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This weekend is daylight savings, clocks jump ahead and you lose an hour of your Sunday. But what we lose in time, we gain in light.
I never knew this, but daylight savings time is overseen by the Dept. of Transportation and is used as a tool to curb energy consumption, prevent traffic accidents, and deter criminals who apparently are more active when it's dark.
I just like it because we get light back, meaning scene like this happen an hour later in the evening.
Image with my Hasselblad 5000cm
Dissociative identity disorder (DID), previously known as multiple personality disorder (MPD), is an extremely rare mental disorder characterized by at least two distinct and relatively enduring identities or dissociated personality states that alternately control a person's behavior, and is accompanied by memory impairment for important information not explained by ordinary forgetfulness. These symptoms are not accounted for by substance abuse, seizures, other medical conditions, nor by imaginative play in children. Diagnosis is often difficult as there is considerable comorbidity with other mental disorders. Malingering should be considered if there is possible financial or forensic gain, as well as factitious disorder if help-seeking behavior is prominent.
DID is one of the most controversial psychiatric disorders with no clear consensus regarding its diagnosis or treatment. Research on treatment effectiveness still focuses mainly on clinical approaches and case studies. Dissociative symptoms range from common lapses in attention, becoming distracted by something else, and daydreaming, to pathological dissociative disorders.[6] No systematic, empirically-supported definition of "dissociation" exists.
Although neither epidemiological surveys nor longitudinal studies have been done, it is thought DID rarely resolves spontaneously. Symptoms are said to vary over time.In general, the prognosis is poor, especially for those with co-morbid disorders. There are few systematic data on the prevalence of DID. The International Society for the Study of Trauma and Dissociation states that the prevalence is between 1 and 3% in the general population, and between 1 and 5% in inpatient groups in Europe and North America.[5] DID is diagnosed more frequently in North America than in the rest of the world, and is diagnosed three to nine times more often in females than in males. The prevalence of DID increased greatly in the latter half of the 20th century, along with the number of identities (often referred to as "alters") claimed by patients (increasing from an average of two or three to approximately.DID is also controversial within the legal system[3] where it has been used as a rarely-successful form of the insanity defense.The 1990s showed a parallel increase in the number of court cases involving the diagnosis.
Dissociative disorders including DID have been attributed to disruptions in memory caused by trauma and other forms of stress, but research on this hypothesis has been characterized by poor methodology. So far, scientific studies, usually focusing on memory, have been few and the results have been inconclusive. An alternative hypothesis for the etiology of DID is as a product of techniques employed by some therapists, especially those using hypnosis, and disagreement between the two positions is characterized by intense debate.DID became a popular diagnosis in the 1970s, 80s and 90s but it is unclear if the actual incidence of the disorder increased, if it was more recognized by clinicians, or if sociocultural factors caused an increase in iatrogenic presentations. The unusual number of diagnoses after 1980, clustered around a small number of clinicians and the suggestibility characteristic of those with DID, support the hypothesis that DID is therapist-induced.[15] The unusual clustering of diagnoses has also been explained as due to a lack of awareness and training among clinicians to recognize cases of DID
Signs and symptoms]
According to the fifth Diagnostic and Statistical Manual of Mental Disorders (DSM), DID includes "the presence of two or more distinct identities or personality states" that alternate control of the individual's behavior, accompanied by the inability to recall personal information beyond what is expected through normal forgetfulness. In each individual, the clinical presentation varies and the level of functioning can change from severely impaired to adequate. The symptoms of dissociative amnesia, dissociative fugue and depersonalization disorder are subsumed under the DID diagnosis and are not diagnosed separately. Individuals with DID may experience distress from both the symptoms of DID (intrusive thoughts or emotions) as well as the consequences of the accompanying symptoms (dissociation rendering them unable to remember specific information). The majority of patients with DID report childhood sexual and/or physical abuse, though the accuracy of these reports is controversial. Identities may be unaware of each other and compartmentalize knowledge and memories, resulting in chaotic personal lives.Individuals with DID may be reluctant to discuss symptoms due to associations with abuse, shame and fear. DID patients may also frequently and intensely experience time disturbances.
The number of alters varies widely, with most patients identifying fewer than ten, though as many as 4,500 have been reported. The average number of alters has increased over the past few decades, from two or three to now an average of approximately 16. However it is unclear whether this is due to an actual increase in alters, or simply that the psychiatric community has become more accepting of a high number of alters.The primary identity, which often has the patient's given name, tends to be "passive, dependent, guilty and depressed" with other personalities or "alters" being more active, aggressive or hostile, and often containing more complete memories. Most identities are of ordinary people, though fictional, mythical, celebrity and animal alters have also been reported.
Developmental trauma]
People diagnosed with DID often report that they have experienced severe physical and sexual abuse, especially during early to mid-childhood, (although the accuracy of these reports has been disputed and others report an early loss, serious medical illness or other traumatic event. They also report more historical psychological trauma than those diagnosed with any other mental illness.[not in citation given]Severe sexual, physical, or psychological trauma in childhood has been proposed as an explanation for its development; awareness, memories and emotions of harmful actions or events caused by the trauma are removed from consciousness, and alternate personalities or subpersonalities form with differing memories, emotions and behavior. DID is attributed to extremes of stress or disorders of attachment. What may be expressed as post-traumatic stress disorder in adults may become DID when occurring in children, possibly due to their greater use of imagination as a form of coping. Possibly due to developmental changes and a more coherent sense of self past the age of six, the experience of extreme trauma may result in different, though also complex, dissociative symptoms and identity disturbances. A specific relationship between childhood abuse, disorganized attachment, and lack of social support are thought to be a necessary component of DID. Other suggested explanations include insufficient childhood nurturing combined with the innate ability of children in general to dissociate memories or experiences from consciousness.
Delinking early trauma from the etiology of dissociation has been explicitly rejected by those supporting the early trauma model. However, a 2012 review article supports the hypothesis that current or recent trauma may affect an individual's assessment of the more distant past, changing the experience of the past and resulting in dissociative states. Giesbrecht et al. have suggested there is no actual empirical evidence linking early trauma to dissociation, and instead suggest that problems with neuropsychological functioning, such as increased distractibility in response to certain emotions and contexts, account for dissociative features. A middle position hypothesizes that trauma, in some situations, alters neuronal mechanisms related to memory. Evidence is increasing that dissociative disorders are related both to a trauma history and to "specific neural mechanisms". It has also been suggested that there may be a genuine but more modest link between trauma and DID, with early trauma causing increased fantasy-proneness, which may in turn render individuals more vulnerable to socio-cognitive influences surrounding the development of DID.
dédoublement de personnalité
Il est important de différencier deux termes : le dédoublement de la personnalité et la personnalité multiple.
En effet, la définition donnée est celle de la , qui fait qu'une personne possède deux (voire plus) personnalités complètement différentes, chacune ayant une vie sociale et professionelle distinctes, parfois un nom propre à chacune d'entre elles et étant parfaitement adaptées à leur(s) milieu(x). Ce n'est pas vraiment un trouble, mais une surconstruction personnelle donnant naissance à plusieurs personnalités au lieu d'une seule.
Le dédoublement de personnalité, en revanche, est un trouble de la personnalité provoqué par le subconscient, qui impose occasionnellement à la personnalité "normale" un comportement incohérent, parfois violent, incontrôlé. Il arrive que la personnalité première ne se rende plus compte de ce qu'elle fait (elle est "déconnectée") ce qui donne l'impression d'une autre personnalité, inadaptée socialement , sentimentalement et intellectuelement.
Ce sujet prète à polémique, car certains se contentent du terme troubles dissociatifs de l'identité (Dissociative Identity Disorder) pour englober les deux cas. La différence est de taille : avec cette notion, il n'y aurait pas plusieurs personnalités égales, mais une majeure à laquelle on doit redonner pleine maîtrise de son corps. Comme expliqué plus haut, ce serait dans un cas de dédoublement que l'on peut envisager cette façon de voir les personnalités, et non dans un cas de multiples personnalités. En effet, comment décider qu'une personnalité a plus de droit qu'une autre sur un corps, lorsqu'il n'y en a pas d'originelle ?
Je pense que le sens donné est le sens courant, non ? On peut rajouter des précisions ou mises en garde sur le sens technique du point de vue médical. Lmaltier 18 décembre 2007 à 17:05 (UTC)
En fait, les deux sont liées pour la plupart des gens, c'est pour cela qu'il faut les différencier : on a tendance à croire que les personnes ayant des personnalités multiples sont dangeureuses, peuvent avoir des accès de violence incontrolée dirigés par une personnalité instable. Ce n'est souvent pas le cas (même si c'est possible, comme pour n'importe quelle personnalité dite "normale"). Ce n'est donc pas sur un plan médical qu'il est important de les différencier, mais sur un plan humain : les personnalité multiples sont des personnalités tout ce qu'il y a de plus banales, mais sont persécutées à cause de la mauvaise image que l'on a d'elles, dûe aux dédoublement de personnalités qui, eux, sont des cas de dissociation de personnalités potentiellement dangereux car instables. S Vidal 20 décembre 2007 à 13:20 (UTC)
Peut-être, mais on étudie le mot, pas la maladie (faut voir Wikipédia pour ça). On peut mettre en garde sur les différents sens utilisés, mais c'est tout. Lmaltier 20 décembre 2007 à 17:21 (UTC)
mais justement, le problème est là ! on utilise un même mot pour deux choses différentes... si la définition du mot est faussée, l'étude de ce mot n'a pas lieu d'être, pas sans précisions...
PRECISION:
Il n'y a pas de différence entre ces deux troubles, ils n'en forment en vérité qu'un seul. Le trouble de la personnalité multiple était le nom donné auparavent à cet état, et maintenant il s'appelle Trouble dissociatif de l'identité. Dans les deux cas (puisque ça n'est en fait qu'une maladie) des traumas subits de façon répétitifs ont poussé la personnalité de l'enfant à se dissocier, pour pouvoir supporter les chocs traumatiques, le manque d'attention, etc. Les personnalités apparaissent à différents moments, et peuvent même restées complètement cachées jusqu'assez tard dans la vie d'un individu, avant les premières vraies crises, souvent dues à un stress ou un choc émotionnel important. Elles ont différent degrés de constructions émotionnelles, intellectuelles et sociales, ce qui peut penser à une structure de multiples personnalités toutes égales. Il n'en est en fait rien. même quand on parle de personnalité hote qui doit rester alors que les autres doivent disparaitre, ce n'est pas encore tout à fait juste. Toutes les peronnalités doivent, petit à petit à petit et au long d'une thérapie qui apprendra au patient multiple à se construire et trouver le moyen d'affronter autrement ses traumas passés et à venir, fusionner et ne redevenir qu'une seule et même entité, plus stable, et capable de vivre pleinement sa vie.
dédoublement de la personnalité[modifier]
Ma soeur jumelle souffre de ce trouble depuis l'âge de 16 ans mais ne le reconnait que depuis peu,depuis sa première grosse crise. Elle peut changer de comportement d'une minute à l'autre,laissant place à une femme extravertie et sans limites..alcool,hommes,jeux.. Souvent il lui arrive de se réveiller sans souvenirs de la veille et découvre que son compte en banque a fondu p.ex. Elle devient également plus brusque,plus mauvaise.quand l'alcool s'en mêle elle n'a plus de limites et se bagarre violement(en général avec des hommes)et fini parfois à l'hôpital après avoir brutalisé le personnel infirmier.La plupart du temps perd connaissance. Mais reste persuadée que rien de tout ça ne s'est produit.. Qu'y a-t-il à faire pour atténuer cette maladie?Existe-t-il un moyens de guérison?
Ma plus grande question,pouvons-nous faire confiance aux personnes atteintes de ce trouble?
Il existe un moyen. Il faut emmener la personne a l'hopital, et les medecins vous donnerons un planing a respecter. (ex: ce coucher a une heure exacte et ne pas manger n'importe quoi). mais attention il faut emmener la personne au plus vite a l'hopital car elle peut passer a l'acte.
