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BEHIND US
DDMagazine april 2013 issue is on line.
Works:
LORELLA PALENI
Italian artist, she studied in Italy and Usa, and recently she had her first solo show in Germany, in april 2013 at the KunstHalle HB55 in Berlin.
CHRIS FRIEL
English artist makes a search on image, either human figure and landscape, with a particular sense of the void and the encertain boundary of identity.
JAYA SUBERG
Artist based on Berlin, her works are melting imagination, feelings, dreams and the reality to one impression, inner world and outside world of human being. About her works she uses the word “transmotionArt”.
RITA BOLLA
Born in Budapest, Hungary, she lives and works in San Diego, Usa. Her works tells in a pop style the presence of pets or cartoon characters, close to human being as witness of a loss.
LINDA DORIGO
Italian photographer, journalist and documetarist based currently in Beirut, Lebanon, she presents a search in double exposure, and a reportage about christians minorities in Middle East.
Biennalist :
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
-------------------------------------------
links about Biennalist :
Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
—--Biennale from wikipedia —--
The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.
Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).
Characteristics[edit]
According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]
The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.
A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.
The Venice Biennale as an archetype[edit]
The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.
The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.
Biennials after the 1990s[edit]
The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.
International biennales[edit]
In the term's most commonly used context of major recurrent art exhibitions:
Adelaide Biennial of Australian Art, South Australia
Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Athens Biennale, in Athens, Greece
Bienal de Arte Paiz, in Guatemala City, Guatemala[4]
Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)
Bamako Encounters, a biennale of photography in Mali
Bat-Yam International Biennale of Landscape Urbanism
Beijing Biennale
Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)
Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no
Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China
Bienal de Arte de Ponce in Ponce, Puerto Rico
Biënnale van België, Biennial of Belgium, Belgium
BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.
Biennial of Hawaii Artists
Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]
Biwako Biennale [ja], in Shiga, Japan
La Biennale de Montreal
Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola
Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal
Bucharest Biennale in Bucharest, Romania
Bushwick Biennial, in Bushwick, Brooklyn, New York
Canakkale Biennial, in Canakkale, Turkey
Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]
Changwon Sculpture Biennale in Changwon, South Korea
Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal
Documenta, contemporary art exhibition held every five years in Kassel, Germany
Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France
EVA International, biennial in Limerick, Republic of Ireland
Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]
Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan
Gwangju Biennale, Asia's first and most prestigious contemporary art biennale
Havana biennial, in Havana, Cuba
Helsinki Biennial, in Helsinki, Finland
Herzliya Biennial For Contemporary Art, in Herzliya, Israel
Incheon Women Artists' Biennale, in Incheon, South Korea
Iowa Biennial, in Iowa, USA
Istanbul Biennial, in Istanbul, Turkey
International Roaming Biennial of Tehran, in Tehran and Istanbul
Jakarta Biennale, in Jakarta, Indonesia
Jerusalem Biennale, in Jerusalem, Israel
Jogja Biennale, in Yogyakarta, Indonesia
Karachi Biennale, in Karachi, Pakistan
Keelung Harbor Biennale, in Keelung, Taiwan
Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India
Kortrijk Design Biennale Interieur, in Kortrijk, Belgium
Kobe Biennale, in Japan
Kuandu Biennale, in Taipei, Taiwan
Lagos Biennial, in Lagos, Nigeria[10]
Light Art Biennale Austria, in Austria
Liverpool Biennial, in Liverpool, UK
Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]
Manifesta, European Biennale of contemporary art in different European cities
Mediations Biennale, in Poznań, Poland
Melbourne International Biennial 1999
Mediterranean Biennale in Sakhnin 2013
MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada
MOMENTUM [no], in Moss, Norway[12]
Moscow Biennale, in Moscow, Russia
Munich Biennale, new opera and music-theatre in even-numbered years
Mykonos Biennale
Nakanojo Biennale[13]
NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia
October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]
OSTEN Biennial of Drawing Skopje, North Macedonia[15]
Biennale de Paris
Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]
São Paulo Art Biennial, in São Paulo, Brazil
SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]
Prospect New Orleans
Seoul Biennale of Architecture and Urbanism
Sequences, in Reykjavík, Iceland[18]
Shanghai Biennale
Sharjah Biennale, in Sharjah, UAE
Singapore Biennale, held in various locations across the city-state island of Singapore
Screen City Biennial, in Stavanger, Norway
Biennale of Sydney
Taipei Biennale, in Taipei, Taiwan
Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.
Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]
Dream city, produced by ART Rue Association in Tunisia
Vancouver Biennale
Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]
Venice Biennale, in Venice, Italy, which includes:
Venice Biennale of Contemporary Art
Venice Biennale of Architecture
Venice Film Festival
Vladivostok biennale of Visual Arts, in Vladivostok, Russia
Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA
Web Biennial, produced with teams from Athens, Berlin and Istanbul.
West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.
WRO Biennale, in Wrocław, Poland[22]
Music Biennale Zagreb
[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.
—---Venice Biennale from wikipedia —
The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]
Organization[edit]
Art Biennale
Art Biennale
International Art Exhibition
1895
Even-numbered years (since 2022)
Venice Biennale of Architecture
International Architecture Exhibition
1980
Odd-numbered years (since 2021)
Biennale Musica
International Festival of Contemporary Music
1930
Annually (Sep/Oct)
Biennale Teatro
International Theatre Festival
1934
Annually (Jul/Aug)
Venice Film Festival
Venice International Film Festival
1932
Annually (Aug/Sep)
Venice Dance Biennale
International Festival of Contemporary Dance
1999
Annually (June; biennially 2010–16)
International Kids' Carnival
2009
Annually (during Carnevale)
History
1895–1947
On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]
A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]
The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.
The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).
During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.
1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.
In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.
In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.
During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]
1948–1973[edit]
The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.
1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.
In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.
1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.
The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]
In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").
Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]
1974–1998[edit]
1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.
On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]
In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.
In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]
The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.
For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]
1999–present[edit]
In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.
In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).
The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.
The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.
In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.
Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".
The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".
The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]
Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]
The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]
The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]
The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]
The Biennale has an attendance today of over 500,000 visitors.[30][31][32]
Role in the art market[edit]
When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]
Central Pavilion and Arsenale[edit]
The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.
Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]
A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi.[37]
National pavilions[edit]
Main article: National pavilions at the Venice Biennale
The Giardini houses 30 permanent national pavilions.[13] Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Giardini are occupied by a further 29 pavilions built at different periods by the various countries participating in the Biennale. The first nation to build a pavilion was Belgium in 1907, followed by Germany, Britain and Hungary in 1909.[13] The pavilions are the property of the individual countries and are managed by their ministries of culture.[38]
Countries not owning a pavilion in the Giardini are exhibited in other venues across Venice. The number of countries represented is still growing. In 2005, China was showing for the first time, followed by the African Pavilion and Mexico (2007), the United Arab Emirates (2009), and India (2011).[39]
The assignment of the permanent pavilions was largely dictated by the international politics of the 1930s and the Cold War. There is no single format to how each country manages their pavilion, established and emerging countries represented at the biennial maintain and fund their pavilions in different ways.[38] While pavilions are usually government-funded, private money plays an increasingly large role; in 2015, the pavilions of Iraq, Ukraine and Syria were completely privately funded.[40] The pavilion for Great Britain is always managed by the British Council[41] while the United States assigns the responsibility to a public gallery chosen by the Department of State which, since 1985, has been the Peggy Guggenheim Collection.[42] The countries at the Arsenale that request a temporary exhibition space pay a hire fee per square meter.[38]
In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czechia and Slovakia, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, eleven new participant countries developed national pavilions for the Biennale: Angola, Bosnia and Herzegowina, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada,[43] Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[44] In 2019, four countries participated in the Art Biennale for the first time: Ghana, Madagascar, Malaysia, and Pakistan.[45]
As well as the national pavilions there are countless "unofficial pavilions"[46] that spring up every year. In 2009 there were pavilions such as the Gabon Pavilion and a Peckham pavilion. In 2017 The Diaspora Pavilion bought together 19 artists from complex, multinational backgrounds to challenge the prevalence of the nation state at the Biennale.[47]
The Internet Pavilion (Italian: Padiglione Internet) was founded in 2009 as a platform for activists and artists working in new media.[48][49][50] Subsequent editions were held since,[51] 2013,[51] in conjunction with the biennale.[52]
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وینسVenetsiya
art umjetnost umění kunst taideτέχνη művészetList ealaínarte māksla menasartiKunst sztuka artăumenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism
Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia
--------key words
headband protest fashion protestfashion artistic intervention performance artformat action installation critical critic critique institutional critic choregraphy scenography
#venicebiennale #biennalist #artformat #biennale #artbiennale #biennial
#BiennaleArte2024 #artformat
Last week i've made a lookbook for a local store - Mesto ("a place" in Russian) you can take a look here. Photo: Maxim Emelyanov.
"Needle Tower" outside the Hirshhorn Museum
Kenneth Snelson
American, born Pendleton, Oregon, 1927
Needle Tower, 1968
Aluminum and stainless steel
Kenneth Snelson conceived and built Needle Tower in 1968 as part of his exhibition of five monumental sculptures in New York's Bryant Park. In these works, he adapted engineering principles and mathematical calculations to create a new kind of tensile structure.
Instead of the solid mass and weight traditionally expected of monumental sculptures, the tapered, five-story-high Needle Tower is made from aviation-quality aluminum tubes and stainless-steel wire, making it lightweight enough for three installers to lift. The tubes are held together in perfect balance by a single continuous wire threaded through two small holes in the ends of each. The tower rests only on the thin rims of three tubes, yet the structure is so well designed that it withstands severe storms.
While the technology is fascinating, the sculpture also conveys a metaphysical message. Snelson's idea evolved from a fantasy he had of constructing a gossamer tensile structure so tall and finely tapered that the top point would seem to disappear into infinity. Standing directly under the sculpture and looking up, the viewer discovers that the tubes form the shape of a star, inspiring the astrophysical, astrological, and religious associations of that symbol, while heightening the sense of perpetuity.
Adapted from text written by Valerie J. Fletcher.
Biennalist :
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
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links about Biennalist :
Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
—--Biennale from wikipedia —--
The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.
Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).
Characteristics[edit]
According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]
The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.
A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.
The Venice Biennale as an archetype[edit]
The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.
The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.
Biennials after the 1990s[edit]
The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.
International biennales[edit]
In the term's most commonly used context of major recurrent art exhibitions:
Adelaide Biennial of Australian Art, South Australia
Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Athens Biennale, in Athens, Greece
Bienal de Arte Paiz, in Guatemala City, Guatemala[4]
Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)
Bamako Encounters, a biennale of photography in Mali
Bat-Yam International Biennale of Landscape Urbanism
Beijing Biennale
Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)
Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no
Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China
Bienal de Arte de Ponce in Ponce, Puerto Rico
Biënnale van België, Biennial of Belgium, Belgium
BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.
Biennial of Hawaii Artists
Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]
Biwako Biennale [ja], in Shiga, Japan
La Biennale de Montreal
Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola
Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal
Bucharest Biennale in Bucharest, Romania
Bushwick Biennial, in Bushwick, Brooklyn, New York
Canakkale Biennial, in Canakkale, Turkey
Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]
Changwon Sculpture Biennale in Changwon, South Korea
Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal
Documenta, contemporary art exhibition held every five years in Kassel, Germany
Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France
EVA International, biennial in Limerick, Republic of Ireland
Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]
Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan
Gwangju Biennale, Asia's first and most prestigious contemporary art biennale
Havana biennial, in Havana, Cuba
Helsinki Biennial, in Helsinki, Finland
Herzliya Biennial For Contemporary Art, in Herzliya, Israel
Incheon Women Artists' Biennale, in Incheon, South Korea
Iowa Biennial, in Iowa, USA
Istanbul Biennial, in Istanbul, Turkey
International Roaming Biennial of Tehran, in Tehran and Istanbul
Jakarta Biennale, in Jakarta, Indonesia
Jerusalem Biennale, in Jerusalem, Israel
Jogja Biennale, in Yogyakarta, Indonesia
Karachi Biennale, in Karachi, Pakistan
Keelung Harbor Biennale, in Keelung, Taiwan
Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India
Kortrijk Design Biennale Interieur, in Kortrijk, Belgium
Kobe Biennale, in Japan
Kuandu Biennale, in Taipei, Taiwan
Lagos Biennial, in Lagos, Nigeria[10]
Light Art Biennale Austria, in Austria
Liverpool Biennial, in Liverpool, UK
Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]
Manifesta, European Biennale of contemporary art in different European cities
Mediations Biennale, in Poznań, Poland
Melbourne International Biennial 1999
Mediterranean Biennale in Sakhnin 2013
MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada
MOMENTUM [no], in Moss, Norway[12]
Moscow Biennale, in Moscow, Russia
Munich Biennale, new opera and music-theatre in even-numbered years
Mykonos Biennale
Nakanojo Biennale[13]
NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia
October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]
OSTEN Biennial of Drawing Skopje, North Macedonia[15]
Biennale de Paris
Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]
São Paulo Art Biennial, in São Paulo, Brazil
SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]
Prospect New Orleans
Seoul Biennale of Architecture and Urbanism
Sequences, in Reykjavík, Iceland[18]
Shanghai Biennale
Sharjah Biennale, in Sharjah, UAE
Singapore Biennale, held in various locations across the city-state island of Singapore
Screen City Biennial, in Stavanger, Norway
Biennale of Sydney
Taipei Biennale, in Taipei, Taiwan
Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.
Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]
Dream city, produced by ART Rue Association in Tunisia
Vancouver Biennale
Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]
Venice Biennale, in Venice, Italy, which includes:
Venice Biennale of Contemporary Art
Venice Biennale of Architecture
Venice Film Festival
Vladivostok biennale of Visual Arts, in Vladivostok, Russia
Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA
Web Biennial, produced with teams from Athens, Berlin and Istanbul.
West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.
WRO Biennale, in Wrocław, Poland[22]
Music Biennale Zagreb
[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.
—---Venice Biennale from wikipedia —
The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]
Organization[edit]
Art Biennale
Art Biennale
International Art Exhibition
1895
Even-numbered years (since 2022)
Venice Biennale of Architecture
International Architecture Exhibition
1980
Odd-numbered years (since 2021)
Biennale Musica
International Festival of Contemporary Music
1930
Annually (Sep/Oct)
Biennale Teatro
International Theatre Festival
1934
Annually (Jul/Aug)
Venice Film Festival
Venice International Film Festival
1932
Annually (Aug/Sep)
Venice Dance Biennale
International Festival of Contemporary Dance
1999
Annually (June; biennially 2010–16)
International Kids' Carnival
2009
Annually (during Carnevale)
History
1895–1947
On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]
A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]
The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.
The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).
During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.
1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.
In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.
In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.
During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]
1948–1973[edit]
The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.
1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.
In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.
1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.
The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]
In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").
Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]
1974–1998[edit]
1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.
On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]
In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.
In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]
The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.
For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]
1999–present[edit]
In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.
In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).
The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.
The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.
In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.
Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".
The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".
The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]
Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]
The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]
The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]
The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]
The Biennale has an attendance today of over 500,000 visitors.[30][31][32]
Role in the art market[edit]
When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]
Central Pavilion and Arsenale[edit]
The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.
Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]
A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi.[37]
National pavilions[edit]
Main article: National pavilions at the Venice Biennale
The Giardini houses 30 permanent national pavilions.[13] Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Giardini are occupied by a further 29 pavilions built at different periods by the various countries participating in the Biennale. The first nation to build a pavilion was Belgium in 1907, followed by Germany, Britain and Hungary in 1909.[13] The pavilions are the property of the individual countries and are managed by their ministries of culture.[38]
Countries not owning a pavilion in the Giardini are exhibited in other venues across Venice. The number of countries represented is still growing. In 2005, China was showing for the first time, followed by the African Pavilion and Mexico (2007), the United Arab Emirates (2009), and India (2011).[39]
The assignment of the permanent pavilions was largely dictated by the international politics of the 1930s and the Cold War. There is no single format to how each country manages their pavilion, established and emerging countries represented at the biennial maintain and fund their pavilions in different ways.[38] While pavilions are usually government-funded, private money plays an increasingly large role; in 2015, the pavilions of Iraq, Ukraine and Syria were completely privately funded.[40] The pavilion for Great Britain is always managed by the British Council[41] while the United States assigns the responsibility to a public gallery chosen by the Department of State which, since 1985, has been the Peggy Guggenheim Collection.[42] The countries at the Arsenale that request a temporary exhibition space pay a hire fee per square meter.[38]
In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czechia and Slovakia, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, eleven new participant countries developed national pavilions for the Biennale: Angola, Bosnia and Herzegowina, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada,[43] Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[44] In 2019, four countries participated in the Art Biennale for the first time: Ghana, Madagascar, Malaysia, and Pakistan.[45]
As well as the national pavilions there are countless "unofficial pavilions"[46] that spring up every year. In 2009 there were pavilions such as the Gabon Pavilion and a Peckham pavilion. In 2017 The Diaspora Pavilion bought together 19 artists from complex, multinational backgrounds to challenge the prevalence of the nation state at the Biennale.[47]
The Internet Pavilion (Italian: Padiglione Internet) was founded in 2009 as a platform for activists and artists working in new media.[48][49][50] Subsequent editions were held since,[51] 2013,[51] in conjunction with the biennale.[52]
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وینسVenetsiya
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All information is provided in good faith but, on occasions errors may occur. Should this be the case, if new information can be verified please supply it to the author and corrections will then be made. This memorial has been compiled with additional information by kind permission of the Commonwealth War Graves Commission, and from Ancestry.co.uk
This memorial is in the Knutsford War Memorial Cottage Hospital, Knutsford.
KNUTSFORD AND DISTRICT
PRO PATRIA 1939 - 1945 AND SINCE
ASHBY Herbert. Lieutenant. On the family memorial is inscribed the following, died in India from Malaria on the 13th April 1945 aged 23. Wills and Admin, Ancestry have the following. Herbert ASHBY of 17, Manchester Road, Knutsford died 28th April 1944 on war service. He effects went to his widowed mother Edith Jane Ashby.
CWGC have, Sergeant Herbert Ashby 10538067, Royal Army Ordnance Corps died 28th April 1944 aged 23. He was the son of Henry and Edith of Knutsford, Cheshire. He is commemorated on a family memorial in Knutsford Cemetery, Cheshire and is at rest in Chittagong War Cemetery, India
BALLANTYNE. (Memorial has BALLANTINE) Robert. Sergeant 580780, 149 Squadron Royal Air Force died 2nd January 1940 aged 20 English Channel. Son of Reginald and Jessie May Ballantyne nee Nash formerly Fisher of Knutsford Cheshire. Commemorated on the Runnymede Memorial, Surrey.
Credit. www.epibreren.com/ww2/raf/149_squadron.html
He was part of a crew in a Wellington I on a reconnaissance mission which took off from Mildenhall when it was shot down by a Me 110 in position 54°27' N 05°47' E. The Wellington was seen to be on fire as it hit the sea. The crew of six all perished. The average aged of the crew were in their 20s
BELLAERS (Memorial has BELLARS) Eric. Rifleman 4128370 1st London Irish Rifles, Royal Ulster Rifles died 19th September 1944 aged 25. Son of Reginald Walker Bellaers and Ada Bellaers, nee Cooper of New Mills, Derbyshire. His mother was born and died at Knutsford Cheshire.
At rest in Coriano Ridge War Cemetery, Italy.
BROOKES Sydney. Lance Corporal 3391580, 1/6th East Surrey Regiment was killed in action in Italy on the 1st March 1944 aged 31. He was the youngest son of William Henry and Mary Jane of Knutsford and was the husband of Margaret of Knutsford. He is commemorated on a family memorial in Knutsford Cemetery, Cheshire and is at rest in Minturno War Cemetery, Italy.
BROOKS William Arthur. Lieutenant 269374 Lancashire Fusiliers attached to 4th Royal Welch Fusiliers died 1st March 1945 aged 31. Son of William Henry and Lily Brooks husband of Eva Violet Brooks nee Murray, of Knutsford, Cheshire. At rest in Reichswald Forest War Cemetery, Germany.
BROWNRIGG John Wilson. Lance Sergeant 983417, 338 Coastal Battery, Royal Artillery died 19th March 1941 aged 24. He was the son of William and Sarah Agnes and he was the husband of Rene of Knutsford, Cheshire He is at rest in Knutsford Cemetery, Cheshire.
BUCKLEY A (Unable to find the correct record listed with the CWGC )
BUCKLEY Horace. Private 10549737, Royal Army Ordnance Corps died 22nd May 1942 aged 20. Son of Horace and Jessie Evelyn, nee Jones of Knutsford. Duty called. He answered. At rest in Knutsford Cemetery, Cheshire.
BUCKLEY, Kenneth. Private 14735752, Worcestershire Regiment died in a Military Hospital on the 11th November 1946 aged 20. Son of John and Annie of Knutsford. At rest in Knutsford Cemetery, Cheshire.
BUCKLEY Samuel Lee. Private 4128645, 1st Durham Light Infantry died 25th November 1944. Native of Cheshire. At rest in Cesena War Cemetery, Italy
BURKE William Maurice. (Cadet Officer) Leading Airman FAA/FX705451 753 Squadron Fleet Air Arm, Royal Navy on H.M.S. Condor died as the result of an Condor air crash on the 31st July 1945 aged 19. There were two others that also perished at the same time. Son of William M and Alice M Burke of Knutsford. Commemorated on the Lee-on-Solent Memorial, Hampshire.
CAVENEY Thomas James. (Memorial has J) Sergeant 1130075 15th Squadron Royal Air Force VR died 3rd March 1943 aged 20. Son of Thomas and Martha Amy Caveney, of Knutsford, Cheshire. Commemorated on the Runnymede Memorial, Surrey.
CHORLTON B (No B is listed with the CWGC) however it may be this person) James William. Able Seaman C/JX154506 Royal Navy on H.M.S. Galatea died at sea 15th December 1941 aged 20. The ship was sunk by U-Boat U-557 not to far from Alexandria, Egypt. Son of Fred and Edith Chorlton nee Groom, of Knutsford, Cheshire. Commemorated on the Chatham Naval Memorial, Kent.
There may have been a B Chorlton from Knutsford area who was in the forces but died a civilian from the effects of war service. Having no christian name he remains a mystery.
Listed with the CWGC is only one J Coggins. The following information may be him.
COGGINS John. M.B.E. D.F.M. Pilot Officer 44458, 235 Squadron, Royal Air Force died 16th December 1940 aged 27. Son of John Austin Coggins and Florence C Coggins nee Cook husband of Ivy Gladys Coggins, nee Durrant of Nacton, Suffolk. Commemorated on the Runnymede Memorial, Surrey
His widow died on the 17th August 2010 aged 93.
London Gazette 14 April 1039.
Air Ministry,14th April, 1939. ROYAL AIR FORCE.
The KING has been graciously pleased to approve of the undermentioned rewards for gallant and distinguished services rendered in Palestine. Bar to the Distinguished Flying Medal. Sergeant 563631 John COGGINS, D.F.M.
London Gazette supplement dated 21 January 1941.
CENTRAL CHANCERY OF THE ORDERS
OF KNIGHTHOOD.
St. James's Palace, S.W.I.
2ist January, 1941.
The KING has been graciously pleased to give orders for the following appointments to the Most Excellent Order of the British Empire.
To be Additional Members of the Military Division of the said Most Excellent Order
Flying Officer John Hamilton LAUGHLIN (39995) Pilot Officer John COGGINS (44458). In September, 1940, an aircraft carrying a full load of bombs, crashed among other aircraft and burst into flames. Flying Officer Laughlin, Pilot Officer Coggins and another officer immediately ran to these aircraft,
started the engines and taxied them away. During this time two bombs on the burning plane had exploded. The action showed complete disregard for personal safety in the face of the greatest danger and owing to the officers' promptness three aircraft were taken to safety without damage and a fourth with only minor damage
www.bbm.org.uk/airmen/Coggins.htm
CONNOR Albert. Private 4128398, 2nd Manchester Regiment died 12th May 1944 aged 24. Son of Thomas and Margaret Connor, of Knutsford, Cheshire. At rest in Kohima War Cemetery, India.
CURBISHLEY Albert Henry. Able Seaman C/JX 168702, Royal Navy on H.M.S. Dainty. Died 12th March 1941 aged 22. Son of John W.Curbishley and Louisa Curbishley, nee Bucklow, of Knutsford, Cheshire. Commemorated on the Cairo War Memorial Cemetery, Egypt.
CAULFIELD Joseph Peter. Private 3594824, 9th King's Own Royal Lancaster Regiment died 27th August 1940 aged 34. He was the son of Daniel and Sarah Jane and he was the husband of Emmie of Knutsford. In 1911 he was living with his parents at 12, Old Market Place, Knutsford. His father was killed in action in 1915 in France. He is at rest in Knutsford Cemetery, Cheshire.
DANIEL Harry. Sergeant 3011016 Wireless Operator, Air Gunner, Royal Air Force (VR), died 24th November 1944 aged 19. He was the son of John and Mrs Daniel of Knutsford. He is at rest in Knutsford Cemetery, Cheshire.
DOBSON Frank Arthur. Guardsman 2723804, 3rd Irish Guards died 28th September 1944 in Operation Market Garden Holland aged 19. Native of Cheshire. He may have been the son of John and Ann nee Manley. At rest in Oosterbeek War Cemetery, Arnhem, Netherland.
