moral law
antipedobaptism denial of validity of infant baptism
apocalypticism doctrine of the imminent end of the world
asceticism doctrine that self-denial of the body permits spiritual enlightenment
aspheterism denial of the right to private property
atheism belief that there is no God
atomism belief that the universe consists of small indivisible particles
autosoterism belief that one can obtain salvation through oneself
autotheism belief that one is God incarnate or that one is Christ
bitheism belief in two gods
bonism the doctrine that the world is good but not perfect
bullionism belief in the importance of metallic currency in economics
capitalism doctrine that private ownership and free markets should govern economies
casualism the belief that chance governs all things
catabaptism belief in the wrongness of infant baptism
catastrophism belief in rapid geological and biological change
collectivism doctrine of communal control of means of production
collegialism theory that church is independent from the state
conceptualism theory that universal truths exist as mental concepts
conservatism belief in maintaining political and social traditions
constructivism belief that knowledge and reality do not have an objective value
cosmism belief that the cosmos is a self-existing whole
cosmotheism the belief that identifies God with the cosmos
deism belief in God but rejection of religion
determinism doctrine that events are predetermined by preceding events or laws
diphysitism belief in the dual nature of Christ
ditheism belief in two equal gods, one good and one evil
ditheletism doctrine that Christ had two wills
dualism doctrine that the universe is controlled by one good and one evil force
egalitarianism belief that humans ought to be equal in rights and privileges
egoism doctrine that the pursuit of self-interest is the highest good
egotheism identification of oneself with God
eidolism belief in ghosts
emotivism theory that moral statements are inherently biased
empiricism doctrine that the experience of the senses is the only source of knowledge
entryism doctrine of joining a group to change its policies
epiphenomenalism doctrine that mental processes are epiphenomena of brain activity
eternalism the belief that matter has existed eternally
eudaemonism ethical belief that happiness equals morality
euhemerism explanation of mythology as growing out of history
existentialism doctrine of individual human responsibility in an unfathomable universe
experientialism doctrine that knowledge comes from experience
fallibilism the doctrine that empirical knowledge is uncertain
fatalism doctrine that events are fixed and humans are powerless
fideism doctrine that knowledge depends on faith over reason
finalism belief that an end has or can be reached
fortuitism belief in evolution by chance variation
functionalism doctrine emphasising utility and function
geocentrism belief that Earth is the centre of the universe
gnosticism belief that freedom derives solely from knowledge
gradualism belief that things proceed by degrees
gymnobiblism belief that the Bible can be presented to unlearned without commentary
hedonism belief that pleasure is the highest good
henism doctrine that there is only one kind of existence
henotheism belief in one tribal god, but not as the only god
historicism belief that all phenomena are historically determined
holism doctrine that parts of any thing must be understood in relation to the whole
holobaptism belief in baptism with total immersion in water
humanism belief that human interests and mind are paramount
humanitarianism doctrine that the highest moral obligation is to improve human welfare
hylicism materialism
hylomorphism belief that matter is cause of the universe
hylopathism belief in ability of matter to affect the spiritual world
hylotheism belief that the universe is purely material
hylozoism doctrine that all matter is endowed with life
idealism belief that our experiences of the world consist of ideas
identism doctrine that objective and subjective, or matter and mind, are identical
ignorantism doctrine that ignorance is a favourable thing
illuminism belief in an inward spiritual light
illusionism belief that the external world is philosophy
imagism doctrine of use of precise images with unrestricted subject
immanentism belief in an immanent or permanent god
immaterialism the doctrine that there is no material substance
immoralism rejection of morality
indifferentism the belief that all religions are equally valid
individualism belief that individual interests and rights are paramount
instrumentalism doctrine that ideas are instruments of action
intellectualism belief that all knowledge is derived from reason
interactionism belief that mind and body act on each other
introspectionism doctrine that knowledge of mind must derive from introspection
intuitionism belief that the perception of truth is by intuition
irreligionism system of belief that is hostile to religions
kathenotheism polytheism in which each god is considered single and supreme
kenotism doctrine that Christ rid himself of divinity in becoming human
laicism doctrine of opposition to clergy and priests
latitudinarianism doctrine of broad liberality in religious belief and conduct
laxism belief that an unlikely opinion may be safely followed
legalism belief that salvation depends on strict adherence to the law
liberalism doctrine of social change and tolerance
libertarianism doctrine that personal liberty is the highest value
malism the belief that the world is evil
materialism belief that matter is the only extant substance
mechanism belief that life is explainable by mechanical forces
meliorism the belief the world tends to become better
mentalism belief that the world can be explained as aspect of the mind
messianism belief in a single messiah or saviour
millenarianism belief that an ideal society will be produced in the near future
modalism belief in unity of Father, Son and Holy Spirit
monadism theory that there exist ultimate units of being
monergism theory that the Holy Spirit alone can act
monism belief that all things can be placed in one category
monophysitism belief that Christ was primarily divine but in human form
monopsychism belief that individuals have a single eternal soul
monotheism belief in only one God
monotheletism belief that Christ had only one will
mortalism belief that the soul is mortal
mutualism belief in mutual dependence of society and the individual
nativism belief that the mind possesses inborn thoughts
naturalism belief that the world can be explained in terms of natural forces
necessarianism theory that actions are determined by prior history; fatalism
neonomianism theory that the gospel abrogates earlier moral codes
neovitalism theory that total material explanation is impossible
nihilism denial of all reality; extreme scepticism