The Vulcan bomber was designed in response to a specification issued in 1947 at the height of the cold war. To help gain data for the radical new design, several 'mini-Vulcans' were built; these were the Avro Type 707s. Finally, in 1952, the first Type 698 (VX770) flew. There followed Several spectacular appearances at the Farnborough Air show including a full roll at the 1955 show (try that in a B-52!). There were various modifications before finally in 1956 the delivery of production Vulcan B.1s to the RAF began. The last Vulcan B.1A was withdrawn from service by 1968 by which time the three remaining squadrons had been re-equipped with the B.2 variant which had a longer range, the ability to carry a heavier payload and much improved self-defence measures. In November 1981, it was decided to withdraw the Vulcan from service in June 1982 and the Vulcan would have flown for its entire service life without ever dropping a bomb in anger However, the Argentinian invasion of the Falkland Islands in the spring of 1982 gave the Vulcan an extended lease of life, and an unexpected swansong at the end of its distinguished RAF career.
Sitting beside the A15 road just south of Lincoln at RAF Waddington stands Avro Vulcan XM607, the very first Vulcan to drop bombs on the runway at Port Stanley airfield during the 1982 Falklands war. The mission "Black Buck 1" (sometimes referred to as mission impossible) was to put a Vulcan over the Falklands to bomb a 40-yard wide target from a height of 10,000ft. Had the Falklands not been 3,886 miles away from the nearest usable airfield, this would not have been quite such a difficult task to actually carry out! Flying to the Falklands from Ascension Island, a small island near the coast of Africa, would take eight hours flying time and require multiple in-flight refuelling sessions. In all eleven Victor tankers would be needed. A carefully planned sequence had the Victors refuelling both the Vulcan (XM607) and the other tankers, with increasingly smaller numbers of tankers continuing with the Vulcan while empty tankers returned to Ascension. Due to unexpected differences in the performance of the Vulcan and Victor, many of the Victors returned with barely enough fuel to land - at one point several Victors had to land one after the other, without even enough spare fuel to allow the previous Victors to clear the end of the runway. The last Victor had to give up so much fuel to the Vulcan that it did not have enough fuel left to reach the island, so another Victor had to be scrambled to refuel the incoming Victor so it could reach the airfield! For the six-man crew of Vulcan XM607, in the early hours of May 1, it was beginning to turn into a suicide mission. Some 300 miles out from the target the final mid-air refuelling of the Vulcan was beginning, the last in an immensely complex alternation of 11 tankers and 15 fuel transfers which had been involved in getting the bomber this far. The gauge spun up to 7,000 gallons - just a fraction of its total fuel capacity of 36,000 - and then the tanker signalled that it could give them no more. The tanker was even lower on fuel than the Vulcan and had probably sacrificed its crew to give the Vulcan a fighting chance of reaching the target. Problems had come about as the last two tankers were busy fuelling each other before giving the Vulcan the fuel it would need to return from its mission when, at 40 degrees south, the convoy flew into the path of a raging electrical storm. The two Victors were thrown around and the fuel hose thrashed between them until eventually the probe sheared off one of the tankers which was due to shepherd XM607 to its last refuelling. Having come this far, although desperately short of fuel, the crew decided to press on. At 290 miles away from the target, XM607 began a shallow descent towards Port Stanley to approach low to minimise its 'footprint' and then climb upwards to 8000 or 10,000 feet to try to stay clear of the "kill zone" of the Argentinian defences.A radar contact appeared: XM607 was dead on target. It was 4.30am local time, when the Vulcan roared upwards, straight into view of the Argentine search radars. But the young radar operators were unperturbed. The bomber could only be one of theirs - this had not been a shooting war so far. During the few minutes it took the Argentinians to wake up to the fact that this was in fact an enemy aircraft, the Vulcan had soared to its 10,000ft altitude and levelled off for the bomb run. Two miles from the runway the first of the thousand-pounders fell away from the Vulcan's cavernous belly. When all 21 were away, the Vulcan turned in a steep curve, in time for the crew to see a blossom of fire as the first bomb bored deep into the centre of the runway and detonated. Other blasts hit the airfield, gouging out massive chunks of its surface. Vulcan XM607 did, in fact, have enough fuel to make the rendezvous as is evidenced by this photo. It returned to Ascension Island and a heroes' welcome. The most ambitious sortie since World War II, had by the skin of its teeth been successful.
Today seems an appropriate day to post this shot for it is the 27th anniversary of the raid.
These the e gigantic sea rocks on south coast of Iceland make great nesting grounds for puffins and other sea birds. They get protection from enemies and form family groups to raise chicks. The dive down so swift with eyes that pic out little fish a hunidred feet below. This arera is also a great coastal walk not far from the volcano that gained fame from the Jules Verne novel journey to the center of the earth,
Spanish card, 1948. Photo: Universal. Publicity still for Arabian Nights (John Rawlins, 1942).
Dominican film actress María Montez (1912-1951) gained fame and popularity as a tempestuous Latino beauty in Hollywood movies of the 1940s. In a series of exotic adventures filmed in Technicolor, she starred as Arabian princesses, jungle goddesses, and highborn gypsies, dressed in fanciful costumes and sparkling jewels. Over her career, ‘The Queen of Technicolor’ appeared in 26 films, of which five were made in Europe.
Maria Montez was born Maria Africa Gracia Vidal in Barahona, the Dominican Republic in 1912. She was one of ten children born to Isidoro Gracía, and his wife Teresa Vidal. Her father was a textile exporter and the Honorary Vice Consul of Spain in the Dominican Republic. Despite what several sources write, Montez lived the first 27 years of her life in the Dominican Republic. In 1932 she married William G. McFeeters, a wealthy banker who served in the British army. In 1939 they divorced and Maria moved to New York City, where she worked as a model. She was discovered by a Universal talent scout and left for Hollywood. One of her first films for Universal was the Science Fiction comedy The Invisible Woman (A. Edward Sutherland, 1940) in which she had a bit part as a model. In the B-Western Boss of Bullion City (Ray Taylor, 1940) starring Johnny Mack Brown, Montez was the female lead. It was the first time she played a leading role and was the only one of her film roles where she speaks some Spanish. South of Tahiti (George Waggner, 1941) with Brian Donlevy and Broderick Crawford, helped to launch her as a pin-up star. Her beauty soon made her the centrepiece of Universal's Technicolor costume adventures. Her most frequent costar was Jon Hall, who some critics claimed was prettier and better built than she was. Their joint films were the big hit Arabian Nights (John Rawlins, 1942) with Sabu, White Savage (Arthur Lubin, 1943), Ali Baba and the Forty Thieves (Arthur Lubin, 1944) with Turhan Bey, the camp classic Cobra Woman (Robert Siodmak, 1944), Gypsy Wildcat (Roy William Neil, 1944), and Sudan (John Rawlins, 1945). Hal Erickson at AllMovie: “A 24-hour-a-day star, Ms. Montez was famous for her spectacular entrances at nightclubs and social functions; once, when her arrival at the Universal commissary failed to attract notice, she turned her heel and left the room, returning moments later with a huge entourage and accompanying loud noises.” ‘The Caribbean Cyclone’ often quarreled with her directors and went on suspension for refusing the lead in the Western Frontier Gal (Charles Lamont, 1945). Her role was taken by Yvonne de Carlo who had become a similar sort of star and began to supplant Montez's position at the studio. Montez then appeared in the sepia-toned swashbuckler The Exile (Max Ophüls, 1947) starring Douglas Fairbanks, Jr., and the Technicolor Western Pirates of Monterey (Alfred L. Werker, 1947) with Rod Cameron. It was to be her last film for Universal.
While working in Hollywood, Maria Montez met French actor Jean-Pierre Aumont. They married in 1943 at Montez's home in Beverly Hills. Aumont had to leave a few days after their wedding to serve in the Free French Forces fighting against Nazi Germany during World War II. At the end of the war, the couple had a daughter, Maria Christina (also known as actress Tina Aumont), born in Hollywood in 1946. The couple starred together in the American adventure film Siren of Atlantis (Gregg G. Tallas, 1949), produced by United Artists. It was the first movie Montez made after leaving Universal Pictures. By then, her career in the United States began to wane due to audiences' changing tastes in films. Montez and Aumont then moved to a home in Suresnes, a western suburb of Paris. In France, Montez appeared in several films and the play L'Ile Heureuse (The happy island), written by her husband. Her first French film was Hans le marin/Wicked City (François Villiers, 1949) with Jean-Pierre Aumont and Lilli Palmer. It was a success in Europe. She then played the sadistic manager of a circus show, who uses her attractiveness to seduce men and force them to do dangerous acrobatic acts in Portrait d'un assassin/Portrait of an Assassin (Bernard-Roland, 1949). One of her victims was played by Erich von Stroheim. She also wrote three books, two of which were published, as well as penning a number of poems. In Italy, she starred in the Italian-American co-production. Il Ladro di Venezia/The Thief of Venice (John Brahm, 1950) with another former Universal contract star, Paul Christian a.k.a. Paul Hubschmid. Her last film was the Italian adventure film La vendetta del corsaro/Revenge of the Pirates (Primo Zeglio, 1951). At only 39, Maria Montez died in Suresnes, France in 1951 after apparently suffering a heart attack and drowning in her bath. She was buried in the Cimetière du Montparnasse in Paris where her tombstone gives her amended year of birth (1918), not the actual year of birth (1912). Shortly after her death, a street in the city of Barahona, Montez's birthplace, was named in her honour. In 1996, the city of Barahona opened the Aeropuerto Internacional María Montez (María Montez International Airport) in her honour.
Sources: Hal Erickson (AllMovie), Denny Jackson (IMDb), Wikipedia and IMDb.
Riley Gaines speaking with attendees at the 2023 Young Women's Leadership Summit hosted by Turning Point USA at the Gaylord Texan Resort & Convention Center in Grapevine, Texas.
I was photographing the sun. I was looking for prominences and turned up the gain on my camera to make them more obvious as I framed the image. Just at that moment a jet aircraft flew across the face of the sun. I checked out a flight tracker app (Flightradar24) and discovered that it was part of a two aircraft flight of NASA T-38 Talons flying between the Cape and the Stennis Space Center in Mississippi. Unfortunately for me they were not in formation but were flying the same course separated by about a quarter mile. Too bad they weren't in a closer formation for the image, but it was probably safer and more relaxing for the pilots to have less closure.
One of the post War of 1812 forts built to protect the Gulf Coast. The thick walls and ancient brick of the fort drip condensation and mold grows thick on the interior surface. One of the forts many gunports, this one, just over ground level faces the landward side of the fort. It's location is Dauphin Island guarding Mobile Bay. The fort saw action during the Battle of Mobile Bay during the American Civil War.
If any of you have ever had the scrumptious Vermont Cheeses which come wrapped in foil-lined wax, you will laugh at this photo! As I was about to toss the shapes which fell from slices of cheddar,
I couldn't help but think of one of my amazing flickr contacts who constructs the most phenomenal art from various plant materials and other occasional cast offs!
Of course there is no way in a million years I could even compare this to one of his original creations, but the thought was there!
I love the inspiration I get from my flickr friends!
"A lesson without pain is meaningless,
for you cannot gain something
without sacrificing something else in return.
But when you have overcome it and made it your own,
you will gain an irreplaceable Fullmetal Heart."
~ Edward Elric ~
Arthur Briggs (A.B.) Farquhar built steam traction engines in York, Pennsylvania, starting a family dynasty with connections in Brazil.
www.farmcollector.com/steam-traction/company-history-a-b-...
Equestrian statue of Andrew Jackson in front St. Louis Cathedral.
It remains to be seen if this statue and name of the square will remain. After his success in defeating the British in the battle of New Orleans in the War of 1812, Jackson used his name and a populist message to gain the presidency. There he led harsh policies against Native Americans including the infamous "Trail of Tears." He was also a slave owner. All Confederate statues were removed several years ago even before the current BLM movement.
New Orleans, Louisiana
I first visited Ditton Junction in 1986 to bag pictures of the class 58's working the Toton to Garston export coal trains. It became a regular spotting location over the next 4 years. The passenger service at the time was poor, to say the least, with two services in each direction per day. The station in 1986 was seriously neglected although there was an S&T department staff based within the building on platform 2 and a resident shunter who resided in the former booking office. Many happy hours were spent here.
Top left sees an AC electric passing through the station on a short parcels train on 19 September 1989.