ELLIS Robin James Newman. Lieutenant 245307 Kings Royal Rifle Corps attached to 8/2nd London Rifle Brigade died 10th September 1944 aged 21. Son of John Newman Ellis, and Rosamond Corisande Ellis, of Lower Peover, Cheshire. At rest in Leopoldsburg War Cemetery, Limburg, Belgium.
radleyarchives.co.uk/people/7887-robin-james-newman-ellis
EDWARDS John. Gunner, Royal Navy H.M.Trawler Ouse died 20th February 1941 aged 29.(Credit www.wrecksite.eu/wreck.aspx?150593 ) HMS Ouse (T 80) was mined off Tobruk, Lybia on the 20th February 1941.( Lt W V Fitzmaurice, RNVR) The commanding officer survived the sinking however 12 were killed and only 9 survived. Son of John and Florence Edwards, of Knutsford, Cheshire. Commemorated on the Plymouth Naval Memorial, Devon
FOY E Unable to find the correct record for him listed with the CWGC.
HAMMAN George Albert. Pilot Officer 130437, 172 Squadron Royal Air Force VR died 8th February 1942 aged 28. Son of James William and Mary Ann Hamman nee Jones, of Knutsford, Cheshire, brother of John Oswald who also fell. Husband of Elsie nee Reedy of Cheadle Heath, Cheshire. They had one child, Christine E born 1941.
His father served in the army in the Great War as Private 16578, Cheshire Regiment. He joined up at Knutsford on the 11th September 1914 aged 32 and 7 months occupation Labourer. He was medically discharged suffering from Bronchitis and Asthma on the 27th July 1915 to his home and family at 4 Coronation Square, Knutsford. He was married on the 11th May 1903, which was crossed out and initialled. (correct date 9th May 1904, as on a family tree on ancestry). He married Mary Ann Jones at Baynels Parish Church, North Wales. They hade the following children. James Edward born 1 June 1904 at Knutsford, Amy Alexandria 29th December 1906, born at Knutsford, John Oswald 21st May 1908 born at Knutsford, twins, William and Ernest born 18th December 1910 born at Knutsford and George Albert born 30th October 1914 at Bucklow, Cheshire
HAMMAN John Oswald. Sergeant 4128730, 2nd Cheshire Regiment died 23rd July 1943 aged 36. Son of James William and Mary Ann Hamman nee Jones, of Knutsford, Cheshire, brother of George Albert who also fell. Husband of Gladys Margaret Hamman, nee Dewhurst, of Shaw Heath, Knutsford Cheshire. They had three children, John S born 1935, Colin D born 1937 and Coral R born 1942. At rest in Catania War Cemetery, Sicily, Italy
His father served in the army in the Great War as Private 16578, Cheshire Regiment. He joined up at Knutsford on the 11th September 1914 aged 32 and 7 months occupation Labourer. He was medically discharged suffering from Bronchitis and Asthma on the 27th July 1915 to his home and family at 4 Coronation Square, Knutsford. He was married on the 11th May 1903, which was crossed out and initialled. (correct date 9th May 1904, as on a family tree on ancestry). He married Mary Ann Jones at Baynels Parish Church, North Wales. They hade the following children. James Edward born 1 June 1904 at Knutsford, Amy Alexandria 29th December 1906, born at Knutsford, John Oswald 21st May 1908 born at Knutsford, twins, William and Ernest born 18th December 1910 born at Knutsford and George Albert born 30th October 1914 at Bucklow, Cheshire
HATTON Harry Garft Sergeant 541499 Royal Air Force died 20th September 1944 aged 29. Son of Charles and Elsie Hatton nee Garft husband of Muriel Hatton nee Murney, of Moston, Manchester. ( Wills and Admin, Ancestry.co.uk). He lived at 46 Blue Bell Avenue Manchester and died on war service. His widow Muriel received his effects. At rest in Jakarta War Cemetery, Indonesia.
His father had served with the 5th Cheshire Regiment joining up on the 1st September 1908 aged 17 and 6 months at Hale as private 1017. He was living at 20 Bath Street, Altrincham, Greater Manchester and was by occupation a labourer. He served 4 years on a home posting and was discharged on the termination of his engagement with the colours on the 31st August 1912.
On the 30th October 1941 he father died at Knutsford, Cheshire. He was living with his wife at 24 Heathfield Square, Knutsford.
HESKETH Louis Milsom. Flying Officer 147672, 77 Squadron Royal Air Force died 6th December 1944 aged 40. Son of Thomas Baron Hesketh and Louisa Hesketh, of Knutsford, Cheshire. (Wills and Admin, Ancestry.co.uk) He lived at 5 St Johns Road Knutsford and died on war service. His effects went to Thomas Baron Hesketh, cotton manufacturer. Commemorated on the Runnymede Memorial, Surrey.
HIGGINSON Joseph. Private 4205968, 6th Cheshire Regiment died 28th February 1944 aged 20. Son of Thomas and Ethel Higginson, of Knutsford, Cheshire. At rest in Beach Head War Cemetery, Anzio, Italy
HILL John Arthur. Captain 201853, 65 (The Norfolk Yeomanry) Anti-Tank Regt Royal Artillery died 13th October 1944 aged 32. Son of Arthur and Elizabeth Eleanor Hill husband of Joan Hill, of Hale, Cheshire. His brother, Christopher Grimwade Hill, also died on Service (Wills and Admin, Ancestry.co.uk) He lived at 21 Palatine Road, Withington, Manchester died on war service. His effects went to his wife, Joan. At rest in Jonkerbos War Cemetery, Gelderland, Netherlands.
IKIN Lewis Alfred. Sergeant 4128420 2/7th Middlesex Regiment. Born 2nd June 1908 died 3rd March 1944 aged 36. Son of Alfred and Jessie Ann Ikin, of Knutsford, Cheshire husband of Harriet Adelaide Ikin, nee Toombs of Knutsford. At rest in Naple War Cemetery, Italy
Permission to use photo pfirm2 ancestry (pete)
JARVIS Joseph Peter. Able Seaman D/JX151615 Royal Navy on HMS Glorious died 6th June 1940 aged 19. Son of Henry Theodore and Fanny Jarvis, of Knutsford, Cheshire. Commemorated on the Plymouth Naval Memorial, Devon
JACKSON Thomas William. Private 7624263 Base Ordnance Depot Royal Army Ordnance Coy died 19th June 1940 aged 28. Son of John and Margaret of Knutsford, Cheshire.
JONES Arthur. (Military Medal) Company Sergeant Major 4116416 Cheshire Regiment died 16th April 1942 aged 48. and he was the husband of Annie of Knutsford. At rest in Knutsford Cemetery, Cheshire.
LAMB Charles. (M.M.) Private 324287 1st Parachute Regiment. Army Air Corps, died 1st January 1946 aged 30. (Wills and Admin, Ancestry) He lived at 16, Sandleigh Avenue, Knutsford and died at the Military Hospital, Liverpool Road, Chester. His effects went to William Lamb, engine driver. He was the son of Frederick and Ada and he was the husband of Margaret Ann of Knutsford. He is at rest in Knutsford Cemetery, Cheshire.
LEA Roland William. Sergeant, Flight Engineer 577749, 57th Squadron Royal Air Force died 2nd April 1943 aged 20. He was part of a crew in a Lancaster which was shot down after attacking the St Nazaire U-Boat pens on 2 April 1943. It crashed near the village of St Pere en Retz. All the crew sadly perished.
Born in the registration district of Buckover near Knutsford to Edgar and Kathleen Mabel Lea nee Buckworth, (birth name Kate Mabel) of Romford, Essex. At rest in Pont-Du-Cens Communal Cemetery, Nantes, Loire-Atlantique France.
www.pprune.org/where-they-now/511988-lancaster-w4257-57-s...
LEACH George. Trooper 3864317, 1st Northamptonshire Yeomanry, Royal Armoured Corps died 23rd October 1944 aged 33. Son of Patrick and Elizabeth Leach husband of Florrie Leach. At rest in Nederweert War Cemetery, Limburg, Netherlands.
PENNINGTON-LEGH John Alan DFC, Wing Commander 37687, 11 Squadron Royal Air Force died 13th October 1944 aged 29. Son of Tom and Marsie Pennington-Legh husband of Mary Edwina Pennington-Legh, of Fontwell, Sussex. Commemorated on the Singapore Memorial,
OLLIER Thomas. Gunner 14350967, 142 Field Regiment, Royal Artillery. Royal Devon Yeomanry died 22nd July 1944 aged 21. Son of Thomas Ernest and Charlotte Ollier, of Knutsford, Cheshire. It appears from record seen that his mother is not called Charlotte but Sarah Hannah. At rest in Florence War Cemetery, Italy.
PATTERSON John Robert. Leading Steward C/LX 21537 Royal Navy on HMS Wakeful died at sea 29th May 1940. In 1923 there was a John R Patterson born in the registration district of Northwich, Cheshire. He is commemorated on the Chatham Naval Memorial, Kent. Listed with the CWGC are four J R Patterson The others were born. One in Essex, another in Northumberland and last in Yorkshire.
SIMCOCK John Ernest. Leading Aircraftman 629022, Royal Air Force Died on active service 7th October 1945 aged 24. He was the son of Ernest and Beatrice of Knutsford. He is commemorated on a family memorial at Knutsford Cemetery, Cheshire and is at rest in Rennes Eastern Communal Cemetery, Ille-et-Vilaine, France
SIMON Michael Horsfall Henry. Captain 187216 133 Field Regiment Royal Artillery died 20th April 1945 aged 33. He was born in 1912 in the registration district of Bucklow, Cheshire to At rest in Becklingen War Cemetery, Niedersachsen, Germany
SNOW David Jack. Boy 1st Class P/JX163207, Royal Navy on HMS Hood died 24th May 1941 aged 17. Son of Henry Thomas Snow and Lilian Snow nee Cooper, of Knutsford, Cheshire. Commemorated on the Porstmouth Naval Memorial, Hampshire.
TICKLE Albert. Private 14583537, 4th Kings Own Scottish Borderers died 18th June 1945 aged 19. Son of Arthur and Edith Tickle, of Knutsford, Cheshire. At rest in Mook War Cemetery, Limburg , Netherlands.
TROWELL Noreen. Private W/141311 Auxiliary Territorial Service died 12th March 1944 aged 21. Native of Bury. At rest in Shrewsbury General Cemetery, Shropshire.
WALKER William Edward (Bill). Private 14203151 6th Queen's Own Royal West Kent Regiment, killed in action, at central front, Italy on the 25th October 1944 aged 21. He is interred at Santerno Valley Cemetery.
Only those who have loved and lost, know the price of war's bitter cost. May the noble sacrifice of their young lives not be in vain. He was the son of James and Annie. He is commemorated on his parents memorial in Knutsford Cemetery, Cheshire.
WALSH James. Private 4128036, 7th Cheshire Regiment died 12th May 1940 aged 25. Son of James and Esther Ann Walsh j husband of Vera Walsh, of Altrincham, Cheshire. At rest in (O-L-V) Onze-Lieve-Vrouw ,Lombeek Churchyard, Vlaams-Brabant, Belgium.
WARBURTON, Geoffrey. Gunner 957288, The Hertfordshire Yeomanry, 135th Regiment, Royal Artillery. Died on active service on the1st March 1942 aged 23. He was the son of William and Florence and husband of Charlotte of Annan, Dumfriesshire. He is commemorated on a family memorial in Knutsford Cemetery, Cheshire and is at rest Kranji War Cemetery, Singapore
WARBURTON James. Private 11263127, 37 Coy, Pioneer Corps died 16th September 1943 aged 43. Son of Francis and Mary Jane Warburton nee Bathers, of Knutsford, Cheshire husband of Florence Warburton, nee Lee of Knutsford. In 1911 aged 10 he was living with his parents and siblings at 125 Mobberley Road, Knutsford, Cheshire. At rest in Bone War Cemetery, Annaba, Algeria.
WILLIAMS John Alfred Edward. Private 419863, 4th Welch Regiment died 19th September 1943 aged 26. Son of Florence Williams husband of Mary J, nee Gittins. Williams, of Hulme, Manchester. At rest in Bergen-Op-Zoom War Cemetery, Noord-Brabant, Netherlands.
SINCE 1945 (1975)
HADDEN David Andrew. Guardsman 24164809 Grenadier Guards died of natural causes in England on the 19th September 1975 aged 21. At rest in Holy Cross Churchyard, Mobberley Road, Knutsford, Cheshire.
LOWER PEOVER 1939-1945
BUCKLEY Joseph. Gunner 981599, 76th Medium Regiment Royal Artillery Shropshire Yeomanry died 9th July 1944. Son of Richard and Annie Buckley, of Lower Peover, Cheshire. At rest in Foiana Della Chiana War Cemetery, Italy.
HOWARTH James Hubert (Bert). Private 4128252, 7th Cheshire Regiment, killed in Italy 11th October 1943 aged 26. He was the son of James Herbert and Edith of Knutsford and was the husband of Violet also of Knutsford. He is commemorated on a family memorial in Knutsford Cemetery, Cheshire and he is at rest in Sangro River War Cemetery, Italy.
MOBBERLEY 1939-1945
BAILEY James William. Leading Aircraftman 1825458 Royal Air Force VR died 26th July 1946 aged 21. Son of James William and Gladys Bailey, of Mobberley, Cheshire. At rest in Delhi War Cemetery, India.