nominalism doctrine that naming of things defines reality
nomism view that moral conduct consists in observance of laws
noumenalism belief in existence of noumena
nullibilism denial that the soul exists in space
numenism belief in local deities or spirits
objectivism doctrine that all reality is objective
omnism belief in all religions
optimism doctrine that we live in the best of all possible worlds
organicism conception of life or society as an organism
paedobaptism doctrine of infant baptism
panaesthetism theory that consciousness may inhere generally in matter
pancosmism theory that the material universe is all that exists
panegoism solipsism
panentheism belief that world is part but not all of God’s being
panpsychism theory that all nature has a psychic side
pansexualism theory that all thought derived from sexual instinct
panspermatism belief in origin of life from extraterrestrial germs
pantheism belief that the universe is God; belief in many gods
panzoism belief that humans and animals share vital life energy
parallelism belief that matter and mind don’t interact but relate
pejorism severe pessimism
perfectibilism doctrine that humans capable of becoming perfect
perfectionism doctrine that moral perfection constitutes the highest value
personalism doctrine that humans possess spiritual freedom
pessimism doctrine that the universe is essentially evil
phenomenalism belief that phenomena are the only realities
physicalism belief that all phenomena reducible to verifiable assertions
physitheism attribution of physical form and attributes to deities
pluralism belief that reality consists of several kinds or entities
polytheism belief in multiple deities
positivism doctrine that that which is not observable is not knowable
pragmatism doctrine emphasizing practical value of philosophy
predestinarianism belief that what ever is to happen is already fixed
prescriptivism belief that moral edicts are merely orders with no truth value
primitivism doctrine that a simple and natural life is morally best
privatism attitude of avoiding involvement in outside interests
probabiliorism belief that when in doubt one must choose most likely answer
probabilism belief that knowledge is always probable but never absolute
psilanthropism denial of Christ's divinity
psychism belief in universal soul
psychomorphism doctrine that inanimate objects have human mentality
psychopannychism belief souls sleep from death to resurrection
psychotheism doctrine that God is a purely spiritual entity
pyrrhonism total or radical skepticism
quietism doctrine of enlightenment through mental tranquility
racism belief that race is the primary determinant of human capacities
rationalism belief that reason is the fundamental source of knowledge
realism doctrine that objects of cognition are real
reductionism belief that complex phenomena are reducible to simple ones
regalism doctrine of the monarch's supremacy in church affairs
representationalism doctrine that ideas rather than external objects are basis of knowledge
republicanism belief that a republic is the best form of government
resistentialism humorous theory that inanimate objects display malice towards humans
romanticism belief in sentimental feeling in artistic expression
sacerdotalism belief that priests are necessary mediators between God and mankind
sacramentarianism belief that sacraments have unusual properties
scientism belief that the methods of science are universally applicable
self-determinism doctrine that the actions of a self are determined by itself
sensationalism belief that ideas originate solely in sensation
siderism belief that the stars influence human affairs
skepticism doctrine that true knowledge is always uncertain
socialism doctrine of centralized state control of wealth and property
solarism excessive use of solar myths in explaining mythology
solifidianism doctrine that faith alone will ensure salvation
solipsism theory that self-existence is the only certainty
somatism materialism
spatialism doctrine that matter has only spatial, temporal and causal properties
spiritualism belief that nothing is real except the soul or spirit
stercoranism belief that the consecrated Eucharist is digested and evacuated
stoicism belief in indifference to pleasure or pain
subjectivism doctrine that all knowledge is subjective
substantialism belief that there is a real existence underlying phenomena
syndicalism doctrine of direct worker control of capital
synergism belief that human will and divine spirit cooperate in salvation
terminism doctrine that there is a time limit for repentance
thanatism belief that the soul dies with the body
theism belief in the existence of God without special revelation
theocentrism belief that God is central fact of existence
theopantism belief that God is the only reality
theopsychism belief that the soul is of a divine nature
thnetopsychism belief that the soul dies with the body, to be reborn on day of judgement
titanism spirit of revolt or defiance against social conventions
tolerationism doctrine of toleration of religious differences
totemism belief that a group has a special kinship with an object or animal
transcendentalism theory that emphasizes that which transcends perception
transmigrationism belief that soul passes into other body at death
trialism doctrine that humans have three separate essences (body, soul, spirit)
tritheism belief that the members of the Trinity are separate gods
triumphalism belief in the superiority of one particular religious creed
tuism theory that individuals have a second or other self
tutiorism doctrine that one should take the safer moral course
tychism theory that accepts role of pure chance
ubiquitarianism belief that Christ is everywhere
undulationism theory that light consists of waves
universalism belief in universal salvation
utilitarianism belief that utility of actions determines moral value
vitalism the doctrine that there is a vital force behind life
voluntarism belief that the will dominates the intellect
zoism doctrine that life originates from a single vital principle
zoomorphism conception of a god or man in animal form
Ponderosa pine growing from a crack in a granite boulder. North Fork of South Platte River near Foxton, Colorado.
Tombstone owes its existence to a prospector's belief the rich deposits of silver lay beneath this remote, harsh Arizona desert. He was ridiculed and told all he would find in those hills would be his own tombstone (a reference to the dangers posed by the local Indians). He proved his doubters wrong and became fabulously wealthy as great quantities of high grade silver were extracted by hand in the 1880s from this mine, the Tombstone Good Enough Mine. Today, this once bustling, wealthy town is supported mainly by tourism and a tour of the mine is an interesting way to learn the history of this preserved, classic western town.