Top right sees a class 47 thundering through with a rake of Inter City liveried coaches in 1995 nearly 12 months after closure. Weeds are starting to take over the platforms.
Bottom left on 10 December 2000 and with the abolition of the Ditton No1 and No2 boxes Railtrack decided to demolish some of the platform buildings. Why some?
By January 2004 the platform surfaces were becoming increasingly overgrown and the buildings on the up side were in a terrible state. The picture shows a Liverpool bound express which was running wrong line back into the station due to a problem further along the fast line. The driver is receiving his instructions and would leave the station wrong road then pass back through the station on the down slow goods, to the left.
Ditton Junction or Ditton as it was officially known gained some notoriety as it was the first station closed in the post privatisation era by Railtrack with a funeral party complete with coffin and pallbearers meeting the final train to run from the station.
An incredibly rare vehicle in preservation is what can be considered as part of the UK's first ever permanent batch of bendybuses. This was new to South Yorkshire PTE in 1985 as C113 HDT, a 67-seater Leyland DAB 1735L articulated integral build powered by a horizontal Leyland TL11 engine numbered 2013 in the fleet and was one of three with two doors and coach seating for use on Fastline Service X91 from Thurnscoe to Sheffield. These were still in South Yorkshire post-dereg and gained the bright yellow and red Mainline livery of which it is seen here having been repainted into. It later gained blue and yellow Rotherham Mainline livery and was used on the 69 service as well as the 501 Meadowhall shuttle.
Bath Bus Company aquired a few of these from Mainline (SYT) and reregistered them with these BBZ plates, this one being BBZ 6818, which is probably as close to BBC as was allowed, and proudly stated "BBC Bendy" on the front being used on C3 service to and from the city and Midsomer Norton. One other member of this batch is probably more 'famous' so to speak, as C111HDT (BBZ8051) was driven by Richard Hammond on a demolition derby bus race for BBC's 'Top Gear' programme and it was pretty much destroyed sadly - and whilst not many enthusiasts would have liked seeing it ripped apart, at least its ending was somewhat eventful as opposed to the usual cold clinical process to which a bus is scrapped (which would have likely been the fate for said vehicle otherwise).
2013 later went on to RML Travel of Stoke on Trent, where it was painted black and promoted The Chapel night club. It is hoped that this will be ready for re-entry onto the rally scene in summer 2019, the obvious holdup to getting this bus ready has been sourcing necessary parts which are now like hens' teeth.
This place is strange. It really it. It's an abandoned car mortuary near Ryd.
"Åke Danielsson (1914-2000), who initially only gained peat here, later devoted himself to car recycling. He left the well-nosed wrecks in the forest. He ran the business until the late 1980s and lived on his premises in a small house before he moved in 1992 in a retirement home.
As environmental legislation intensified, subsequent owners of the site received requests from authorities to clear the cars and clean up the land. But there were also advocates. TV and press reported nationwide, and eventually the case even involved the government. Unlike in similar cases, such as in the Swiss Kaufdorf or in the Belgian Châtillon, the Swedish authorities recognized the cultural value of the end-of-life cars and put them under protection until 2050. Until then, it is believed that the cars will naturally decay.
The car cemetery has become a popular destination for tourists. Not all visitors, however, behave according to its cultural and historical value. With the notoriety also the vandalism increased strongly, so that most of the externally still halfway intact car wrecks were deprived of their attachments in the meantime or was trampled on their roofs and hoods out of sheer destructive rage. The area is always accessible and unguarded." (Wikipedia, translated from German via Google translate)
Riley Gaines speaking with attendees at the 2023 Young Women's Leadership Summit hosted by Turning Point USA at the Gaylord Texan Resort & Convention Center in Grapevine, Texas.
The Wheel of Fortune, or Rota Fortunae, is a concept in medieval and ancient philosophy referring to the capricious nature of Fate. The wheel belongs to the goddess Fortuna, who spins it at random, changing the positions of those on the wheel - some suffer great misfortune, others gain windfalls. Fortune appears on all paintings as a woman, sometimes blindfolded, "puppeteering" a wheel.Origins[edit]
The origin of the word is from the "wheel of fortune" - the zodiac, referring to the Celestial spheres of which the 8th holds the stars, and the 9th is where the signs of the zodiac are placed. The concept was first invented in Babylon and later developed by the ancient Greeks. The concept somewhat resembles the Bhavacakra, or Wheel of Becoming, depicted throughout Ancient Indian art and literature, except that the earliest conceptions in the Roman and Greek world involve not a two-dimensional wheel but a three-dimensional sphere, a metaphor for the world. It was widely used in the Ptolemaic perception of the universe as the zodiac being a wheel with its "signs" constantly turning throughout the year and having effect on the world's fate (or fortune). Ptolemaic model of the spheres for Venus, Mars, Jupiter, and Saturn with epicycle, eccentric deferent and equant point. Georg von Peuerbach, Theoricae novae planetarum, 1474.
Vettius Valens, a second century BC astronomer and astrologer, wrote. There are many wheels, most moving from west to east, but some move from east to west.
Seven wheels, each hold one heavenly object, the first holds the moon... Then the eighth wheel holds all the stars that we see... And the ninth wheel, the wheel of fortunes, moves from east to west, and includes each of the twelve signs of fortune, the twelve signs of the zodiac. Each wheel is inside the other, like an onion's peel sits inside another peel, and there is no empty space between them.[this quote needs a citation] In the same century, the Roman tragedian Pacuvius wrote: Fortunam insanam esse et caecam et brutam perhibent philosophical, Saxoque instare in globoso praedicant volubili: Id quo saxum inpulerit fors, eo cadere Fortunam autumant. Caecam ob eam rem esse iterant, quia nihil cernat, quo sese adplicet; Insanam autem esse aiunt, quia atrox, incerta instabilisque sit; Brutam, quia dignum atque indignum nequeat internoscere. Philosophers say that Fortune is insane and blind and stupid, and they teach that she stands on a rolling, spherical rock: they affirm that, wherever chance pushes that rock, Fortuna falls in that direction. They repeat that she is blind for this reason: that she does not see where she's heading; they say she's insane, because she is cruel, flaky and unstable; stupid, because she can't distinguish between the worthy and the unworthy.
—Pacuvius, Scaenicae Romanorum Poesis Fragmenta. Vol. 1, ed. O. Ribbeck, 1897
The idea of the rolling ball of fortune became a literary topos and was used frequently in declamation. In fact, the Rota Fortunae became a prime example of a trite topos or meme for Tacitus, who mentions its rhetorical overuse in the Dialogus de oratoribus. Fortuna eventually became Christianized: the Roman philosopher Boethius (d. 524) was a major source for the medieval view of the Wheel, writing about it in his Consolatio Philosophiae - "I know how Fortune is ever most friendly and alluring to those whom she strives to deceive, until she overwhelms them with grief beyond bearing, by deserting them when least expected. … Are you trying to stay the force of her turning wheel? Ah! dull-witted mortal, if Fortune begin to stay still, she is no longer Fortune."
The Wheel was widely used as an allegory in medieval literature and art to aid religious instruction. Though classically Fortune's Wheel could be favourable and disadvantageous, medieval writers preferred to concentrate on the tragic aspect, dwelling on downfall of the mighty - serving to remind people of the temporality of earthly things. In the morality play Everyman (c. 1495), for instance, Death comes unexpectedly to claim the protagonist. Fortune's Wheel has spun Everyman low, and Good Deeds, which he previously neglected, are needed to secure his passage to heaven. Geoffrey Chaucer used the concept of the tragic Wheel of Fortune a great deal. It forms the basis for the Monk's Tale, which recounts stories of the great brought low throughout history, including Lucifer, Adam, Samson, Hercules, Nebuchadnezzar, Belshazzar, Nero, Alexander the Great, Julius Caesar and, in the following passage, Peter I of Cyprus. O noble Peter, Cyprus' lord and king,
Which Alexander won by mastery, To many a heathen ruin did'st thou bring; For this thy lords had so much jealousy,
That, for no crime save thy high chivalry, All in thy bed they slew thee on a morrow. And thus does Fortune's wheel turn treacherously And out of happiness bring men to sorrow.
~ Geoffrey Chaucer, The Canterbury Tales, The Monk's Fortune's Wheel often turns up in medieval art, from manuscripts to the great Rose windows in many medieval cathedrals, which are based on the Wheel. Characteristically, it has four shelves, or stages of life, with four human figures, usually labeled on the left regnabo (I shall reign), on the top regno (I reign) and is usually crowned, descending on the right regnavi (I have reigned) and the lowly figure on the bottom is marked sum sine regno (I am without a kingdom). Dante employed the Wheel in the Inferno and a "Wheel of Fortune" trump-card appeared in the Tarot deck (circa 1440, Italy). The wheel of fortune from the Burana Codex; The figures are labelled "Regno, Regnavi, Sum sine regno, Regnabo": I reign, I reigned, My reign is finished, I shall reign
In the medieval and renaissance period, a popular genre of writing was "Mirrors for Princes", which set out advice for the ruling classes on how to wield power (the most famous being The Prince by Niccolò Machiavelli). Such political treatises could use the concept of the Wheel of Fortune as an instructive guide to their readers. John Lydgate's Fall of Princes, written for his patron Humphrey, Duke of Gloucester is a noteworthy example. Many Arthurian romances of the era also use the concept of the Wheel in this manner, often placing the Nine Worthies on it at various points....fortune is so variant, and the wheel so moveable, there nis none constant abiding, and that may be proved by many old chronicles, of noble Hector, and Troilus, and Alisander, the mighty conqueror, and many mo other; when they were most in their royalty, they alighted lowest. ~ Lancelot in Thomas Malory's Le Morte d'Arthur, Chapter XVII.[3] Like the Mirrors for Princes, this could be used to convey advice to readers. For instance, in most romances, Arthur's greatest military achievement - the conquest of the Roman Empire - is placed late on in the overall story. However in Malory's work the Roman conquest and high point of King Arthur's reign is established very early on. Thus, everything that follows is something of a decline. Arthur, Lancelot and the other Knights of the Round Table are meant to be the paragons of chivalry, yet in Malory's telling of the story they are doomed to failure. In medieval thinking, only God was perfect, and even a great figure like King Arthur had to be brought low. For the noble reader of the tale in the Middle Ages, this moral could serve as a warning, but also as something to aspire to. Malory could be using the concept of Fortune's Wheel to imply that if even the greatest of chivalric knights made mistakes, then a normal fifteenth-century noble didn't have to be a paragon of virtue in order to be a good knight. The Wheel of Fortune motif appears significantly in the Carmina Burana (or Burana Codex), albeit with a postclassical phonetic spelling of the genitive form Fortunae. Excerpts from two of the collection's better known poems, "Fortuna Imperatrix Mundi (Fortune, Empress of the World)" and "Fortune Plango Vulnera (I Bemoan the Wounds of Fortune)," read: Sors immanis et inanis, rota tu volubilis, status malus,
vana salus semper dissolubilis, obumbrata et velata michi quoque niteris; nunc per ludum dorsum nudum fero tui sceleris. Fortune rota volvitur; descendo minoratus; alter in altum tollitur; nimis exaltatus rex sedet in vertice caveat ruinam! nam sub axe legimus Hecubam reginam.Fate - monstrous and empty, you whirling wheel, status is bad,
well-being is vain always may melt away, shadowy
and veiled you plague me too; now through the game
bare backed I bear your villainy. The wheel of Fortune turns;
I go down, demeaned; another is carried to the height;
far too high up sits the king at the summit - let him beware ruin! for under the axis we read: Queen Hecuba. Later usage:
Fortune and her Wheel have remained an enduring image throughout history. Fortune's wheel can also be found in Thomas More's Utopia. Wheel of fortune in Sebastian Brant`s Narrenschiff, woodcut by A. Dürer William Shakespeare in Hamlet wrote of the "slings and arrows of outrageous fortune" and, of fortune personified, to "break all the spokes and fellies from her wheel." And in Henry V, Act 3 Scene VI[4] are the lines: Bardolph, a soldier who is loyal and stout-hearted and full of valour, has, by a cruel trick of fate and a turn of silly Fortune's wildly spinning wheel, that blind goddess who stands upon an ever-rolling stone—
Fluellen: Now, now, Ensign Pistol. Fortune is depicted as blind, with a scarf over her eyes, to signify that she is blind. And she is depicted with a wheel to signify—this is the point—that she is turning and inconstant, and all about change and variation. And her foot, see, is planted on a spherical stone that rolls and rolls and rolls. Shakespeare also references this Wheel in King Lear.[5] The Earl of Kent, who was once held dear by the King, has been banished, only to return in disguise. This disguised character is placed in the stocks for an overnight and laments this turn of events at the end of Act II, Scene 2:Fortune, good night, smile once more; turn thy wheel! In Act IV, scene vii, King Lear also contrasts his misery on the "wheel of fire" to Cordelia's "soul in bliss". Shakespeare also made reference to this in "Macbeth" throughout the whole play. Macbeth starts off halfway up the wheel when a Thane, but moves higher and higher until he becomes king, but falls right down again towards the end as his wife dies, and he in turn dies.