GROVES Alfred William. DFM Pilot Officer, Observer 1090063, 105 Squadron Royal Air Force VR died 15th August 1942 aged 28 . Son of Samuel and Frances Groves, of Mobberley, Cheshire. (Wills and Admin, Ancestry.co.uk) He live at 10 Bucklow Avenue, Mobberley and his effects were left to Samuel Groves, Paper coater. At rest in Gent City Cemetery, Oost-Vlaanderen Belgium
HOLDEN Raymond De Lannoy Flying Officer 103784, Royal Air Force VR died 13th August 1943 aged 34. Son of Percy Holden and of Arabella Holden (nee Leather); husband of Monica A. Holden, of Mobberley, Cheshire. (Wills and Admin, Ancestry.co.uk) He lived at Hillcrest Warford Lane Bobberley and died on war service. He effects went to Charles Edwin Moreton, bank official. Commemorated on the Alamein Mamorial, Egypt.
LONGRIDGE Christopher Leigh-Mallory. Leading Airman FAA/FX. 80564, Fleet Air Arm, Royal Navy on HMS Daedalus died 17th January 1941 aged 20. Son of Harry Morgan Longridge and Ann Victoria Longridge, of Mobberley, Cheshire. (Wills and Admin, Ancestry.co.uk) He lived at Rathlin Church Lane Mobberley died on war service. His effects went to Harry Morgan Longridge, engineer. Commemorated on the Lee-On- Solent Memorial, Hampshire.
ROBERTS Joseph Edward. Sergeant 2211675, 166 Squadron Royal Air Force died 23rd September 1944 aged 23. Son of Joseph and Alice Mary Roberts, of Ashley, Cheshire. Commemorated on the Runnymede Memorial, Surrey
SOUTHERN Ernest George. Petty Officer C/J94090, Royal Navy on HMS Barham died 25th November 1941 aged 39. Son of Charles Henry and Sarah Southern husband of Gladys Mary Southern nee Goodhew, of Putney, London. Commemorated on the Chatham Naval Memorial, Kent.
I could find no connection to Mobberley or the County of Cheshire.
There is a Mobberley war memorial which indicates that his first name was Ernest. On the CWGC there is only one Ernest Southern for WW2.
TAYLOR Frank Ordinary Seaman P/JX 258659 Royal Navy on HMS Neptune died 19th December 1941 aged 27. Son of John Henry and Mary Taylor, of Mobberley, Cheshire. (Wills and Admin, Ancestry.co.uk) He lived at Small Lane, Mobberley and died on war service. His effects went to his mother Mary Taylor. Commemorated on the Portsmouth Naval Memorial, Hampshire.
TOMLINSON D (Ronald) Major 97345 Ronald Tomlinson Lancashire Fusiliers died 10th July 1941 aged 37. (Wills and Admin Ancestry.co.uk) Ronald Tomlinson of West Bank, Richmond Road, Bowden, Cheshire died 10 July 1941 on war service. His effects went to Christine Lydia Tomlinson, widow and Frederick William Tomlinson. Commemorated on the Ismailia War Memorial Cemetery, Egypt.
WARBURTON William (Unable to find the correct record for this person listed with the CWGC)
YEARSLEY Thomas Ronald. Private 14573502, 1st Gordon Highlanders died 18th November 1944 aged 20. Son of William Gibson Yearsley and Ada Yearsley, of Mobberley, Cheshire. At rest in Venray War Cemetery, Limburg Netherlands.
ROSTHERNE 1939-1945 Names are also on the War Memorial in St Marys's Church Rostherne.
DUNKERLEY William Donald. Lieutenant Commander. Royal Navy on H.M.Submarine Thames died 3rd August 1940 aged 32. Son of William and Amy Constance Dunkerley; husband of Jena Dunkerley, of Mere, Cheshire. Commemorated on the Portsmouth Naval Memorial, Hampshire.
HENSHALL Arnold Nebo. Driver T/224939 258 General Transport Coy, Royal Army Service Corps died 16th March 1943 aged 30. Native of Bucklow, Cheshire. Husband of Margaret A Henshall nee Hill, of Sale, Cheshire. At rest in Tripoli War Cemetery, Libya.
KELLY Derek Godfrey. Flight Sergeant 553913 Royal Air Force died 30th October 1942 aged 20. Son of William and Isobel Kelly, of Highliegh, Cheshire. Commemorated on the Alamein Memorial, Egypt.
LOMAS John William. Able Seaman D/JX311216 Royal Navy on HMS President II. Born 31 August 1907 died 10th October 1942 aged 35. Son of James and Gertrude Lomas, of Broomedge, Lymm, Cheshire. In 1911 he was living with his parents aged 3 at Holmes Chapel, Cheshire. His father had served with the Cheshire Regiment in the great war. Commemorated on the Plymouth Naval Memorial, Devon
Some notes from what remains of his father James Lomas, army record.
He joined up at Chester on the 18th December 1914 aged 34 years occupation labourer and was posted to the Cheshire Regiment as private 18790. He lived with his wife and family at 7 Market Street, Northwich, Cheshire. On the 10th December 1915 he was medically discharged unfit for further war service after 4 days service. He was married on the 10th January 1906 at St Barnabas Church Crewe Cheshire he married Miss Gertrude Williams. (FreeBDM shows Millward which is correct) They had the following children all born at Congleton, Cheshire. Gerty born 31st May 1906, John William born 31st August 1907, James Ernest born 10th May 1909, Harry born 3rd July 1911 and Marjorie born 2nd December 1912.
PEERS Ernest Abel. Lance Corporal 4458525, 11th Durham Light Infantry died 27th June 1944 aged 25. Son of Arthur and Dorothy Peers, of Hoylake, Cheshire. At rest in Fonteney-Le-Pesnel War Cemetery, Tessel, France.
PICKERING Robert Anthony Pickering Telegraphist C/JX271296 Royal Navy of HMS Nile died at sea 9th December 1944 aged 23. Son of Henry William and Gladys Annette Pickering, of Worthing, Sussex. Commemorated on the Rostherne War Memorial in St Mary's Church and also on the Chatham Naval Memorial, Kent
REYNOLDS George William (This memorial has J W and St Mary's War Memorial, Rosthern has G W Reynolds.) Stoker 1st Class P/SR222 Royal Navy on HMS Barnham died at sea 25th November 1941. She ship was torpedoed U-Boat U-331 and a fire ensued. As the ship started to take on water it listed to port and it was at this point that ships magazines exploded. It sank within four minutes . Commemorated on the Portsmouth Naval Memorial, Hampshire.
www.youtube.com/watch?v=YdrISbwy_zI
SHAW Walter. Corporal 3197031, 2nd Seaforth Highlanders died 10th February 1945 aged 35. Son of James Edward and Annie Shaw, of High Legh, Cheshire. In 1911 he was living with his parents aged 3 at High Legh near Knutsford, Cheshire. At rest in Mook War Cemetery, Limburg, Netherlands.
GADDUM George Alfred (Memorial has YODDAM G A) Major 130982 15th (Scottish) Regt. Reconnaissance Corps, Royal Armoured Corps died 24th October 1944 aged 34. Son of Henry Edwin and Phyllis Mary Gaddum, of Bowdon, Cheshire. (Wills and Admin, Ancestry.co.uk) He lived at The Prior, Bowden, Cheshire and died on war service. His effects went Phyllis Joan Gaddum, spinster. At rest in Woensel General Cemetery, Eindoven,
Noord-Brabant, Netherlands.
TABLEY 1939-1945
BECKE John. Lieutenant 245318 Kings Royal Rifle Corps, 12th Queen's Westminster Battalion died 26th June 1944 aged 22. Son of Maj. Sir Jack Becke, C.B.E., and of Lady Becke (nee Jones), of Over Tabley, Cheshire. His brother Michael also fell. At rest in St. Manvieu War Cemetery, Cheux, France.
BECKE Michael. Lieutenant 296736 Kings Royal Rifle Corps attached to the 8th (2nd Bn. The London Rifle Brigade) Bn. Rifle Brigade died 30th November 1944 aged 21 Son of Maj. Sir Jack Becke, Kt., C.B.E., and Lady Becke (nee Jones), of Over Tabley, Cheshire. Scholar of Oriel College, Oxford; 2nd Class Honours in History. His brother John also fell. At rest in Venray War Cemetery, Limburg, Netherlands.
CRAVEN Arthur Fred. Private 3193707, 5th Kings Own Scottish Borderers died 18th June 1940 aged 20. Born in 1919 in the registration district of Northwich, Cheshire. His mother's maiden name was Craven At rest in Cherbourg Old Communal Cemetery, Manche, France.
WALTON, Sydney Stringer. Private 3656971, 8th Parachute Regiment killed in action on the 6th June, D.Day, 1944 aged 26. He was the son of Cyril and Hettie of Knutsford and was the grandson of Emma Walton also of Knutsford. He is commemorated on a memorial on a family plot at Knutsford Cemetery, Cheshire and is at rest Herouvillett Cemetery, France.
WHITEHEAD George J. Gunner 935591 6th Medium Regiment, Royal Artillery died 3rd December 1945 aged 27. Son of Fred and Martha Whitehead, of Wolstanton, Staffordshire husband of Dorothy Whitehead nee Ravensdale of Wolstanton. At rest in Rochefort-Sur-Mer Naval Cemetery, Charente-Maritime, France.
Fallen, but not listed on the WW 2 War Memorial. They have a connection with Knutsford and other villages inscribed on this memorial and townlands close to them.
Cook Herbert McHUGH, Merchant Navy on S.S. Fabian, London. Died 28th August 1942 aged 21. Son of Herbert and Florence McHugh; husband of Edith Mary McHugh, of Allostock, Cheshire. Commemorated on the Tower Hill Memorial, London.
Flying Officer, Wireless Operator 178511 George Mason EDEN, Royal Air Force VR died 20th June 1945 aged 26. Son of George Henry and Edith Eden, of Marthall. At rest in All Saints Churchyard, Marthall, Cheshire.
Private 3536726 Joe HOUGH 7th Manchester Regiment died 8th April 1945 aged 22. Son of Charles and B. Hough, of High Legh, Cheshire. At rest in Reichswald Forest War Cemetery, Nordrhein-Westfalen, Germany.
Engine Room Artificer 4th Class C/MX77165 John Giles PARTINGTON, Royal Navy on HMS Sultan died 16th February 1942 aged 24. Son of Giles and Lucy J. Partington, of High Legh, Cheshire. Commemorated on the Chatham Naval Memorial, Kent.
Driver T/3661442 George SMALLWOOD, Royal Army Service Corps died 7th June 1944. Husband of Ruth Smallwood, of Knutsford, Cheshire. At rest in Minturno War Cemetery, Italy.
Sapper 4116794 George Edgar ROYLE, Royal Engineers died 24th December 1940 aged 40. Husband of Agnes Royle, of Knutsford. At rest in Knutsford Cemetery, Cheshire.
Corporal 4128461 George Hector WORRALL, 5th Cheshire Regiment died 31st January 1943 aged 31. Son of Mr. and Mrs. William Worrall, of Knutsford, Cheshire husband of Ethel Maud Worrall, of Knutsford. At rest in Kirkee War Cemetery, India.
Leading Aircraftman 632488 Robert BOND Royal Air Force died 4th May 1942 aged 21. Son of William and Martha Bond, of Knutsford, Cheshire, England. At rest in Fawkner Memorial Park Cemetery, Victoria, Australia.
Trooper 7912735 George Reginald WAKEFIELD, 4th Royal Tank Regiment, Royal Armoured Corps died 4th December 1941 aged 21. Son of Reginald and Sarah Ann Wakefield, of Knutsford, Cheshire. At rest in Knightsbridge War Cemetery, Acroma, Libya.
Flying Officer, Air Bomber 151636 John Kidston Law PATERSON Royal Air Force VR died 10th November 1943 aged 21. Son of Robert and Elizabeth Anne Kidston Paterson, of Knutsford. At rest in Knutsford Cemetery, Cheshire.
Sergeant Wireless Operator, Air Gunner 1116213 Daniel SUTHERLAND, 36th Squadron Royal Air Force VR died 24th February 1943 aged 24. Son of Daniel and Emily Sutherland. of Knutsford, Cheshire. At rest in St. Michele Communal Cemetery, Cagliari, Italy.
Private 14550660 Joseph BETHELL, 1st Loyal Regiment, North Lancashire died 28th August 1944 aged 19. Son of Joseph and Lily Bethell, of Knutsford, Cheshire. At rest in Florence War Cemetery, Italy.
Civilian, Clement SIEVE died whilst on Steam Ship Gloucester Castle of the Coast of Angola on the 16th July 1942 aged 2 years Son of Leonard Sieve, of Hallside, Knutsford, Cheshire, and of Joan Sieve.
Joan SIEVE aged 21. Wife of Leonard and mother of Clement Sieve, of Hallside, Knutsford, Cheshire.
en.wikipedia.org/wiki/HMHS_Gloucester_Castle
On 15 July 1942, off the coast of Angola, she was intercepted by the German auxiliary cruiser Michel. Michel's commander KzS Helmuth von Ruckteschell chose to attack after dark without warning; The first shells from Michel destroyed the bridge and radio room and consequently no S.O.S. was transmitted. The ship sank with 93 killed, including the Master, Herbert H. Rose, six woman passengers and two children. The remaining 61 survivors were picked up by the Michel and interned at Yokohama, Japan. After repatriation the survivors reported the conditions under which they were forced to work and live.
Civilian Edith WRENCH aged 58, Margaret WRENCH died aged 64 of Grotto Side Farm, Over Peover, Knutsford. Died at Grotto Side Farm, Over Peover on the 23rd December 1940 . At rest in Bucklow Cemetery, Cheshire.
Civillian (Home Guard) Sidney Colin WRENCH, Home Guard; of Grotto Side Farm, Over Peover, Knutsford. Son of Mr. W. H. Wrench. Died at Grotto Side Farm. At rest in Bucklow Cemetery, Cheshire.
Able Seaman P/J111110 Royal Navy on HMS Dolphin died 11th January 1941 aged 33. Son of Daniel James Ferbrache, and of Mary Elizabeth Ferbrache, of Knutsford, Cheshire. At rest in Haslar Royal Naval Cemetery, Hampshire.
Pilot Officer William Rupert ELLIS, 944 Balloon Squadron, Royal Air Force VR died 20th January 1942 aged 38. Son of Charles William and Louise Theodora Ellis, husband of Joan Ellis, of Knutsford. At rest in Dunham Massey Church Burial Ground Cheshire.
Private 982288 Leonard HAYSELDEN, 1st Parachute Regiment Army Air Corps died 30th March 1943 aged 27. Son of Percy and Lily Hayselden; husband of Maud Hayselden, of Knutsford, Cheshire. Commemorated on the Medjez-El-Bab Memorial, Tunisia.
Lance Corporal 1492907 Owen TRAYNOR, 6th Royal West Kent Regiment died 18th April 1945 aged 25. Son of John J. and Mary Ellen Traynor, of Knutsford, Cheshire. At rest in Argenta Gap War Cemetery, Italy.
Captain 176556 Peter HIGGINS Royal Engineers attached to 77th Field Coy, Indian Engineers died 8th February 1944 aged 27. Son of Sidney and Margaret Mabel Higgins, of Knutsford, Cheshire. M.A. (Cantab). He may well have been a POW. (Wills and Admin, Ancestry.co.uk) He lived at Somerford Leycester Road Knutsford, Cheshire and died on war service. His effects went to Sidney Higgins, and Sidney Greville Higgins, brick manufacturers. At rest in Taukkyan War Cemetery, Burma
Signalman 2593240 Victor Alan SEED, 5th Divisional Signals Royal Corps of Signals died 10th July 1943 aged 27. Mentioned in Despatches. Son of Albert Ernest and Annie Seed; husband of Eileen Betty Seed (nee Winkworth), of Knutsford, Cheshire. At rest in Syracuse War Cemetery, Sicily, Italy.
Civilian, Peter SANDERS of 43 Moss Lane. Son of Peter Sanders, of Mere Heath Lane, Mere, Knutsford; husband of Gladys Sanders. Died at 43 Moss Lane on the 23rd December 1940 aged 32. At rest in Altrincham Cemetery, Cheshire.
Captain 65428 Howel Joseph MOORE-GWYN, Welsh Guards died 20th September 1947 aged 32. Son of Mr. and Mrs. J. G. Moore-Gwyn; husband of the Hon. Anne Rachel Pearl Moore-Gwyn (nee Douglas-Scott-Montagu), of Knutsford, Cheshire. B.A. (Oxon). At rest in St Matthew Churchyard, Dyffryn, Glamorganshire, South Wales.
Sergeant 856024 Arthur TOMKINSON 5014 Airfield Construction Squadron, Royal Air Force (Auxiliary Air Force) died 21st May 1944 aged 42. Son of Edith Tomkinson, of Over Peover husband of Ethel Tomkinson, of Snelson. At rest in St Lawrence Churchyard, Over Peover, Cheshire.
Chief Steward John HALE, Merchant Navy on M.V. Lassell Liverpool died 13th May 1941 aged 51. Son of John Hale, and of M. Hale, of Over Peover, Cheshire. Commemorated on the Tower Hill Memorial, London.
Sergeant 2209405 John MANNION, 576 Squadron, Royal Air Force VR died 25th June 1944 aged 19. Son of John Henry Mannion, and of Lily Mannion, of Over Peover, Cheshire. Commemorated on the Runnymede Memorial, Surrey.
001.Snow White amd the Seven Dwarfs
002. Pinocchio
003. Fantasia
004. Fantasia/2000
005. Dumbo
006. Bambi
007. BambiⅡ
008. Saludos Amigos
009. Fun and fancy free
010. Cinderella
011. CinderellaⅡDreams come true
012. CioderellaⅢA twist in time
013. The wild
014. Alice in Wonderland
015. Peter Pan
016. Lady and the Tramp
017. Lady and the TrampⅡ: Scamp's Adventure
018. Sleeping Beauty
019. One Hundred and One Dalmatians
020. 101 DalmatiansⅡ：Patch's london Adventure
021. The Sword in the Stone
022. The Aristocats
023. Bedknobs and Broomsticks
024. Robin Hood
025. The fox and the Hound
026. The little Mermaid
027. The little MermaidⅡ: Return to the Sea
028. Beauty and the Beast
029. Beauty and the Beast: The Enchanted Christmas
030. Aladdin
031. The Return of jafar
032. Aladdin and the King of thieves
033. The Nightmare Before Christmas
034. The lion King
035. The lion KingⅡ: Simba's Pride
036. The lion king 11/2
037. Pocahontas
038. Pocahonlas Ⅱ:Journey to a mew world
039. Toy Story
040. Toy story 2
041. James and the Giant Peach
042. The Hunchback of Notre Dame
043. the HUnCHback of notre dame Ⅱ
044. Hercules)
045. Mulan
046. Mulan Ⅱ
047. Tarzan
048. Tarzan Ⅱ
049. Valiant
050. Dinosaur
051. The emperor's New Groove
052. Kronk's new groove
053. recess:school's out
054. Atlantis:The Lost Empir
055. Atlantis:Milo's Return
056. lilo & stitch
057. Stitch 2: Stitch Has a Glitch
058. Treasure Planet
059. Brother Bear
060. Brother Bear 2
061. The Jungle Boek
062. The Jungle Book 2
063. Home on the Range
064. The Three Musketeers
065. Mickey's twice upon a Christmas
066. Chicken little
067. The wild swans
068. Felix the Cat Saves Christmas
069. Mickey's magical christmas:snowed in at the house of mouse
070. Mickey & minne
071. Donald duck and the gorilla etc
072. Casper
073. Three little pigs
074. daffy duck
075. The black cauldron
076. Return to never land
077. the tortoise and the hare
078. Everybody loves Donald
079. Everybody loves Goofy
080. Everybody loves Mickey
081. Sweetheart Stories
082. Gulliver's travels
083. Life with Mickey Town
084. Walt Disney treasures volume 1
085. Walt Disney treasures volume 2
086. Walt Disney treasures volume 3
087. Walt Disney treasures volume 4
088. Walt Disneys 100 years of Magic: Goofy sport
089. The three Caballeros
090. Who framed Roger Rabbit
091. Mary Poppins
092. The Rescuers
093. The Rescuers dowu Uuder
094. Monsters Inc.
095. Finding Nemo
096. The incredibles
097. Cars
098. Winnie the Pooh:Story Book
099. Winnie the Pooh:A very Merry Pooh Year
100. Winnie the Pooh:Heffalump Movie
101. Winnie the Pooh:Heffalump Halloween Movie
102. Winnie the Pooh:Springtime with Roo
103. Winnie the pooh:123
104. Winnie the Pooh:All for one,one for all
105. Winnie the pooh:the many adventures
106. Winnie the Pooh:the Search for Christopher Robin
107. Winnie the Pooh:franken Pooh
108. A Bug's life
109. Disney Heroes Volume One
110. An officer and a duck
111. Meet the Robinsons
112. Underdog
113. Ratatouille
114. The adventures of ichabod and Mr. Toad
115. Disney My friends Tigger and Pooh Super Sleuth Christmas Movie
116. The chronological donald:volume one
117. The chronological donald:volume two
118. Mickey mouse clubhouse mickey saves santa
119. Mickey's House of Villains
120. Mickey mouse clubhouse:great clubhouse hunt
121. Mickey princess enchanted tales:follow your dreams
It's hard to stand that still with very dark lighting.
pittsburghsymphony.blogs.com/outside/2009/09/pso-preview-...
Last night a preview concert at Heinz Hall afforded me a chance to re-immerse myself into the Pittsburgh Symphony Orchestra's particular flavor of classical music. Seating was not assigned, so my friends and I eagerly occupied the Grand Tier section, upon choice ornate chairs. It was a great vantage point to see and hear the orchestra, but my preference is still in the upper sections, as far as quality and even distribution of sound are concerned.
Conductor Lawrence Loh opened the concert with Copland's "Hoe-Down" from Rodeo, an instant crowd pleaser to say the least. Following, host Larry Richert, announcer from KDKA radio, infused his humorous impression of the music: 'Beef, it's what's for dinner', as the old TV-ad would say.
Next came a new piece of music for me, Shostakovich Symphony 5, II. Allegretto. All evening the selections were only parts of a composition. This was a way to present as much to the attendees as possible, as an introduction of what will be heard in the upcoming season. We heard one of my favorite composers, Johann Strauss Jr's "Long Live Hungary." My friend, also in attendance, appreciated the work since he loves waltzes and his father was born and raised in Budapest. It was an excellent performance. His comment: "Very good expression - very crisp"
Ellen Chen-Livingston played the violin in the Adagio middle part of the Brahms concerto. Her long flowing red dress was beautiful, as was her rendition of the solo parts of this excerpt. My friend and I were really impressed. Her two daughters presented Ms. Chen with beautiful roses. Then came Mozart Symphony No. 30 IV Presto, which Mr. Richert indicated was the first time the PSO had played this piece. I would like to hear the whole symphony, all of Mozart's symphonies are very pleasing. The 'presto' projects a fascinating picture of the season to come.
Finally, before intermission, the PSO rocked the house with a fantastic exhibition of "Mars" from "The Planets" by Holst. Wow, the dynamic range of this symphony orchestra is hard to believe if one doesn't hear it in person at Heinz Hall.
After intermission came Richard Strauss' "Also Sprach Zarathustra" (the music most associated with the movie "2001, A Space Odyssey"). This is another one of those 'WOW' pieces that the PSO does so very well. Then came a piece commissioned for Richard Danielpour "Zoroastrian Riddles." I enjoy new music, especially when I can hear it more than once, so I look forward to experiencing the whole piece in the upcoming season. If you think about it, new classical music is really very much a collection of riddles, because to hear, absorb, and fully appreciate a composition, I find it is best to sample it again and again, to transcend first impressions, to build a deeper understanding and appreciation. Riddle me this Batman: Why not try it yourself? Come and listen to the PSO.
Music Director Manfred Honeck, who was not there up until this point, was introduced and presented an explanation of his thoughts on the music this season. He talked of his favorite composer, Mahler, and the heights to which his music transcends emotions like sadness, joy and love. His admiration for Pittsburgh was revealed in his comments about our energy, vibrancy and renewal, along with our passion. It was Honeck's passion for music that always kept me en garde and yearning for more last season.
The two last performances of the evening, were Gershwin's "An American in Paris," and Prokofiev's "Symphony No 5." Both highlighted the PSO very well, in their range, depth, and especially subtleties and clarity of expression. Don't forget next week's 'Enchanted Evening' with Itzhak Perlman, violin, and Manfred Honeck conducting, Wed, Sept 9, 7:30pm
Biennalist
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
About artist Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
Biennalist :
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
-------------------------------------------
links about Biennalist :
Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
—--Biennale from wikipedia —--
The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.
Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).
Characteristics[edit]
According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]
The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.
A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.
The Venice Biennale as an archetype[edit]
The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.
The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.
Biennials after the 1990s[edit]
The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.
International biennales[edit]
In the term's most commonly used context of major recurrent art exhibitions:
Adelaide Biennial of Australian Art, South Australia
Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Athens Biennale, in Athens, Greece
Bienal de Arte Paiz, in Guatemala City, Guatemala[4]
Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)
Bamako Encounters, a biennale of photography in Mali
Bat-Yam International Biennale of Landscape Urbanism
Beijing Biennale
Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)
Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no
Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China
Bienal de Arte de Ponce in Ponce, Puerto Rico
Biënnale van België, Biennial of Belgium, Belgium
BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.