In Anthony Trollope's novel The Way We Live Now, the character Lady Carbury writes a novel entitled "The Wheel of Fortune" about a heroine who suffers great financial hardships.
Selections from the Carmina Burana, including the two poems quoted above, were set to new music by twentieth-century classical composer Carl Orff, whose well-known "O Fortuna" is based on the poem Fortuna Imperatrix Mundi.
Jerry Garcia recorded a song entitled "The Wheel" (co-written with Robert Hunter and Bill Kreutzmann) for his 1972 solo album Garcia, and performed the song regularly with the Grateful Dead from 1976 onward. The song "Wheel in the Sky" by Journey from their 1978 release Infinity also touches on the concept through the lyrics "Wheel in the sky keeps on turnin' / I don't know where I'll be tomorrow". The song "Throw Your Hatred Down" by Neil Young on his 1995 album Mirror Ball, recorded with Pearl Jam, has the verse "The wheel of fortune / Keeps on rollin' down". The term has found its way into modern popular culture through the Wheel of Fortune game show, where contestants win or lose money determined by the random spin of a wheel. Also, the video game series character Kain (Legacy of Kain) used the wheel of fate. Fortuna does occasionally turn up in modern literature, although these days she has become more or less synonymous with Lady Luck. Her Wheel is less widely used as a symbol, and has been replaced largely by a reputation for fickleness. She is often associated with gamblers, and dice could also be said to have replaced the Wheel as the primary metaphor for uncertain fortune. The Hudsucker Proxy, a film by the Coen Brothers, also uses the Rota Fortunae concept and in the TV series Firefly (2002) the main character, Malcolm Reynolds, says "The Wheel never stops turning, Badger" to which Badger replies "That only matters to the people on the rim". Likewise, a physical version of the Wheel of Fortune is used in Mad Max Beyond Thunderdome, a film by George Miller and George Ogilvie. In the movie, the title character reneges on a contract and is told "bust a deal, face the wheel." In the science fiction TV series Farscape, the fourth episode of the fourth season has main character Crichton mention that his grandmother told him that fate was like a wheel, alternately bringing fortunes up and down, and the episode's title also references this. Unlike many other instances of the wheel of fortune analogy, which focus on tragic falls from good fortune, Crichton's version is notably more positive, and meant as a message of endurance: those suffering from bad fortune must remain strong and "wait for the wheel" of fortune to turn back to eventually turn back to good fortune again. Ignatius J. Reilly, the central character from John Kennedy Toole's novel A Confederacy of Dunces, states that he believes the Rota Fortunae to be the source of all man's fate. In the Fable video game series, the wheel of fortune appears twice, somehow perverted. The Wheel of Unholy Misfortune is a torture device in Fable II. It is found in the Temple of Shadows in Rookridge. The Hero can use the wheel to sacrifice followers to the shadows. In Fable III, Reaver's Wheel of Misfortune is a device that, once activated, sends to The Hero a round of random monsters. The Wheel of Fortune is featured in a Magic: the Gathering card by that name that forces all players to discard their hands and draw new ones.
en.wikipedia.org/wiki/Rota_Fortunae
Wheel of Fortune is R.O.T.A or TARO and TORA all 3 are born in same meaning :the workings of a social engine ROTARY'S WHEEL EMBLEM
A wheel has been the symbol of Rotary since our earliest days. The first design was made by Chicago Rotarian Montague Bear, an engraver who drew a simple wagon wheel, with a few lines to show dust and motion. The wheel was said to illustrate "Civilization and Movement." Most of the early clubs had some form of wagon wheel on their publications and letterheads. Finally, in 1922, it was decided that all Rotary clubs should adopt a single design as the exclusive emblem of Rotarians. Thus, in 1923, the present gear wheel, with 24 cogs and six spokes was adopted by the "Rotary International Association." A group of engineers advised that the geared wheel was mechanically unsound and would not work without a "keyway" in the center of the gear to attach it to a power shaft. So, in 1923 the keyway was added and the design which we now know was formally adopted as the official Rotary International emblem. www.icufr.org/abc/abc01.htm
www.rotaryfirst100.org/history/history/wheel/
The most popular symbol is the All seeing eye, and most popular hand signs are the Horn and the 666. Any study of Music and ... Circle (Rotary symbol)
[These are the symbols used by the Reptilian proxy group, the Reptoids (Illuminati, & Freemasons), collectively are known as Satanists or Luciferians. The signs of Evil. The most popular symbol is the All seeing eye, and most popular hand signs are the Horn and the 666. Any study of Music and Movies will find all the usual suspects (proving Satanic control), along with some symbols for mind control. If you want a symbol to use stick with the heart, the exact opposite of Evil. They like to cut them out and offer them to Lucifer, see Blood sacrifice. All the worshiped 'Gods' are a few Anunnaki/Reptilians going under various names down the years such as: Nimrod/Anubis/Horus/Osiris/Baal/Shamash/Janus/Quetzalcoatl/Baphomet/Lucifer/Moloch etc, hence all the snake and horn symbols. The symbols are their secret language, and you can see the connections down the years by the use of the same symbols, e.g. Freemasonry, the US Government, and Communism with the Hidden hand, the hidden hand of history.]
Ferrari's sequel up to the 458 Italia has followed in the tyre tracks of the California T by gaining a turbocharged V8.
Renamed the 488 GTB, Ferrari’s refreshed McLaren 650S rival now packs a 493kW/760Nm from an all-new twin-turbo 3.9-litre V8. The new engine still produces its maximum power at 8,000rpm but, crucially, delivers its peak torque figure at just 3000rpm.
Both figures are significantly more impressive than the current Speciale’s 4.5-litre atmo V8 it replaces that can ‘only’ muster 445KW at 9000rpm and 540Nm at stratospheric 6000rpm.
Importantly, this finally gives Ferrari the advantage over the current McLaren 650S - that can only manage 478kW/678Nm - although this could swing back in favour of the Brit when McLaren launches its response - the new 675LT supercar at the Geneva motor show.
Like the current 458 Italia, the 488 GTB channels its power through the existing seven-speed dual clutch automatic - although Ferrari’s super-fast gearbox had to be beefed up to cope with the extra torque. Different ratios were also added to help manage the new lowdown punch. Ferrari has also added something called ‘Variable Torque Management’ that’s said to smooth off the edges of that power delivery to avoid those unintentional 100m burnouts every time you pull away from the lights.
With great traction comes even greater performance and the figures for the 488 GTB are predictably off the scale. The 488 GTB can now crack 0-100km/h in just 3.0 sec and, more impressively, smash the 0-200km/h dash in just 8.4sec (0.1sec quicker than the McLaren 650S). Top speed is pegged at 330km/h.
For those worried all this turbocharging will mute the old car’s screaming V8 soundtrack, Ferrari insists its engineers have carefully tuned the 488 GTB for a ‘clear and totally distinctive’ (read loud) noise.
Ferrari has also made some efficiency gains too. The new twin turbo engine gains stop-start and now averages 11.4l/100km while emitting 260g/km of CO2 - that’s 47g/km less than the 458.
Other more exciting technology new to the 488 GTB includes the introduction of the second-generation Slide Slip Angle Control system (SSC2) that harnesses the active dampers, F1-Trac traction control and E-diff to control (and hold) lurid slides. Better still, Ferrari says all of its driver aids have been tailored to people like us to exploit the 488 GTB’s handling rather than pro-racers.
As well as all the new software tweaks, the new Ferrari has spent serious time in the wind tunnel and the result is it’s more slippery than before. This was achieved with a new double spoiler, re-profiled side intakes while, at the rear, there’s active spoilers that work with a ‘blown’ spoiler that has a neat trick of being able to generate downforce without drag.
Underneath, the thorough aero tweaks continue with a new underbody that includes something called vortex generators that continue the air bending to help the 488 GTB generate 50 per cent more downforce than the old 458 Italia.
Away from the aero geekery the 488 GTB’s look is supposed to conjure images of the old 308 GTB with its large air intake scallop. The wide front double profile spoiler is a product of function over form and has two jobs - the first to funnel air to the two nose-mounted radiators, the second to channel air to that underbody diffuser,
Inside, the 488 GTB the old 458 Italia has been overhauled. The dash and vents are now all angled to the driver but the stripped back racer feel carries over.
[text from Ninemsn Carpoint]
I was intending to build this soon after it was launched, but saw value in doing so 'quickly'. As well as build the most Lego cars, I probably also hold the record for building Lego versions of real cars the soonest after they are revealed. I think my record is about 8 hours later. Cars that I have released the same day or next day are: Ford U502 Explorer, Ford CD391 Fusion, Ferrari 458 Italia, Ferrari 458 Speciale Aperta.
The model shown here, Ferrari's new 488 GTB is the replacement for the 458 Italia. In many ways the car does not seem particularly exceptional for a Ferrari. People are moaning about the loss of 'instant throttle response' due to the turbocharging. However, here lies the clue as to what may make this car exceptional, and why it is worth including in this month's challenge:
The Ferrari 488 GTB has the highest torque output of any road-going Ferrari.
I initially thought about 'the highest output of any V8 Ferrari', and began my search to check it topped out a F40. (it does 493 kW vs 357 kW). Then I checked against the other super-Ferrari, thinking that there might be a few that sat above it: F50 - 382 kW, Enzo - 485 kW, LaFerrari - 588 kW, so it is beaten here, but only by the LaFerrari.
But torque, the thing that actually gets you going, it outshines every V8, and eclipses even the LaFerrari, which musters a still-impressive 700 Nm, and must rely on its electric torque driving unit to bring the grand total to 900 Nm. Even the limited edition track racing version, the LaFerrari FXX-K bumps this up to 750 Nm from the internal combustion engine. Still 10 Nm shy of the Ferrari 488 GTB: 760 Nm........
...@ 3000 rpm!
This Lego miniland-scale Ferrari 488 GTB has been created for Flickr LUGNuts' 88th Build Challenge, - "Let's Break Some Records", - a challenge theme to build a vehicle with some outstanding, record-breaking aspect. In this case, the torquiest Ferrari internal combustion engine, at 760Nm.
Model: Kyle Schwander @ Streamline Model Management
Make-up: Shauné Hayes
Assistant Make-up: Chris Rushton Hair: Chris Rushton
Wardrobe: Ibithihaj Brooks
Manicurist: Indigo Makong
strobist info: sb800 + straw gridspot high left, triggered by sb800 on camera commander mode only.
Taken during the 'golden hour' at 05:35
I've watched the stars fall silent from your eyes
All the sights that I have seen
I can't believe that I believed I wished
That you could see
There's a new planet in the solar system
There is nothing up my sleeve
I'm pushing an elephant up the stairs
I'm tossing up punch lines that were never there
Over my shoulder a piano falls
Crashing to the ground
In all this talk of time
Talk is fine
But I don't want to stay around
Why can't we pantomime, just close our eyes
And sleep sweet dreams
Me and you with wings on our feet
I'm pushing an elephant up the stairs
I'm tossing up punch lines that were never there
Over my shoulder a piano falls
Crashing to the ground
I'm breaking through
I'm bending spoons
I'm keeping flowers in full bloom
I'm looking for answers from the great beyond
I want the hummingbirds, the dancing bears
Sweetest dreams of you
I Look into the stars
I Look into the moon
I'm pushing an elephant up the stairs
I'm tossing up punch lines that were never there
Over my shoulder a piano falls
Crashing to the ground
I'm breaking through
I'm bending spoons
I'm keeping flowers in full bloom
I'm looking for answers from the great beyond
I'm breaking through
I'm bending spoons
I'm keeping flowers in full bloom
I'm looking for answers from the great
Answers from the great, answers
I'm breaking through
I'm bending spoons
I'm keeping flowers in full bloom
I'm looking for answers from the great beyond
I'm breaking through
I'm bending spoons
I'm keeping flowers in full bloom
I'm looking for answers from the great
Answers from the great, answers
I'm breaking through
I'm bending spoons
I'm keeping flowers in full bloom
I'm looking for answers from the great beyond
Otranto occupies the site of an ancient Greek city. It gained importance in Roman times, as it was the nearest port to the eastern coast of the Adriatic Sea.
After the end of the Roman Empire, it was in the hands of the Byzantine emperors until it surrendered to the Norman troops of Robert Guiscard in 1068. The Normans fortified the city and built the cathedral, that got consecrated in 1088. When Henry VI., son of Emperor Frederick Barbarossa, married Constanze of Sicily in 1186 Otranto came under the rule of the Hohenstaufen and later in the hands of Ferdinand I of Aragón, King of Naples.
Between 1480 and 1481 the "Ottoman invasion" took place here. Troops of the Ottoman Empire invaded and laid siege to the city and its citadel. Legends tell that more than 800 inhabitants were beheaded after the city was captured. The "Martyrs of Otranto" are still celebrated in Italy, their skulls are on display in the cathedral. A year later the Ottoman garrison surrendered the city following a siege by Christian forces and the intervention of Papal forces.
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Otranto had been one of the last Byzantine strongholds in Apulia, but finally Robert Guiscard could take it. It had probably been such a stronghold, as Otranto had hosted an autocephalous bishopric, only dependent of the patriarchal see of Byzantium since 968. So (Roman) Catholicism had to perform something "convincing" for the so long (Byzantine) Orthodox christians. One was to erect a huge church. The Otranto Cathedral was erected, over ruins of a Paleo-christian church from 1080 on and was consecrated in 1088. It is 54 metres long by 25 metres wide and is built on 42 monolithic granite and marble columns.
I had come to Otranto, to see the mosaic. I had planned to stay one night in Otranto, I spent three nights - and still had not seen all the details. I was so overwhelmed, that I took hundreds of photos, but the mosaic is "endless". I will upload only a couple.
It was created by a monk named Pantaleon and his workshop between 1163 and 1165. Pantaleon lived at the monastery San Nicola di Casole, located a few kilometres south of Otranto.
The mosaic covers the nave, both aisles, the apse and the presbytery. This sums up to a total of 1596 m². About 10 000000 (10 million!) "tesserae" were used.
There are scholars, who have counted up to 700 different "stories", that are told here. Though, these "stories" are often disputed, as today's interpretations are mostly very "vague". German historian Carl Arnold Willemsen published the most important book about the mosaic in Italian " L'enigma di Otranto", that since the 1970s is translated in many languages. I followed his theories.
Here is father elephant, for the mother and the baby, see previous uploads.
researches for COPENHAGEN ULTRACONTEMPORARY BIENNALE
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a presentation of COPENHAGEN ULTRACONTEMPORARY BIENNALE will be done at the Venice Biennale 2015 ---
check date and place here www.facebook.com/CopenhagenBiennale
COPENHAGEN ULTRACONTEMPORARY BIENNALE
main : copenhagenbiennale.org/
www.facebook.com/CopenhagenBiennale
www.emergencyrooms.org/formats.html
meanwhile during Venice Biennale contemporary art will be shown by
ABBOUD, Jumana Emil .ABDESSEMED, Adel .ABONNENC, Mathieu Kleyebe
ABOUNADDARA.ACHOUR, Boris ADKINS, Terry AFIF, Saâdane
AKERMAN, Chantal AKOMFRAH, John AKPOKIERE, Karo
AL SOLH, Mounira ALGÜN RINGBORG, Meriç ALLORA, Jennifer & CALZADILLA, Guillermo
ATAMAN, Kutlug BAJEVIC, Maja BALLESTEROS, Ernesto
BALOJI, Sammy BARBA, Rosa
BASELITZ, Georg BASUALDO, Eduardo BAUER, Petra
BESHTY, Walead BHABHA, Huma BOLTANSKI, Christian
BONVICINI, Monica BOYCE, Sonia
BOYD, Daniel BREY, Ricardo BROODTHAERS, Marcel BRUGUERA, Tania
BURGA, Teresa CALHOUN, Keith & McCORMICK, Chandra CAO, Fei
CHAMEKH, Nidhal CHERNYSHEVA, Olga CHUNG, Tiffany
COOPERATIVA CRÁTER INVERTIDO CREATIVE TIME SUMMIT
DAMIANI, Elena DELLER, Jeremy DJORDAJDZE, Thea DUMAS, Marlene
E-FLUX JOURNAL EDWARDS, Melvin EFFLATOUN, Inji EHMANN, Antje & FAROCKI, Harun
EICHHORN, Maria EVANS, Walker FAROCKI, Harun FLOYD, Emily
FRIEDL, Peter FUSCO, Coco FUSINATO, Marco
GAINES, Charles GALLAGHER, Ellen GALLARDO, Ana GARCIA, Dora
GATES, Theaster GENZKEN, Isa GLUKLYA GOMES, Sônia GROSSE, Katharina
GULF LABOR GURSKY, Andreas HAACKE, Hans
HADJITHOMAS, Joana & JOREIGE, Khalil HARRY, Newell HASSAN, Kay
HIRSCHHORN, Thomas HÖLLER, Carsten HOLT, Nancy & SMITHSON, Robert
IM, Heung Soon INVISIBLE BORDERS: Trans-African Photographers ISHIDA, Tetsuya
JI, Dachun JULIEN, Isaac K., Hiwa KAMBALU, Samson KIM, Ayoung
KLUGE, Alexander KNGWARREYE, Emily Kame LAGOMARSINO, Runo LEBER, Sonia & CHESWORTH, David
LIGON, Glenn MABUNDA, Gonçalo MADHUSUDHANAN MAHAMA, Ibrahim
MALJKOVIC, David MAN, Victor MANSARAY, Abu Bakarr MARKER, Chris
MARSHALL, Kerry James MARTEN, Helen MAURI, Fabio McQUEEN, Steve
MOHAIEMEN, Naeem MORAN, Jason MÜLLER, Ivana MUNROE, Lavar MURILLO, Oscar
MUTU, Wangechi NAM, Hwayeon NAUMAN, Bruce NDIAYE, Cheikh NICOLAI, Olaf
OFILI, Chris OGBOH, Emeka PARRENO, Philippe PASCALI, Pino PIPER, Adrian
PONIFASIO, Lemi QIU, Zhijie RAISSNIA, Raha RAQS MEDIA COLLECTIVE
(NARULA, Monica; BAGCHI, Jeebesh; SENGUPTA, Shuddhabrata) REYNAUD-DEWAR, Lili
RIDNYI, Mykola ROBERTS, Liisa ROTTENBERG, Mika SCHÖNFELDT, Joachim SELMANI, Massinissa
SENGHOR, Fatou Kand SHETTY, Prasad & GUPTE, Rupal SIBONY, Gedi
SIMMONS, Gary SIMON, Taryn SIMPSON, Lorna SMITHSON, Robert SUBOTZKY, Mikhael
SUHAIL, Mariam SZE, Sarah THE PROPELLER GROUPthe TOMORROW
TIRAVANIJA, Rirkrit TOGUO, Barthélémy XU, Bing YOUNIS, Ala
ALBANIA
Albanian Trilogy: A Series of Devious Stratagems
Armando Lulaj
Commissioner: Ministry of Culture. Curator: Marco Scotini. Deputy Curator: Andris Brinkmanis. Venue: Pavilion at Arsenale
ANDORRA
Inner Landscapes
Roqué, Joan Xandri
Commissioner: Henry Périer. Deputy Commissioner: Joana Baygual, Sebastià Petit, Francesc Rodríguez
Curator: Paolo de Grandis, Josep M. Ubach. Venue: Spiazzi, Castello 3865
ANGOLA
On Ways of Travelling
António Ole, Binelde Hyrcan, Délio Jasse, Francisco Vidal, Nelo Teixeira
Commissioner: Ministry of Culture, Rita Guedes Tavares. Curator: António Ole. Deputy Curator: Antonia Gaeta. Venue: Conservatorio Benedetto Marcello - Palazzo Pisani, San Marco 2810
ARGENTINA
The Uprising of Form
Juan Carlos Diste´fano
Commissioner: Magdalena Faillace. Curator: Mari´a Teresa Constantin. Venue: Pavilion at Arsenale – Sale d’Armi
ARMENIA, Republic of
Armenity / Haiyutioun
Haig Aivazian, Lebanon; Nigol Bezjian, Syria/USA; Anna Boghiguian Egypt/Canada; Hera Büyüktasçiyan, Turkey; Silvina Der-Meguerditchian, Argentina/Germany; Rene Gabri & Ayreen Anastas, Iran/Palestine/USA; Mekhitar Garabedian, Belgium; Aikaterini Gegisian, Greece; Yervant Gianikian & Angela Ricci Lucchi, Italy; Aram Jibilian, USA; Nina Katchadourian, USA/Finland; Melik Ohanian, France; Mikayel Ohanjanyan, Armenia/Italy; Rosana Palazyan, Brazil; Sarkis, Turkey/France; Hrair Sarkissian, Syria/UK
Commissioner: Ministry of Culture of the Republic of Armenia. Deputy Commissioner: Art for the World, Mekhitarist Congregation of San Lazzaro Island, Embassy of the Republic of Armenia in Italy, Vartan Karapetian. Curator: Adelina Cüberyan von Fürstenberg. Venue: Monastery and Island of San Lazzaro degli Armeni
AUSTRALIA
Fiona Hall: Wrong Way Time
Fiona Hall
Commissioner: Simon Mordant AM. Deputy Commissioner: Charles Green. Curator: Linda Michael. Scientific Committee: Simon Mordant AM, Carolyn Christov-Bakargiev, Max Delany, Rachel Kent, Danie Mellor, Suhanya Raffel, Leigh Robb. Venue: Pavilion at Giardini
AUSTRIA
Heimo Zobernig
Commissioner: Yilmaz Dziewior. Curator: Yilmaz Dziewior. Scientific Committee: Friends of the Venice Biennale. Venue: Pavilion at Giardini
AZERBAIJAN, Republic of
Beyond the Line
Ashraf Murad, Javad Mirjavadov, Tofik Javadov, Rasim Babayev, Fazil Najafov, Huseyn Hagverdi, Shamil Najafzada
Commissioner: Heydar Aliyev Foundation. Curators: de Pury de Pury, Emin Mammadov. Venue: Palazzo Lezze, Campo S.Stefano, San Marco 2949
Vita Vitale
Edward Burtynsky, Mircea Cantor, Loris Cecchini, Gordon Cheung, Khalil Chishtee, Tony Cragg, Laura Ford, Noemie Goudal, Siobhán Hapaska, Paul Huxley, IDEA laboratory and Leyla Aliyeva, Chris Jordan with Rebecca Clark and Helena S.Eitel, Tania Kovats, Aida Mahmudova, Sayyora Muin, Jacco Olivier, Julian Opie, Julian Perry, Mike Perry, Bas Princen, Stephanie Quayle, Ugo Rondinone, Graham Stevens, Diana Thater, Andy Warhol, Bill Woodrow, Erwin Wurm, Rose Wylie
Commissioner: Heydar Aliyev Foundation. Curators: Artwise: Susie Allen, Laura Culpan, Dea Vanagan. Venue: Ca’ Garzoni, San Marco 3416
BELARUS, Republic of
War Witness Archive
Konstantin Selikhanov
Commissioner: Natallia Sharanhovich. Deputy Commissioners: Alena Vasileuskaya, Kamilia Yanushkevich. Curators: Aleksei Shinkarenko, Olga Rybchinskaya. Scientific Committee: Dmitry Korol, Daria Amelkovich, Julia Kondratyuk, Sergei Jeihala, Sheena Macfarlane, Yuliya Heisik, Hanna Samarskaya, Taras Kaliahin, Aliaksandr Stasevich. Venue: Riva San Biagio, Castello 2145
BELGIUM
Personnes et les autres
Vincent Meessen and Guests, Mathieu K. Abonnenc, Sammy Baloji, James Beckett, Elisabetta Benassi, Patrick Bernier & Olive Martin, Tamar Guimara~es & Kasper Akhøj, Maryam Jafri, Adam Pendleton
Commissioner: Wallonia-Brussels Federation and Wallonia-Brussels International. Curator: Katerina Gregos. Venue: Pavilion at Giardini
COSTA RICA
"Costa Rica, Paese di pace, invita a un linguaggio universale d'intesa tra i popoli".