Biennial of Hawaii Artists
Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]
Biwako Biennale [ja], in Shiga, Japan
La Biennale de Montreal
Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola
Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal
Bucharest Biennale in Bucharest, Romania
Bushwick Biennial, in Bushwick, Brooklyn, New York
Canakkale Biennial, in Canakkale, Turkey
Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]
Changwon Sculpture Biennale in Changwon, South Korea
Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal
Documenta, contemporary art exhibition held every five years in Kassel, Germany
Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France
EVA International, biennial in Limerick, Republic of Ireland
Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]
Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan
Gwangju Biennale, Asia's first and most prestigious contemporary art biennale
Havana biennial, in Havana, Cuba
Helsinki Biennial, in Helsinki, Finland
Herzliya Biennial For Contemporary Art, in Herzliya, Israel
Incheon Women Artists' Biennale, in Incheon, South Korea
Iowa Biennial, in Iowa, USA
Istanbul Biennial, in Istanbul, Turkey
International Roaming Biennial of Tehran, in Tehran and Istanbul
Jakarta Biennale, in Jakarta, Indonesia
Jerusalem Biennale, in Jerusalem, Israel
Jogja Biennale, in Yogyakarta, Indonesia
Karachi Biennale, in Karachi, Pakistan
Keelung Harbor Biennale, in Keelung, Taiwan
Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India
Kortrijk Design Biennale Interieur, in Kortrijk, Belgium
Kobe Biennale, in Japan
Kuandu Biennale, in Taipei, Taiwan
Lagos Biennial, in Lagos, Nigeria[10]
Light Art Biennale Austria, in Austria
Liverpool Biennial, in Liverpool, UK
Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]
Manifesta, European Biennale of contemporary art in different European cities
Mediations Biennale, in Poznań, Poland
Melbourne International Biennial 1999
Mediterranean Biennale in Sakhnin 2013
MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada
MOMENTUM [no], in Moss, Norway[12]
Moscow Biennale, in Moscow, Russia
Munich Biennale, new opera and music-theatre in even-numbered years
Mykonos Biennale
Nakanojo Biennale[13]
NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia
October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]
OSTEN Biennial of Drawing Skopje, North Macedonia[15]
Biennale de Paris
Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]
São Paulo Art Biennial, in São Paulo, Brazil
SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]
Prospect New Orleans
Seoul Biennale of Architecture and Urbanism
Sequences, in Reykjavík, Iceland[18]
Shanghai Biennale
Sharjah Biennale, in Sharjah, UAE
Singapore Biennale, held in various locations across the city-state island of Singapore
Screen City Biennial, in Stavanger, Norway
Biennale of Sydney
Taipei Biennale, in Taipei, Taiwan
Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.
Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]
Dream city, produced by ART Rue Association in Tunisia
Vancouver Biennale
Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]
Venice Biennale, in Venice, Italy, which includes:
Venice Biennale of Contemporary Art
Venice Biennale of Architecture
Venice Film Festival
Vladivostok biennale of Visual Arts, in Vladivostok, Russia
Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA
Web Biennial, produced with teams from Athens, Berlin and Istanbul.
West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.
WRO Biennale, in Wrocław, Poland[22]
Music Biennale Zagreb
[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.
—---Venice Biennale from wikipedia —
The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]
Organization[edit]
Art Biennale
Art Biennale
International Art Exhibition
1895
Even-numbered years (since 2022)
Venice Biennale of Architecture
International Architecture Exhibition
1980
Odd-numbered years (since 2021)
Biennale Musica
International Festival of Contemporary Music
1930
Annually (Sep/Oct)
Biennale Teatro
International Theatre Festival
1934
Annually (Jul/Aug)
Venice Film Festival
Venice International Film Festival
1932
Annually (Aug/Sep)
Venice Dance Biennale
International Festival of Contemporary Dance
1999
Annually (June; biennially 2010–16)
International Kids' Carnival
2009
Annually (during Carnevale)
History
1895–1947
On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]
A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]
The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.
The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).
During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.
1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.
In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.
In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.
During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]
1948–1973[edit]
The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.
1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.
In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.
1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.
The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]
In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").
Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]
1974–1998[edit]
1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.
On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]
In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.
In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]
The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.
For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]
1999–present[edit]
In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.
In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).
The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.
The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.
In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.
Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".
The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".
The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]
Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]
The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]
The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]
The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]
The Biennale has an attendance today of over 500,000 visitors.[30][31][32]
Role in the art market[edit]
When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]
Central Pavilion and Arsenale[edit]
The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.
Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]
A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi
all clothes and shoes made by me, from left:
22/8; ivory Tshirt, skirt, cardigan, coat, scarf, gloves, tights, socks, boots
23/8; green Tshirt, skirt, cardigan, scarf, hand warmers, tights, socks, boots
24/8; striped Tshirt, skirt, navy cardigan, scarf, hand warmers, navy tights, socks, boots
Specifications
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• VR-series twin-turbocharged 3.8-liter V6.
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DisclaimerVDC-R cannot prevent accidents due to abrupt steering, carelessness, or dangerous driving techniques. Always drive safely.
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• 20 x 9.5" (front) and 20 x 10.5" (rear) super-lightweight forged-aluminum wheels with Gunmetal Gray finish.
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VENICE BIENNALE / VENEZIA BIENNIAL 2013 : BIENNALIST
www.emergencyrooms.org/biennalist.html
Biennalist is an Art Format by Thierry Geoffroy / Colonel debating with artistic tools on Biennales and other cultural managed events . Often those events promote them selves with thematics and press releases faking their aim . Biennalist take the thematics of the Biennales very seriously , and test their pertinance . Artists have questioned for decade the canvas , the pigment , the museum ... since 1989 we question the Biennales .Often Biennalist converge with Emergency Room providing a burning content that cannot wait ( today before it is too late )
please contact before using the images : Thierry Geoffroy / Colonel 1@colonel.dk
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In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile
www.emergencyrooms.org/biennalist.html
Meanwhile Thierry Geoffroy is in Copenhagen the work about todays emergencies continue at the gallery Marianne Friis on the
ULTRACONTEMPOARY WARM UP Wall established for this occasion since 6sept 2013
thierrygeoffroy.blogspot.dk/2013/09/colonel-s-warm-up-wal...
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lists of artists participating at the Venice Biennale :
Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.
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other pavilions at Venice Biennale
Andorra Artists: Javier Balmaseda, Samantha Bosque, Fiona Morrison
Commissioner: Henry Périer Deputy Commissioners: Francesc Rodríguez, Ermengol Puig, Ruth Casabella
Curators: Josep M. Ubach, Paolo De GrandisAngola Artist: Edson Chagas Commissioner: Ministry of Culture
Curators: Beyond Entropy (Paula Nascimento, Stefano Rabolli Pansera), Jorge Gumbe, Feliciano dos Santos
Argentina Artist: Nicola Costantino Commissioner: Magdalena Faillace Curator: Fernando Farina
Armenia Artist: Ararat SarkissianCurator: Arman Grogoryan /AustraliaArtist: Simryn Gill Commissioner: Simon Mordant Deputy Commissioner: Penelope Seidler Curator: Catherine de Zegher /AustriaArtist: Mathias Poledna ,Curator: Jasper Sharp /AzerbaijanArtists: Rashad Alakbarov, Sanan Aleskerov, Chingiz Babayev, Butunay Hagverdiyev, Fakhriyya Mammadova, Farid Rasulov /Commissioner: Heydar Aliyev FoundationCurator: Hervé Mikaeloff
Bahamas Artist: Tavares Strachan Commissioner: Nalini Bethel, Ministry of Tourism Curators: Jean Crutchfield, Robert HobbsDeputy Curator: Stamatina Gregory/BangladeshChhakka Artists’ Group: Mokhlesur Rahman, Mahbub Zamal, A. K. M. Zahidul Mustafa, Ashok Karmaker, Lala Rukh Selim, Uttam Kumar Karmaker. Dhali Al Mamoon, Yasmin Jahan Nupur, Gavin Rain, Gianfranco Meggiato, Charupit School/Commissioner/Curator: Francesco Elisei. , Curator: Fabio Anselmi./BahrainArtists: Mariam Haji, Waheeda Malullah, Camille Zakharia /Commissioner: Mai bint Mohammed Al Khalifa, Minister of Culture /Curator: Melissa Enders-Bhatiaa/BelgiumArtist: Berlinde De Bruyckere
Commissioner: Joke Schauvliege, Flemish Minister for Environment, Nature and Culture .Curator: J. M. Coetzee ,Deputy Curator: Philippe Van Cauteren /Bosnia and Herzegovina
Artist: Mladen Miljanovic .Commissioners: Sarita Vujković, Irfan Hošić
Brazil Artists: Hélio Fervenza, Odires Mlászho, Lygia Clark, Max Bill, Bruno Munari
Commissioner: Luis Terepins, Fundação Bienal de São Paulo,Curator: Luis Pérez-Oramas ,Deputy Curator: André Severo
CanadaArtist: Shary Boyle /Commissioner: National Gallery of Canada / Musée des beaux-arts du Canada ,Curator: Josée Drouin-Brisebois/Central AsiaArtists: Vyacheslav Akhunov, Sergey Chutkov, Saodat Ismailova, Kamilla Kurmanbekova, Ikuru Kuwajima, Anton Rodin, Aza Shade, Erlan Tuyakov
Commissioner: HIVOS (Humanist Institute for Development Cooperation)
Deputy Commissioner: Dean Vanessa Ohlraun (Oslo National Academy of the Arts/The Academy of Fine Art)
Curators: Ayatgali Tuleubek, Tiago Bom
Scientific Committee: Susanne M. Winterling
ChileArtist: Alfredo JaarCommissioner: CNCA, National Council of Culture and the Arts Curator: Madeleine Grynsztejn
ChinaArtists: He Yunchang, Hu Yaolin, Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong, Zhang Xiaotao
Commissioner: China Arts and Entertainment Group (CAEG) ,Curator: Wang Chunchen
Costa Rica Artists: Priscilla Monge, Esteban Piedra, Rafael Ottón Solís, Cinthya Soto
Commissioner: Francesco EliseiCurator: Francisco Córdoba, Museo de Arte y Diseño Contemporáneo (Fiorella Resenterra)
Croatia Artist: Kata Mijatovic ,Commissioner/Curator: Branko Franceschi.
CubaArtists: Liudmila and Nelson, Maria Magdalena Campos & Neil Leonard, Sandra Ramos, Glenda León, Lázaro Saavedra, Tonel, Hermann Nitsch, Gilberto Zorio, Wang Du, H.H.Lim, Pedro Costa, Rui Chafes, Francesca Leone ,Commissioner: Miria ViciniCurators: Jorge Fernández Torres, Giacomo Zaza
CyprusArtists: Lia Haraki, Maria Hassabi, Phanos Kyriacou, Constantinos Taliotis, Natalie Yiaxi, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister /Louli Michaelidou
Deputy Commissioners: Angela Skordi, Marika Ioannou/Curator: Raimundas Malašauskas
Czech Republic & Slovak RepublicArtists: Petra Feriancova, Zbynek Baladran ,Commissioner: Monika Palcova, Curator: Marek Pokorny /DenmarkArtist: Jesper Just in collaboration with Project ProjectsEgypt
Artists: Mohamed Banawy, Khaled Zaki
EstoniaArtist: Dénes Farkas ,Commissioner: Maria Arusoo ,Curator: Adam Budak
FinlandArtist: Antti Laitinen , Commissioner: Raija Koli , Curators: Marko Karo, Mika Elo, Harri Laakso
FranceArtist: Anri Sala ,Curator: Christine Macel
GeorgiaArtists: Bouillon Group,Thea Djordjadze, Nikoloz Lutidze, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin, Gio Sumbadze/Commissioner: Marine Mizandari, First Deputy Minister of Culture Curator: Joanna Warsza
GermanyArtists: Ai Weiwei, Romuald Karmakar, Santu Mofokeng, Dayanita Singh Commissioner/Curator: Susanne Gaensheimer /Great BritainArtist: Jeremy Deller ,Commissioner: Andrea Rose , Curator: Emma Gifford-Mead
Holy SeeArtists: Lawrence Carroll, Josef Koudelka, Studio Azzurro ,Curator: Antonio Paolucci
Hungary , Artist: Zsolt Asztalos , Curator: Gabriella Uhl
Iceland , Artist: Katrín Sigurðardóttir ,Commissioner: Dorotheé Kirch
Curators: Mary Ceruti , Ilaria Bonacossa/IndonesiaArtists: Albert Yonathan Setyawan, Eko Nugroho, Entang Wiharso, Rahayu Supanggah, Sri Astari, Titarubi
Deputy Commissioner: Achille Bonito Oliva , Assistant Commissioner: Mirah M. Sjarif
Curators: Carla Bianpoen, Rifky Effendy
IraqArtists: Abdul Raheem Yassir, Akeel Khreef, Ali Samiaa, Bassim Al-Shaker, Cheeman Ismaeel, Furat al Jamil, Hareth Alhomaam, Jamal Penjweny, Kadhim Nwir, WAMI (Yaseen Wami, Hashim Taeeh)
Commissioner: Tamara Chalabi (Ruya Foundation for Contemporary Culture)Curator: Jonathan Watkins.
IrelandArtist: Richard MosseCommissioner, Curator: Anna O’Sullivan
Israel , Artist: Gilad Ratman , Commissioners: Arad Turgeman, Michael GovCurator: Sergio Edelstein
ItalyArtists: Francesco Arena, Massimo Bartolini, Gianfranco Baruchello, Elisabetta Benassi, Flavio Favelli, Luigi Ghirri, Piero Golia, Francesca Grilli, Marcello Maloberti, Fabio Mauri, Giulio Paolini, Marco Tirelli, Luca Vitone, Sislej Xhafa ,Commissioner: Maddalena Ragni
Curator: Bartolomeo Pietromarchi /Ivory Coast Artists: Frédéric Bruly Bouabré, Tamsir Dia, Jems Koko Bi, Franck Fanny
Commissioner: Paolo De Grandis , Curator: Yacouba Konaté
Japan ,Artist: Koki Tanaka ,Curator: Mika Kuraya
KenyaArtists: Kivuthi Mbuno, Armando Tanzini, Chrispus Wangombe Wachira, Fan Bo, Luo Ling & Liu Ke, Lu Peng, Li Wei, He Weiming, Chen Wenling, Feng Zhengjie, César MeneghettiCommissioner: Paola Poponi ,Curators: Sandro Orlandi, Paola Poponi /Korea (Republic of)Artist: Kimsooja
KosovoArtist: Petrit Halilaj ,Commissioner: Erzen Shkololli ,Curator: Kathrin Rhomberg
KuwaitArtists: Sami Mohammad, Tarek Al-Ghoussein
Commissioner: Mohammed Al-Asoussi ,Curator: Ala Younis /Latin AmericaIstituto Italo-Latino Americano
Artists:Marcos Agudelo, Miguel Alvear & Patricio Andrade, Susana Arwas, François Bucher, Fredi Casco, Colectivo Quintapata (Pascal Meccariello, Raquel Paiewonsky, Jorge Pineda, Belkis Ramírez), Humberto Díaz, Sonia Falcone, León & Cociña, Lucía Madriz, Jhafis Quintero, Martín Sastre, Guillermo Srodek-Hart, Juliana Stein, Simón Vega, Luca Vitone, David Zink Yi. /Harun Farocki & Antje Ehmann. In collaboration with: Cristián Silva-Avária, Anna Azevedo, Paola Barreto, Fred Benevides, Anna Bentes, Hermano Callou, Renata Catharino, Patrick Sonni Cavalier, Lucas Ferraço Nassif, Luiz Garcia, André Herique, Bruna Mastrogiovanni, Cezar Migliorin, Felipe Ribeiro, Roberto Robalinho, Bruno Vianna, Beny Wagner, Christian Jankowski ,Commissioner: Sylvia Irrazábal ,Curator: Alfons Hug
Deputy Curator: Paz Guevara /Latvia Artists: Kaspars Podnieks, Krišs Salmanis ,Commissioners: Zane Culkstena, Zane Onckule ,Curators: Anne Barlow, Courtenay Finn, Alise Tifentale
LithuaniaArtist: Gintaras Didžiapetris, Elena Narbutaite, Liudvikas Buklys, Kazys Varnelis, Vytaute Žilinskaite, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter SinisterCommissioners: Jonas Žokaitis, Aurime Aleksandraviciute Curator: Raimundas Malašauskas /LuxembourgArtist: Catherine LorentCommissioner: Clément Minighetti Curator: Anna Loporcaro /MexicoArtist: Ariel Guzik ,Commissioner: Gastón Ramírez Feltrín ,Curator: Itala Schmelz
Montenegro ,Artist: Irena Lagator Pejovic .Commissioner/Curator: Nataša Nikcevic
The Netherlands ,Artist: Mark Manders
Commissioner: Mondriaan Fund ,Curator: Lorenzo Benedetti
New Zealand Artist: Bill Culbert ,Commissioner: Jenny Harper ,Deputy Commissioner: Heather Galbraith ,Curator: Justin Paton /Finland: ,Artist: Terike Haapoja ,Commissioner: Raija Koli ,Curators: Marko Karo, Mika Elo, Harri Laakso
Norway:Artists: Edvard Munch, Lene Berg
Curators: Marta Kuzma, Pablo Lafuente, Angela Vettese
Paraguay Artists: Pedro Barrail, Felix Toranzos, Diana Rossi, Daniel Milessi ,Commissioner: Elisa Victoria Aquino Laterza
Deputy Commissioner: Nori Vaccari Starck , Curator: Osvaldo González Real
Poland Artist: Konrad Smolenski Commissioner: Hanna Wróblewska Curators: Agnieszka Pindera, Daniel Muzyczuk
Portugal Artist: Joana Vasconcelos Curator: Miguel Amado
RomaniaArtists: Maria Alexandra Pirici, Manuel Pelmus Commissioner: Monica Morariu Deputy Commissioner: Alexandru Damia Curator: Raluca VoineaArtists: Anca Mihulet, Apparatus 22 (Dragos Olea, Maria Farcas,Erika Olea), Irina Botea, Nicu Ilfoveanu, Karolina Bregula, Adi Matei, Olivia Mihaltianu, Sebastian MoldovanCommissioner: Monica Morariu ,Deputy Commissioner: Alexandru Damian ,Curator: Anca Mihulet
Russia Artist: Vadim Zakharov ,Commissioner: Stella Kasaeva ,Curator: Udo Kittelmann
Serbia Artists: Vladimir Peric, Miloš Tomic .Commissioner: Maja Ciric
SloveniaArtist: Jasmina CibicCommissioner: Blaž Peršin ,Curator: Tevž Logar
South Africa Commissioner: Saul Molobi ,Curator: Brenton Maart
Spain Artist: Lara Almarcegui , Commissioner/Curator: Octavio Zaya
Switzerland Artist: Valentin Carron Commissioners: Pro Helvetia - Sandi Paucic and Marianne Burki
Curator: Giovanni CarmineVenue: Pavilion at Giardini
Syrian Arab RepublicArtists: Giorgio De Chirico, Miro George, Makhowl Moffak, Al Samman Nabil, Echtai Shaffik, Giulio Durini, Dario Arcidiacono, Massimiliano Alioto, Felipe Cardena, Roberto Paolini, Concetto Pozzati, Sergio Lombardo, Camilla Ancilotto, Lucio Micheletti, Lidia Bachis, Cracking Art Group, Hannu Palosuo
Commissioner: Christian Maretti Curator: Duccio Trombadori
Taiwan Artists: Bernd Behr, Chia-Wei Hsu, Kateřina Šedá + BATEŽO MIKILU Curator: Esther Lu
Thailand Artists: Wasinburee Supanichvoraparch, Arin Rungjang
Curators: Penwadee Nophaket Manont, Worathep Akkabootara
Turkey Artist: Ali Kazma Commissioner: Istanbul Foundation for Culture and Arts Curator: Emre Baykal
Ukraine Artists: Ridnyi Mykola, Zinkovskyi Hamlet, Kadyrova Zhanna Commissioner: Victor Sydorenko
Curators: Soloviov Oleksandr, Burlaka Victoria
United Arab Emirates Artist: Mohammed Kazem /Commissioner: Dr. Lamees Hamdan Curator: Reem Fadda
Uruguay Artist: Wifredo Díaz Valdéz
Commissioner: Ricardo Pascale Curators: Carlos Capelán, Verónica Cordeiro
USA Artist: Sarah Sze Commissioners/Curators: Carey Lovelace, Holly Block
Venezuela Colectivo de Artistas Urbanos Venezolanos , Commissioner: Edgar Ernesto González Curator: Juan Calzadilla
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Encyclopedic Palace is curated by Massimiliano Gioni
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Other Biennales (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
Visitors to our family blog can launch a car from our closet for our toddler to play with. I built a simple gravity-powered car launcher that is controlled by the web site. Clicking "Launch Car Now!" on the web site results in a sound clip from the movie "Cars" playing in our living room, followed by a car shooting out from under the coat closet door. The website uses a bit of PHP to send an email to my wife's computer, which happens to sit in the living room next to the coat closet. I created a filter in Apple Mail to run an AppleScript when a correctly coded email comes through. The AppleScript pauses iTunes and raises the system volume of the computer before activating a small applet I wrote in the Processing language. The Processing applet plays a bit of Lightning McQueen (main character in "Cars") psyching himself up before a big race. The applet then sends an "l" to the serial port, where the car launcher's Basic Stamp II microcontroller is patiently waiting. The BSII opens the sliding garage door on the launcher exactly one bay. There are five bays, for five cars. I set up little tabs to interrupt an infrared beam as the edge of each opening is reached. Once a given bay is open, gravity pulls the toy car out and down the ramp. Momentum carries it under the closed closet door and across the floor to the excited toddler. After receiving each launch command (each clicked "Launch Car Now! from the web site), the launcher will release one car and then wait for another command, progressing until the door is completely open and all cars have been released. The launcher door will then close and wait to be reloaded. The PHP on the web server makes sure the "Launch Car Now!" link is only available during usual playtime hours and also limits the number of cars launched to five per day. The table on which the launcher is sitting was another of my weekend projects, a nice roomy table for the little guy's wooden train set.
27 June 2014
Imago Anatopism
LEA10
Second Life
lindenarts.blogspot.com/2014/05/transitt-imago-anatopism....
Mimesis Monday
(Heidi Dahlsveen)
historieforteller.wordpress.com/tag/imago-anatopism/
Alpha Auer
(Elif Ayiter)
www.flickr.com/photos/alpha_auer/sets/72157644047392579
zikiquesti.blogspot.com/2014/05/transitt-imago-anatopism....
From the notecards:
“”
About Imago Anatopism:
The project tells the tale of Volund, a nordic, elf, a symbol following Joseph Campbell's "Hero with a Thousand Faces." Volund undergoes many persona changes during his travels in which he encounters several others that shape and transform him.
Stage 1: At the start of the tale Volund, a Norsk elf who is probably born on the edge of the world between Midgaard – the home of humans, and Utgaard – the home home of giants, is still a young boy who is taken by his father to a mountian where a tribe of dwarfs are to teach him the craft of blacksmithing.
At this early stage all Volund gets are the basics: Skin, shape, eyes and a pair of shoes.
Stage 2: This is the stage in which Volund is refuses the call to the adventure. He is still a timid boy who does not hear, or misinterprets the call or may even misuse the call since he is not yet mature enough to make his own decisions and only follows the decisions of others. All this leads to the murder of his father which makes Volund realise life's dangers and the magnitude of his task.
Symbolizing this blindness, at stage 2 Volund only gets a mask as an attachment.
Stage 3: Setting out on his adventure, Volund goes back to the mountain in order to learn further secrets of forging and the creation of magic tools from the dwarf. Such supernatural aids are both good and bad and once Volund puts on his magic belt and helmet he realizes that it is the dwarfs that killed his father. This makes them his enemy and he has a narrow escape as he leaves the mountain.
Thus, at stage 3 Volund gets a magic belt and helmet as two new attachments.
Stage 4: The idea of the entering another world is often symbolized by the belly of the whale. Volund is no different in this regard, and he throws himself into the ocean to float away to the unknown.
Thus, at stage 4 Volund gets a harpoon as a new attachment.
Stage 5: It is at this stage that Volund starts discovering his strength and power. He now has the ability to forge magic objects, such as life-like statues and wonderful weapons. It is at this stage that Volund meets a valkyrie (in this instance, a symbol for the concept of "goddess"), whom he first sees as a swan who is taking off her feathers in order to bathe in lake. Volund hides her feathers and makes her his first wife. However she leaves him at the end of 7 years when she finally finds her feathers and flees away.
"She is the mother, sister, mistress, bride," Campbell writes of the goddess. But she is also the death of of everything that dies. Campbell continues: "Woman, in the picture language of mythology, represents the totality of what can be known. The hero is the one who comes to know."
At stage 5 Volund gets a big present that he gives to the goddess as an offering as a new attachment.
Stage 6: Volund gets 9 rings from the valkyrie, which is a symbol of union. However these ring are also things that he can measure his own forging up against.
Stage 7: Volund is now supposed to start his journey back home, with newly gained wisdom. However, he faces yet another obstacle through the king who tries to hinder Volund from leaving by crippling him.
Thus, unsurprisingly, at this stage Volund gets a cane. There are several versions of this with different poses.
Stage 8: Volund gets his revenge upon the king by raping his daughter.
To quote Campbell again: "And always, after the first thrills of getting under way, the adventure develops into a journey of darkness, horror, disgust and phantasmagoric fears."
And so, at this stage Volund gets a caged bird with which he can seduce the king's daughter.
Stage 9: Volund has now made the king's daughter pregnant. However, in order to ensure that his own son inherits the throne, Volund also takes the precaution of killing the king's two sons.
Thus, at this stage the new attachment that Volund gets is a sword.
Stage 10: We are now nearing the end of the story and Volund sits bird-like on a roof, and tells the king what has happend and what the future will be.
Stage 11: While Volund started his journey in the ocean his return home is through the sky. He forges himself a huge pair of wings with which he flies back home.