Andrea Prandi, Beatrice Gallori, Beth Parin, Biagio Schembari, Carla Castaldo, Celestina Avanzini, Cesare Berlingeri, Erminio Tansini, Fabio Capitanio, Fausto Beretti, Giovan Battista Pedrazzini, Giovanni Lamberti, Giovanni Tenga, Iana Zanoskar, Jim Prescott, Leonardo Beccegato, Liliana Scocco, Lucia Bolzano, Marcela Vicuna, Marco Bellagamba, Marco Lodola, Maria Gioia dell’Aglio, Mario Bernardinello, Massimo Meucci, Nacha Piattini, Omar Ronda, Renzo Eusebi, Tita Patti, Romina Power, Rubens Fogacci, Silvio di Pietro, Stefano Sichel, Tino Stefanoni, Ufemia Ritz, Ugo Borlenghi, Umberto Mariani, Venere Chillemi, Jacqueline Gallicot Madar, Massimo Onnis, Fedora Spinelli
Commissioner: Ileana Ordonez Chacon. Curator: Gregorio Rossi. Venue: Palazzo Bollani
CROATIA
Studies on Shivering: The Third Degree
Damir Ocko
Commissioner: Ministry of Culture. Curator: Marc Bembekoff. Venue: Palazzo Pisani, S. Marina
CUBA
El artista entre la individualidad y el contexto
Lida Abdul, Celia-Yunior, Grethell Rasúa, Giuseppe Stampone, LinYilin, Luis Edgardo Gómez Armenteros, Olga Chernysheva, Susana Pilar Delahante Matienzo
Commissioner: Miria Vicini. Curators: Jorge Fernández Torres, Giacomo Zaza. Venue: San Servolo Island
CYPRUS, Republic of
Two Days After Forever
Christodoulos Panayiotou
Commissioner: Louli Michaelidou. Deputy Commissioner: Angela Skordi. Curator: Omar Kholeif. Deputy Curator: Daniella Rose King. Venue: Palazzo Malipiero, Sestiere San Marco 3079
CZECH Republic and SLOVAK Republic
Apotheosis
Jirí David
Commissioner: Adam Budak. Deputy Commissioner: Barbara Holomkova. Curator: Katarina Rusnakova. Venue: Pavilion at Giardini
ECUADOR
Gold Water: Apocalyptic Black Mirrors
Maria Veronica Leon Veintemilla in collaboration with Lucia Vallarino Peet
Commissioner: Andrea Gonzàlez Sanchez. Deputy Commissioner: PDG Arte Communications. Curator: Ileana Cornea. Deputy Curator: Maria Veronica Leon Veintemilla. Venue: Istituto Santa Maria della Pietà, Castello 3701
ESTONIA
NSFW. From the Abyss of History
Jaanus Samma
Commissioner: Maria Arusoo. Curator: Eugenio Viola. Venue: Palazzo Malipiero, campo San Samuele, San Marco 3199
EGYPT
CAN YOU SEE
Ahmed Abdel Fatah, Gamal Elkheshen, Maher Dawoud
Commissioner: Hany Al Ashkar. Curator: Ministry of Culture. Venue: Pavilion at Giardini
FINLAND (Pavilion Alvar Aalto)
Hours, Years, Aeons
IC-98
Commissioner: Frame Visual Art Finland, Raija Koli. Curator: Taru Elfving. Deputy Curator: Anna Virtanen. Venue: Pavilion at Giardini
FRANCE
revolutions
Céleste Boursier-Mougenot
Commissioner: Institut français, with Ministère de la Culture et de la Communication. Curator: Emma Lavigne. Venue: Pavilion at Giardini
GEORGIA
Crawling Border
Rusudan Gobejishvili Khizanishvili, Irakli Bluishvili, Dimitri Chikvaidze, Joseph Sabia
Commissioner: Ana Riaboshenko. Curator: Nia Mgaloblishvili. Venue: Pavilion at Arsenale – Sale d’Armi
GERMANY
Fabrik
Jasmina Metwaly / Philip Rizk, Olaf Nicolai, Hito Steyerl, Tobias Zielony
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office. Deputy Commissioner: Elke aus dem Moore, Nina Hülsmeier. Curator: Florian Ebner. Deputy Curator: Tanja Milewsky, Ilina Koralova. Venue: Pavilion at Giardini
GREAT BRITAIN
Sarah Lucas
Commissioner: Emma Dexter. Curator: Richard Riley. Deputy Curator: Katrina Schwarz. Venue: Pavilion at Giardini
GRENADA *
Present Nearness
Oliver Benoit, Maria McClafferty, Asher Mains, Francesco Bosso and Carmine Ciccarini, Guiseppe Linardi
Commissioner: Ministry of Culture. Deputy Commissioner: Susan Mains. Curator: Susan Mains. Deputy Curator: Francesco Elisei. Venue: Opera don Orione Artigianelli, Sala Tiziano, Fondamenta delle Zattere ai Gesuati, Dorsoduro 919
GREECE
Why Look at Animals? AGRIMIKÁ.
Maria Papadimitriou
Commissioner: Hellenic Ministry of Culture, Education and Religious Affairs. Curator: Gabi Scardi. Deputy Curator: Alexios Papazacharias. Venue: Pavilion at Giardini
BRAZIL
So much that it doesn't fit here
Antonio Manuel, André Komatsu, Berna Reale
Commissioner: Luis Terepins. Curator: Luiz Camillo Osorio. Deputy Curator: Cauê Alves. Venue: Pavilion at Giardini
CANADA
Canadassimo
BGL
Commissioner: National Gallery of Canada, Marc Mayer. Deputy Commissioner: National Gallery of Canada, Yves Théoret. Curator: Marie Fraser. Venue: Pavilion at Giardini
CHILE
Poéticas de la disidencia | Poetics of dissent: Paz Errázuriz - Lotty Rosenfeld
Paz Errázuriz, Lotty Rosenfeld
Commissioner: Antonio Arèvalo. Deputy Commissioner: Juan Pablo Vergara Undurraga. Curator: Nelly Richard. Venue: Pavilion at Arsenale - Artiglierie
CHINA, People’s Republic of
Other Future
LIU Jiakun, LU Yang, TAN Dun, WEN Hui/Living Dance Studio, WU Wenguang/Caochangdi Work Station
Commissioner: China Arts and Entertainment Group, CAEG. Deputy Commissioners: Zhang Yu, Yan Dong. Curator: Beijing Contemporary Art Foundation. Scientific Committee: Fan Di’an, Zhang Zikang, Zhu Di, Gao Shiming, Zhu Qingsheng, Pu Tong, Shang Hui. Venue: Pavilion at Arsenale – Giardino delle Vergini
GUATEMALA
Sweet Death
Emma Anticoli Borza, Sabrina Bertolelli, Mariadolores Castellanos, Max Leiva, Pier Domenico Magri, Adriana Montalto, Elmar Rojas (Elmar René Rojas Azurdia), Paolo Schmidlin, Mónica Serra, Elsie Wunderlich, Collettivo La Grande Bouffe
Commissioner: Daniele Radini Tedeschi. Curators: Stefania Pieralice, Carlo Marraffa, Elsie Wunderlich. Deputy Curators: Luciano Carini, Simone Pieralice. Venue: Officina delle Zattere, Dorsoduro 947, Fondamenta Nani
HOLY SEE
Commissioner: Em.mo Card. Gianfranco Ravasi, Presidente del Pontificio Consiglio della Cultura. Venue: Pavilion at Arsenale – Sale d’Armi
HUNGARY
Sustainable Identities
Szilárd Cseke
Commissioner: Monika Balatoni. Deputy Commissioner: István Puskás, Sándor Fodor, Anna Karády. Curator: Kinga German. Venue: Pavilion at Giardini
ICELAND
Christoph Büchel
Commissioner: Björg Stefánsdóttir. Curator: Nína Magnúsdóttir. Venue: to be confirmed
INDONESIA, Republic of
Komodo Voyage
Heri Dono
Commissioner: Sapta Nirwandar. Deputy Commissioner: Soedarmadji JH Damais. Curator: Carla Bianpoen, Restu Imansari Kusumaningrum. Scientific Committee: Franco Laera, Asmudjo Jono Irianto, Watie Moerany, Elisabetta di Mambro. Venue: Venue: Arsenale
IRAN
Iranian Highlights
Samira Alikhanzaradeh, Mahmoud Bakhshi Moakhar, Jamshid Bayrami, Mohammed Ehsai
The Great Game
Lida Abdul, Bani Abidi, Adel Abidin, Amin Agheai, Ghodratollah Agheli, Shahriar Ahmadi, Parastou Ahovan, Farhad Ahrarnia, Rashad Alakbarov, Nazgol Ansarinia, Reza Aramesh, Alireza Astaneh, Sonia Balassanian, Mahmoud Bakhshi, Moakhar Wafaa Bilal, Mehdi Farhadian, Monir Farmanfarmaian, Shadi Ghadirian, Babak Golkar, Shilpa Gupta, Ghasem Hajizadeh, Shamsia Hassani, Sahand Hesamiyan, Sitara Ibrahimova, Pouran Jinchi, Amar Kanwar, Babak Kazemi, Ryas Komu, Ahmad Morshedloo, Farhad Moshiri, Mehrdad Mohebali, Huma Mulji, Azad Nanakeli, Jamal Penjweny, Imran Qureshi, Sara Rahbar, Rashid Rana, T.V. Santhosh, Walid Siti, Mohsen Taasha Wahidi, Mitra Tabrizian, Parviz Tanavoli, Newsha Tavakolian, Sadegh Tirafkan, Hema Upadhyay, Saira Wasim
Commissioner: Majid Mollanooruzi. Deputy Commissioners: Marco Meneguzzo, Mazdak Faiznia. Curators: Marco Meneguzzo, Mazdak Faiznia. Venue: Calle San Giovanni 1074/B, Cannaregio
IRAQ
Commissioner: Ruya Foundation for Contemporary Culture in Iraq (RUYA). Deputy Commissioner: Nuova Icona - Associazione Culturale per le Arti. Curator: Philippe Van Cauteren. Venue: Ca' Dandolo, San Polo 2879
IRELAND
Adventure: Capital
Sean Lynch
Commissioner: Mike Fitzpatrick. Curator: Woodrow Kernohan. Venue: Pavilion at Arsenale - Artiglierie
ISRAEL
Tsibi Geva | Archeology of the Present
Tsibi Geva
Commissioner: Arad Turgem, Michael Gov. Curator: Hadas Maor. Venue: Pavilion at Giardini
ITALY
Ministero dei Beni e delle attività culturali e del turismo - Direzione Generale Arte e Architettura Contemporanee e Periferie Urbane. Commissioner: Federica Galloni. Curator: Vincenzo Trione. Venue: Padiglione Italia, Tese delle Vergini at Arsenale
JAPAN
The Key in the Hand
Chiharu Shiota
Commissioner: The Japan Foundation. Deputy Commissioner: Yukihiro Ohira, Manako Kawata and Haruka Nakajima. Curator: Hitoshi Nakano. Venue : Pavilion at Giardini
KENYA
Creating Identities
Yvonne Apiyo Braendle-Amolo, Qin Feng, Shi Jinsong, Armando Tanzini, Li Zhanyang, Lan Zheng Hui, Li Gang, Double Fly Art Center
Commissioner: Paola Poponi. Curator: Sandro Orlandi Stagl. Deputy Curator: Ding Xuefeng. Venue: San Servolo Island
KOREA, Republic of
The Ways of Folding Space & Flying
MOON Kyungwon & JEON Joonho
Commissioner: Sook-Kyung Lee. Curator: Sook-Kyung Lee. Venue: Pavilion at Giardini
KOSOVO, Republic of
Speculating on the blue
Flaka Haliti
Commissioner: Ministry of Culture, Youth and Sports. Curator: Nicolaus Schafhausen. Deputy Curator: Katharina Schendl. Venue: Pavilion at Arsenale - Artiglierie
LATVIA
Armpit
Katrina Neiburga, Andris Eglitis
Commissioner: Solvita Krese (Latvian Centre for Contemporary Art). Deputy Commissioner: Kitija Vasiljeva. Curator: Kaspars Vanags. Venue: Pavilion at Arsenale
LITHUANIA
Museum
Dainius Liškevicius
Commissioner: Vytautas Michelkevicius. Deputy Commissioner: Rasa Antanaviciute. Curator: Vytautas Michelkevicius. Venue: Palazzo Zenobio, Fondamenta del Soccorso 2569, Dorsoduro
LUXEMBOURG, Grand Duchy of
Paradiso Lussemburgo
Filip Markiewicz
Commissioner: Ministry of Culture. Deputy Commissioner: MUDAM Luxembourg. Curator: Paul Ardenne. Venue: Cà Del Duca, Corte del Duca Sforza, San Marco 3052
MACEDONIA, Former Yugoslavian Republic of
We are all in this alone
Hristina Ivanoska and Yane Calovski
Commissioner: Maja Nedelkoska Brzanova, National Gallery of Macedonia. Deputy Commissioner: Olivija Stoilkova. Curator: Basak Senova. Deputy Curator: Maja Cankulovska Mihajlovska. Venue: Pavilion at Arsenale - Sale d’Armi
MAURITIUS *
From One Citizen You Gather an Idea
Sultana Haukim, Nirmal Hurry, Alix Le Juge, Olga Jürgenson, Helge Leiberg, Krishna Luchoomun, Neermala Luckeenarain, Kavinash Thomoo, Bik Van Der Pol, Laure Prouvost, Vitaly Pushnitsky, Römer + Römer
Commissioner: pARTage. Curators: Alfredo Cramerotti, Olga Jürgenson. Venue: Palazzo Flangini - Canareggio 252
MEXICO
Possesing Nature
Tania Candiani, Luis Felipe Ortega
Commissioner: Tomaso Radaelli. Deputy Commissioner: Magdalena Zavala Bonachea. Curator: Karla Jasso. Venue: Pavilion at Arsenale – Sale d’Armi
MONGOLIA *
Other Home
Enkhbold Togmidshiirev, Unen Enkh
Commissioner: Gantuya Badamgarav, MCASA. Curator: Uranchimeg Tsultemin. Scientific Committee: David A Ross, Boldbaatar Chultemin. Venue: European Cultural Centre - Palazzo Mora
MONTENEGRO
,,Ti ricordi Sjecaš li se You Remember "
Aleksandar Duravcevic
Commissioner/Curator: Anastazija Miranovic. Deputy Commissioner: Danica Bogojevic. Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE, Republic of *
Theme: Coexistence of Tradition and Modernity in Contemporary Mozambique
Mozambique Artists
Commissioner: Joel Matias Libombo. Deputy Commissioner: Gilberto Paulino Cossa. Curator: Comissariado-Geral para a Expo Milano 2015. Venue: Pavilion at Arsenale
NETHERLANDS, The
herman de vries - to be all ways to be
herman de vries
Commissioner: Mondriaan Fund. Curators: Colin Huizing, Cees de Boer. Venue: Pavilion ar Giardini
NEW ZEALAND
Secret Power
Simon Denny
Commissioner: Heather Galbraith. Curator: Robert Leonard. Venue: Biblioteca Nazionale Marciana, Marco Polo Airport
NORDIC PAVILION (NORWAY)
Camille Norment
Commissioner: OCA, Office for Contemporary Art Norway. Curator: Katya García-Antón. Deputy Curator: Antonio Cataldo. Venue: Pavilion at Giardini
PERU
Misplaced Ruins
Gilda Mantilla and Raimond Chaves
Commissioner: Armando Andrade de Lucio. Curator: Max Hernández-Calvo. Venue: Pavilion at Arsenale – Sale d’Armi
PHILIPPINES
Tie a String Around the World
Manuel Conde, Carlos Francisco, Manny Montelibano, Jose Tence Ruiz
Commissioner: National Commission for Culture and the Arts (NCCA), Felipe M. de Leon Jr. Curator: Patrick D. Flores. Venue: European Cultural Centre - Palazzo Mora
POLAND
Halka/Haiti. 18°48’05”N 72°23’01”W
C.T. Jasper, Joanna Malinowska
Commissioner: Hanna Wróblewska. Deputy Commissioner: Joanna Wasko. Curator: Magdalena Moskalewicz. Venue: Pavilion at Giardini
PORTUGAL
I Will Be Your Mirror / poems and problems
João Louro
Commissioner/Curator: María de Corral. Venue: Palazzo Loredan, campo S. Stefano
ROMANIA
Adrian Ghenie: Darwin’s Room
Adrian Ghenie
Commissioner: Monica Morariu. Deputy Commissioner: Alexandru Damian. Curator: Mihai Pop. Venue: Pavilion at Giardini
Inventing the Truth. On Fiction and Reality
Michele Bressan, Carmen Dobre-Hametner, Alex Mirutziu, Lea Rasovszky, Stefan Sava, Larisa Sitar
Commissioner: Monica Morariu. Deputy Commissioner: Alexandru Damian. Curator: Diana Marincu. Deputy Curators: Ephemair Association (Suzana Dan and Silvia Rogozea). Venue: New Gallery of the Romanian Institute for Culture and Humanistic Research in Venice
RUSSIA
The Green Pavilion
Irina Nakhova
Commissioner: Stella Kesaeva. Curator: Margarita Tupitsyn. Venue: Pavilion at Giardini
SERBIA
United Dead Nations
Ivan Grubanov
Commissioner: Lidija Merenik. Deputy Commissioner: Ana Bogdanovic. Curator: Lidija Merenik. Deputy Curator: Ana Bogdanovic. Scientific Committee: Jovan Despotovic. Venue: Pavilion at Giardini
SAN MARINO
Repubblica di San Marino “ Friendship Project “ China
Xu De Qi, Liu Dawei, Liu Ruo Wang, Ma Yuan, Li Lei, Zhang Hong Mei, Eleonora Mazza, Giuliano Giulianelli, Giancarlo Frisoni, Tony Margiotta, Elisa Monaldi, Valentina Pazzini
Commissioner: Istituti Culturali della Repubblica di San Marino. Curator: Vincenzo Sanfo. Venue: TBC
SEYCHELLES, Republic of *
A Clockwork Sunset
George Camille, Léon Wilma Loïs Radegonde
Commissioner: Seychelles Art Projects Foundation. Curators: Sarah J. McDonald, Victor Schaub Wong. Venue: European Cultural Centre - Palazzo Mora
SINGAPORE
Sea State
Charles Lim Yi Yong
Commissioner: Paul Tan, National Arts Council, Singapore. Curator: Shabbir Hussain Mustafa. Scientific Committee: Eugene Tan, Kathy Lai, Ahmad Bin Mashadi, June Yap, Emi Eu, Susie Lingham, Charles Merewether, Randy Chan. Venue: Pavilion at Arsenale – Sale d’Armi
SLOVENIA, Republic of
UTTER / The violent necessity for the embodied presence of hope
JAŠA
Commissioner: Simona Vidmar. Deputy Commissioner: Jure Kirbiš. Curators: Michele Drascek and Aurora Fonda. Venue: Pavilion at Arsenale - Artiglierie
SPAIN
Los Sujetos (The Subjects)
Pepo Salazar, Cabello/Carceller, Francesc Ruiz, + Salvador Dalí
Commissioner: Ministerio Asuntos Exteriores. Gobierno de España. Curator: Marti Manen. Venue: Pavilion at Giardini
SYRIAN ARAB REPUBLIC
Origini della civiltà
Narine Ali, Ehsan Alar, Felipe Cardeña, Fouad Dahdouh, Aldo Damioli, Svitlana Grebenyuk, Mauro Reggio, Liu Shuishi, Nass ouh Zaghlouleh, Andrea Zucchi, Helidon Xhixha
Commissioner: Christian Maretti. Curator: Duccio Trombadori. Venue: Redentore – Giudecca, San Servolo Island
SWEDEN
Excavation of the Image: Imprint, Shadow, Spectre, Thought
Lina Selander
Commissioner: Ann-Sofi Noring. Curator: Lena Essling. Venue: Pavilion at Arsenale
SWITZERLAND
Our Product
Pamela Rosenkranz
Commissioner: Swiss Arts Council Pro Helvetia, Sandi Paucic and Marianne Burki. Deputy-Commissioner: Swiss Arts Council Pro Helvetia, Rachele Giudici Legittimo. Curator: Susanne Pfeffer. Venue: Pavilion at Giardini
THAILAND
Earth, Air, Fire & Water
Kamol Tassananchalee
Commissioner: Chai Nakhonchai, Office of Contemporary Art and Culture (OCAC), Ministry of Culture. Curator: Richard David Garst. Deputy Curator: Pongdej Chaiyakut. Venue: Paradiso Gallerie, Giardini della Biennale, Castello 1260
TURKEY
Respiro
Sarkis
Commissioner: Istanbul Foundation for Culture and Arts. Curator: Defne Ayas. Deputy Curator: Ozge Ersoy. Venue: Pavilion at Arsenale – Sale d’Armi
TUVALU
Crossing the Tide
Vincent J.F. Huang
Commissioner: Taukelina Finikaso. Deputy Commissioner: Temate Melitiana. Curator: Thomas J. Berghuis. Scientific Committee: Andrea Bonifacio. Venue: Pavilion at Arsenale
UKRAINE
Hope!
Yevgenia Belorusets, Nikita Kadan, Zhanna Kadyrova, Mykola Ridnyi & SerhiyZhadan, Anna Zvyagintseva, Open Group, Artem Volokitin
Commissioner: Ministry of Culture. Curator: Björn Geldhof. Venue: Riva dei Sette Martiri
UNITED ARAB EMIRATES
1980 – Today: Exhibitions in the United Arab Emirates
Abdullah Al Saadi, Abdul Qader Al Rais, Abdulraheem Salim, Abdulrahman Zainal, Ahmed Al Ansari, Ahmed Sharif, Hassan Sharif, Mohamed Yousif, Mohammed Abdullah Bulhiah, Mohammed Al Qassab, Mohammed Kazem, Moosa Al Halyan, Najat Meky, Obaid Suroor, Salem Jawhar
Commissioner: Salama bint Hamdan Al Nahyan Foundation. Curator: Hoor Al Qasimi. Venue: Pavilion at Arsenale – Sale d'Armi
UNITED STATES OF AMERICA
Joan Jonas: They Come to Us Without a Word
Joan Jonas
Commissioner: Paul C. Ha. Deputy Commissioner: MIT List Visual Arts Center. Curators: Ute Meta Bauer, Paul C. Ha. Venue: Pavilion at Giardini
URUGUAY
Global Myopia II (Pencil & Paper)
Marco Maggi
Commissioner: Ricardo Pascale. Curator: Patricia Bentancour. Venue: Pavilion at Giardini
VENEZUELA, Bolivarian Republic of
Te doy mi palabra (I give you my word)
Argelia Bravo, Félix Molina (Flix)
Commissioner: Oscar Sotillo Meneses. Deputy Commissioner: Reinaldo Landaeta Díaz. Curator: Oscar Sotillo Meneses. Deputy Curator: Morella Jurado. Scientific Committee: Carlos Pou Ruan. Venue: Pavilion at Giardini
ZIMBABWE, Republic of
Pixels of Ubuntu/Unhu: - Exploring the social and cultural identities of the 21st century.
Chikonzero Chazunguza, Masimba Hwati, Gareth Nyandoro
Commissioner: Doreen Sibanda. Curator: Raphael Chikukwa. Deputy Curator: Tafadzwa Gwetai. Scientific Committee: Saki Mafundikwa, Biggie Samwanda, Fabian Kangai, Reverend Paul Damasane, Nontsikelelo Mutiti, Stephen Garan'anga, Dominic Benhura. Venue: Santa Maria della Pieta
ITALO-LATIN AMERICAN INSTITUTE
Voces Indígenas
Commissioner: Sylvia Irrazábal. Curator: Alfons Hug. Deputy Curator: Alberto Saraiva. Venue: Pavilion at Arsenale
ARGENTINA
Sofia Medici and Laura Kalauz
PLURINATIONAL STATE OF BOLIVIA
Sonia Falcone and José Laura Yapita
BRAZIL
Adriana Barreto
Paulo Nazareth
CHILE
Rainer Krause
COLOMBIA
León David Cobo,
María Cristina Rincón and Claudia Rodríguez
COSTA RICA
Priscilla Monge
ECUADOR
Fabiano Kueva
EL SALVADOR
Mauricio Kabistan
GUATEMALA
Sandra Monterroso
HAITI
Barbara Prézeau Stephenson
HONDURAS
Leonardo González
PANAMA
Humberto Vélez
NICARAGUA
Raúl Quintanilla
PARAGUAY
Erika Meza
Javier López
PERU
José Huamán Turpo
URUGUAY
Gustavo Tabares
Ellen Slegers
001 Inverso Mundus. AES+F
Magazzino del Sale n. 5, Dorsoduro, 265 (Fondamenta delle Zattere ai Saloni); Palazzo Nani Mocenigo, Dorsoduro, 960
May 9th – October 31st
Organization: VITRARIA Glass + A Museum
Catalonia in Venice: Singularity
Cantieri Navali, Castello, 40 (Calle Quintavalle)
May 9th - November 22nd
Organization: Institut Ramon Llull
Conversion. Recycle Group
Chiesa di Sant’Antonin, Castello (Campo Sant’Antonin)
May 6th - October 31st
Organization: Moscow Museum of Modern Art
Dansaekhwa
Palazzo Contarini-Polignac, Dorsoduro, 874 (Accademia)
May 7th – August 15th
Organization: The Boghossian Foundation
Dispossession
Palazzo Donà Brusa, Campo San Polo, 2177
May 9th - November 22nd
Organization: European Capital of Culture Wroclaw 2016
EM15 presents Doug Fishbone’s Leisure Land Golf
Arsenale Docks, Castello, 40A, 40B, 41C
May 6th - July 26th
Organization: EM15
Eredità e Sperimentazione
Grand Hotel Hungaria & Ausonia, Viale Santa Maria Elisabetta, 28, Lido di Venezia
May 9th - November 22nd
Organization: Istituto Nazionale di BioArchitettura - Sezione di Padova
Frontiers Reimagined
Palazzo Grimani, Castello, 4858 (Ramo Grimani)
May 9th - November 22nd
Organization: Tagore Foundation International; Polo museale del Veneto
Glasstress 2015 Gotika
Istituto Veneto di Scienze Lettere ed Arti, Palazzo Cavalli Franchetti, San Marco, 2847 (Campo Santo Stefano); Chiesa di Santa Maria della Visitazione, Centro Culturale Don Orione Artigianelli, Dorsoduro, 919 (Zattere); Fondazione Berengo, Campiello della Pescheria, 15, Murano;
May 9th — November 22nd
Organization: The State Hermitage Museum
Graham Fagen: Scotland + Venice 2015
Palazzo Fontana, Cannaregio, 3829 (Strada Nova)
May 9th - November 22nd
Organization: Scotland + Venice
Grisha Bruskin. An Archaeologist’s Collection
Former Chiesa di Santa Caterina, Cannaregio, 4941-4942
May 6th – November 22nd
Organization: Centro Studi sulle Arti della Russia (CSAR), Università Ca’ Foscari Venezia
Helen Sear, ... The Rest Is Smoke
Santa Maria Ausiliatrice, Castello, 450 (Fondamenta San Gioacchin)
May 9th - November 22nd
Organization: Cymru yn Fenis/Wales in Venice
Highway to Hell
Palazzo Michiel, Cannaregio, 4391/A (Strada Nova)
May 9th - November 22nd
Organization: Hubei Museum of Art
Humanistic Nature and Society (Shan-Shui) – An Insight into the Future
Palazzo Faccanon, San Marco, 5016 (Mercerie)
May 7th – August 4th
Organization: Shanghai Himalayas Museum
In the Eye of the Thunderstorm: Effervescent Practices from the Arab World & South Asia
Dorsoduro, 417 (Zattere)
May 6th - November 15th
Organization: ArsCulture
Italia Docet | Laboratorium- Artists, Participants, Testimonials and Activated Spectators
Palazzo Barbarigo Minotto, San Marco, 2504 (Fondamenta Duodo o Barbarigo)
May 9th – June 30th; September 11st – October 31st
Organization: Italian Art Motherboard Foundation (i-AM Foundation)
www.venicebiennale-italiadocet.org
Jaume Plensa: Together
Basilica di San Giorgio Maggiore, Isola di San Giorgio Maggiore
May 6th – November 22nd
Organization: Abbazia di San Giorgio Maggiore Benedicti Claustra Onlus
Jenny Holzer "War Paintings"
Museo Correr, San Marco, 52 (Piazza San Marco)
May 6th – November 22nd
Organization: The Written Art Foundation; Museo Correr, Fondazione Musei Civici di Venezia
correr.visitmuve.it
Jump into the Unknown
Palazzo Loredan dell’Ambasciatore, Dorsoduro, 1261-1262
May 9th – June 18th
Organization: Nine Dragon Heads
9dh-venice.com
Learn from Masters
Palazzo Bembo, San Marco, 4793 (Riva del Carbon)
May 9th – November 22nd
Organization: Pan Tianshou Foundation
pantianshou.caa.edu.cn/foundation_en
My East is Your West
Palazzo Benzon, San Marco, 3927
May 6th – October 31st
Organization: The Gujral Foundation
Ornamentalism. The Purvitis Prize
Arsenale Nord, Tesa 99
May 9th – November 22nd
Organization: The Secretariat of the Latvian Presidency of the Council of the European Union in 2015
www.purvisabalva.lv/en/ornamentalism
Path and Adventure
Arsenale, Castello, 2126/A (Campo della Tana)
May 9th – November 22nd
Organization: The Civic and Municipal Affairs Bureau; The Macao Museum of Art; The Cultural Affairs Bureau
Patricia Cronin: Shrine for Girls, Venice
Chiesa di San Gallo, San Marco, 1103 (Campo San Gallo)
May 9th – November 22nd
Organization: Brooklyn Rail Curatorial Projects
curatorialprojects.brooklynrail.org
Roberto Sebastian Matta. Sculture
Giardino di Palazzo Soranzo Cappello, Soprintendenza BAP per le Province di Venezia, Belluno, Padova e Treviso, Santa Croce, 770 (Fondamenta Rio Marin)
May 9th – November 22nd
Organization: Fondazione Echaurren Salaris
www.fondazioneechaurrensalaris.it
www.maggioregam.com/56Biennale_Matta
Salon Suisse: S.O.S. Dada - The World Is A Mess
Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)
May 9th; June 4th - 6th; September 10th - 12th; October 15th - 17th; November 19th – 21st
Organization: Swiss Arts Council Pro Helvetia
Sean Scully: Land Sea
Palazzo Falier, San Marco, 2906
May 9th – November 22nd
Organization: Fondazione Volume!
Sepphoris. Alessandro Valeri
Molino Stucky, interior atrium, Giudecca, 812
May 9th – November 22nd
Organization: Assessorato alla Cultura del Comune di Narni(TR); a Sidereal Space of Art; Satellite Berlin
Tesla Revisited
Palazzo Nani Mocenigo, Dorsoduro, 960
May 9th – October 18th
Organization: VITRARIA Glass + A Museum
The Bridges of Graffiti
Arterminal c/o Terminal San Basilio, Dorsoduro (Fondamenta Zattere al Ponte Lungo)
May 9th - November 22nd
Organization: Associazione Culturale Inossidabile
The Dialogue of Fire. Ceramic and Glass Masters from Barcelona to Venice
Palazzo Tiepolo Passi, San Polo, 2774
May 6th - November 22nd
Organization: Fundaciò Artigas; ArsCulture
The Question of Beings
Istituto Santa Maria della Pietà, Castello, 3701
May 9th - November 22nd
Organization: Museum of Contemporary Art, Taipei (MoCA, Taipei)
The Revenge of the Common Place
Università Ca' Foscari, Ca' Bernardo, Dorsoduro, 3199 (Calle Bernardo)
May 9th – September 30th
Organization: Vrije Universiteit Brussel (Free University Brussels-VUB)
The Silver Lining. Contemporary Art from Liechtenstein and other Microstates
Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)
October 24th – November 1st
Organization: Kunstmuseum Liechtenstein
The Sound of Creation. Paintings + Music by Beezy Bailey and Brian Eno
Conservatorio Benedetto Marcello, Palazzo Pisani, San Marco, 2810 (Campo Santo Stefano)
May 7th - November 22nd
Organization: ArsCulture
The Union of Fire and Water
Palazzo Barbaro, San Marco, 2840
May 9th - November 22nd
Organization: YARAT Contemporary Art Organisation
Thirty Light Years - Theatre of Chinese Art
Palazzo Rossini, San Marco, 4013 (Campo Manin)
May 9th - November 22nd
Organization: GAC Global Art Center Foundation; The Guangdong Museum of Art
Tsang Kin-Wah: The Infinite Nothing, Hong Kong in Venice
Arsenale, Castello, 2126 (Campo della Tana)
May 9th - November 22nd
Organization: M+, West Kowloon Cultural District; Hong Kong Arts Development Council
Under the Surface, Newfoundland and Labrador at Venice
Galleria Ca' Rezzonico, Dorsoduro, 2793
May 9th - November 22nd
Organization: Terra Nova Art Foundation
Ursula von Rydingsvard
Giardino della Marinaressa, Castello (Riva dei Sette Martiri)
May 6th - November 22nd
Organization:Yorkshire Sculpture Park
We Must Risk Delight: Twenty Artists from Los Angeles
Magazzino del Sale n. 3, Dorsoduro, 264 (Zattere)
May 7th - November 22nd
Organization: bardoLA
Wu Tien-Chang: Never Say Goodbye
Palazzo delle Prigioni, Castello, 4209 (San Marco)
May 9th - November 22nd
Organization: Taipei Fine Arts Museum of Taiwan
Xanadu
Istituto Santa Maria della Pietà, Castello, 3701
May 9th - November 22nd
Organization: Dream Amsterdam Foundation
Universities and Associations that have joined the project
Sotheby’s Institute of Art, London / St Lucas University College of Art & Design, Antwerp / University of Washington - College of Arts & Sciences, Seattle / Iowa State University - College of Design, Ames / Universität für angewandte Kunst, Vienna
Venice International University / Università Ca’ Foscari, Venezia / Università Ca’ Foscari, Venezia - Dipartimento di Filosofia e Beni Culturali / Università IUAV di Venezia / Università Commerciale Luigi Bocconi, Milano - Dipartimento di Marketing / Accademia di Belle Arti di Brera, Milano - Ufficio Relazioni Internazionali. Erasmus Office / Politecnico di Milano - Scuola del Design. Laurea in Design degli Interni / Università di Roma Sapienza - Facoltà di Architettura / Associazione Cinemavvenire, Roma / Università per Stranieri di Perugia / Università per Stranieri di Siena
Central Pavilion at the Giardini (3,000 sq.m.) to the Arsenale
Bice Curiger Massimiliano Gioni
A Parliament for a Biennale
Paolo Baratta, President of la Biennale di Venezia
Okwui Enwezor the ARENA Karl Marx’s Das Kapital
Theaster Gates Chris Rehberger Joseph Haydn Cesare Paveset David Adjaye Olaf Nicolai Joana Hadjithomas and Khalil Joreige Marsilio Editori. emergency cinema.” Abounaddara
Mathieu KleyebeCharles Gaines’Jeremy Deller Jason Moran , venedig biennale biennial
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