Stage 12: We have come to the end of the tale and Volund has finally returned home as a wiser, older man who now deserves to put on the shiled and mantle of the hero.
Campbell writes: ”The hero is the champion of things becoming, not of things become, because he is.” And later ”Having died to his personal ego, he arose again established in the Self”.
That's Michael Vick carrying the ball...
Note: this photo was published as an illustration in a Sep 2009 Squidoo blog titled "New York Jets." It was also published in an Oct 13, 2009 Philadelphia Weekly blog titled Vick's Penance Pagent." And it was published in a Nov 10, 2009 blog titled "How to Find Cheap Airfare to the Super Bowl." It was also published in a June 1, 2010 Canadian Airport reservation blog , with the same title as the caption that I used on this Flickr page. It was also published in an undated (Oct 2010) Lens BH blog titled "Using Security Camera at Schools and Universities." For no obvious reason at all, the photo was also published in a Nov 8, 2010 "Dating Soulmates" blog titled "What are some safety tips to give a Senior Citizen who wants to go on internet dating sites?", as well as an undated (mid-Nov 2010) "Dating Soulmates" blog titled "Do You want to Meet Your Innovative Soulmate?"
Moving into 2011, the photo was published in a Jan 7, 2011 "Digital Journal" blog titled "TopFinds: The missing Hotmail emails, strange animals deaths." And it was published in an Apr 4, 2011 blog titled "Q&A: Question’s On Signing Up for Sports I’ve Never Played Before?"
Moving into 2013, the photo was published in a Jan 28, 2013 blog titled "Where to Watch the Super Bowl." It was also published in a Feb 15, 2013 blog titled "The NFL Will Not Exist in 20 Years, Period." And it was published in a Sep 10, 2013 blog titled "The NFL Wrap: Awesome Philadelphia Eagles offense, Giants try out new RBs." It was also published in a Sep 26, 2013 blog titled "SEC Charges Florida 'Boiler Room' Company Touting Laser Green-Line First Down Markers For NFL."
Moving into 2014, the photo was published in a Sep 30, 2014 blog titled "FCC Thumbs Nose at NFL, Votes Unanimously to End Protectionist Sports Blackout Rule ."
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I'm somewhat embarrassed to admit that, until last night, I had never been to a professional football game in my life. Baseball, basketball, and tennis: yes, of course. High-school and college football games: sure, though that was a long time ago. Indeed, the last college football game I watched (in person) was in the mid-60s, when I was invited to the annual Harvard-Yale game by a Radcliffe student I had begun dating -- a development to which my MIT college roommate reacted, in shock, by howling, "Radcliffe? You're dating a Cliffie? She must be a pig!" After which he pulled out his flute, every time he thought she might be present when he returned to our off-campus apartment, and played "Old McDonald Had a Farm" until he collapsed in gales of laughter on the stairwell. Highly inaccurate, I hasten to note, and totally unfair. But I digress...
Anyway, a freelance writer, Mitch Ligon (whose photo you can see here in one of my Flickr sets), invited me to accompany him last night to the New York Jets - Philadelphia Eagles game out in the New Jersey Meadowlands -- another first-time experience. I was given a photographer's press pass, which gave me access to the locker rooms, press box, various other "inner sanctum" locations ... and, most important, the football field itself. I was given a red jersey to wear, told to stay outside the yellow dashed lines that ring the field, and turned loose for the evening. I felt somewhat inadequate, because I knew that the "real" professional photographers would be equipped with high-cameras and monstrous telephoto lenses beyond anything I had ever touched, or could possibly afford; and even though my Nikon D300 and 70-300mm zoom lens is fairly respectable in amateur circles, I had no idea if I would be able to take any decent photos at all...
The other problem is that I know little or nothing about the nuances of football, beyond the obvious fact that the quarterback either passes the ball, or hands off to someone who attempts to run the ball downfield. Punts and field-goal kicks are also a familiar concept, but if you don't have a good anticipatory sense of who is about to do what to whom, it's easy to miss the "moment" when the perfect shot might be available. Also, I didn't really know anything about the players, aside from the respective star quarterbacks: Philadelphia's controversial Michael Vick, and New York's newly-named starting quarterback, Mark Sanchez. I had looked at the team rosters on the Internet before the game, so at least I knew their jersey numbers (#6 for Sanchez, and #7 for Vick, as you'll see in the photos) -- but the "action" was often so far away (at the other end of the field) that I couldn't tell whether the starting quarterback, or one of the substitutes, was making the plays.
Nevertheless, by the beginning of the second quarter I was feeling a little more comfortable -- if only because I found it easy to follow along behind the other professional photographers as they marched (or ran) from one end of the field to the other, in order to get their equipment set up for what they expected would be the next great shot. By the end of the game, I had taken 1,100+ photos, including several of Michael Vick in a post-game locker-room interview; and from the sound of the clickety-click-clack of my fellow photographers, I could tell that many of them had taken several thousand. I'll spare you the technical details of my feeble attempts to get some decent shots; I had picked up some good tips from the sports-photography chapter of Scott Kelby's Digital Photography, and I did my best within the limitations of my equipment and my lack of familiarity with the situation.
What impressed me most about the whole experience was the scale of modern professional football -- the scale of everything. It's one thing to read that there are 80,000 people in a football stadium; it's another thing to actually be there and hear the simultaneous roar of those 80,000 people as a quarterback is sacked or a long pass is completed. It's one thing to read that a professional football player is 6 feet, 5 inches tall and weighs 350 pounds; it's another thing to stand next to several dozen such giants. Heck, I thought there were only 20 or 30 such giants on each team; I had no idea that there were 64 of them (a number which will be pared down as the pre-season comes to an end), or that there might be 20-30 different coaches. And then there are the hundreds of "staff members" scurrying around all over the place, carrying out their various duties and assignments; and there are the security guards and State Police, who spent most of the time scanning the stadium crowd rather than watching the players, presumably watching for scuffles or fights or ... well, who knows what. There are cheerleaders too, in this case bearing the official name of New York Jets Flight Crew; I had expected half a dozen, but there were two dozen perky, long-haired beauties, with permanently frozen smiles, who who danced and pranced before the crowd at every conceivable opportunity.
All of this has resulted in the photos you'll see in this album. I had to delete roughly a hundred of my original images, because they were out of focus, or because a referee decided to walk in front of my camera at the wrong moment; and another 900 were "okay," but not terribly exciting. I'm sure that none of them are as crisp, sharp, and well-composed as those taken by the Sports Illustrated photographer and the other professionals on the field; but I did end up with 72 "keepers" that I hope you'll enjoy...
... and, yes, I probably will attend another football game or two in the years ahead. Whether I'm lucky enough to get down on the field again is anyone's guess....
Bharatanatyam dancer of Sri Devi Nrithyalaya - Chennai (Madras), South India .
Bharatanatyam is one of the classical
Indian dances, other performing arts being kuchipudi, kathakali, mohiniattam, chhau, manipuri.
In this Classical dance form of Bharathanatyam, the music and costumes play and important role. In these photos you can see different traditional Indian dance costumes.
Devadasis , temple dancers, were performing nritta and abhinaya in the temples. They learnt at classical classes the history of
mudras, songs, and performed their arangetram dances. You can buy dvds videos of Bharatnatyam. One of famous Bharata natyam
dancers is actress Shobana.
Shorebirds of Ireland with Jim Wilson.
Freshwater Birds of Ireland with Jim Wilson
OUT NOW!!!! The Birds of Ireland: A Field Guide with Jim Wilson
www.markcarmodyphotography.com
St Stephen's Green (Irish: Faiche Stiabhna) is a city centre public park in Dublin, Ireland. The current landscape of the park was designed by William Sheppard, which officially opened to the public on Tuesday, July 27, 1880. The park is adjacent to one of Dublin's main shopping streets, Grafton Street, and to a shopping centre named for it, while on its surrounding streets are the offices of a number of public bodies and the city terminus of one of Dublin's Luas tram lines. It is often informally called Stephen's Green. At 22 acres (89,000 m2), it is the largest of the parks in Dublin's main Georgian garden squares. Others include nearby Merrion Square and Fitzwilliam Square. (wikipedia)
Taken in St. Stephen's Green, Dublin. A couple enjoying a chat and a vista which interests them both.
ru.godfootsteps.org/christ-does-the-work-of-judgment.html
Евангелие на каждый день | Христос совершает труд суда с помощью истины
Труд последних дней должен разделить всех людей в соответствии с тем, к какому виду они относятся, он должен завершить Божий план управления, ибо приближается время, и день Господень уже настал. Бог ведёт всех, кто вошёл в Его Царство, или, точнее сказать, всех тех, кто был предан Ему до конца, в эпоху Самого Бога. Тем не менее, пока не наступила эпоха Самого Бога, та работа, которую Бог будет выполнять, заключается не в том, чтобы наблюдать за деяниями человека или изучать его жизнь, а в том, чтобы судить бунтарство человека, ибо Бог должен очистить всех тех, кто предстанет перед Его престолом. Все те, кто шёл по стопам Бога до сего времени, предстали перед Божьим престолом, а потому все до единого, принявшие Божий труд на его завершающем этапе, являются объектом Божьего очищения. Другими словами, всякий, принимающий Божий труд на его завершающем этапе, является объектом Божьего суда.
Данный «суд», упомянутый в ранее сказанных словах, суд, который начинается с дома Божьего, относится к тому, что сегодня Бог судит тех, кто предстал перед Его престолом в последние дни. Вероятно, есть люди, которые верят в такие сверхъестественные фантазии, как, например, то, что, когда наступят последние дни, Бог установит на небесах большой стол, на котором будет расстелена белая скатерть, после чего, сидя на великом престоле, в то время как все люди преклонят на земле колени, Он покажет грехи каждого человека и по ним определит, кому надлежит вознестись на небо, а кому быть вверженным в озеро огненное и серное. Вне зависимости от того, каковы фантазии человека, сущность Божьего труда не может измениться. Фантазии человека являются не чем иным, как построениями человеческих мыслей, исходящими от мозга человека, сформулированными и воссозданными из того, что человек видел и слышал. Поэтому Я говорю, что, какими бы замечательными ни были образы,которые человек представил, всё же они являются не более, чем некой зарисовкой и не в состоянии заменить план Божьего труда. Не стоит забывать, что человек был развращён сатаной, так разве может он постичь мысли Бога? Человек воспринимает труд суда Божьего как нечто особенно невообразимое. Он полагает, что, поскольку именно Сам Бог совершает труд суда, в таком случае этот труд должен быть самым грандиозным по масштабу и непостижимым для смертных, таким, который должен громко звучать в небесах и потрясать землю; в противном случае, разве может это быть Божьим трудом суда? Человек полагает, что, раз это труд суда, в таком случае Бог должен быть особенно внушительным и величественным в то время, как Он работает, а те, кого судят, должны громко стонать со слезами и, стоя на коленях, умолять о пощаде. Подобная сцена должна быть величественным и глубоко воодушевляющим зрелищем... Каждый представляет, что Божий труд суда должен быть неестественно прекрасным. Но знаешь ли ты, что Бог давно начал труд суда среди людей, и всё это в то время, как ты удобно устроился в безмятежном забвении? Да так, что в то время, когда, по-твоему, Божий труд суда полноправно начинается, уже наступает время для Бога заново создавать небеса и землю? В тот момент, возможно, ты только что понял смысл жизни, но безжалостная работа Божьей кары отправит тебя, всё ещё глубоко спящего, в ад. Только в тот момент ты внезапно осознаешь, что Божий труд суда уже завершён.
…
Слушайте гимны:
Песни о Боге | «Личность Христа – это Сам Бог» Ты знаешь вернувшегося Иисуса Христа
Image Source: Церковь Всемогущего Бога
Terms of Use : ru.godfootsteps.org/disclaimer.html
pt.kingdomsalvation.org/videos/mistakes-are-most-easily-m...
Clipe filme gospel (II) "Que erros são mais facilmente cometidos em se acolher ao Senhor?"
Muitas pessoas de fé em círculos religiosos acreditam no que os pastores e presbíteros dizem "Todas as palavras e obras de Deus estão na Bíblia. Seria impossível que qualquer palavra de Deus aparecesse fora da Bíblia". Existe base bíblica para essa afirmação? O Senhor Jesus proferiu essas palavras? Em Apocalipse é profetizado muitas vezes: "Quem tem ouvidos, ouça o que o Espírito diz às igrejas". As palavras do Senhor dizem isso claramente: quando o Senhor retornar nos últimos dias, Ele falará novamente. Em termos de acolher a vinda do Senhor, se não nos apartarmos da Bíblia e buscarmos o que diz o Espírito Santo às igrejas, poderemos dar as boas-vindas ao Senhor?
Fonte da imagem：de "Igreja de Deus Todo-Poderoso"
Aviso Legal e Termos de Uso： pt.kingdomsalvation.org/disclaimer.html
Truncated Icosahedron - a 32 faced Archimedean Solid
or what Ardonik & I call the "Beckham Ball".
180 Equilateral-Triangular Flat Units: (Kasahara's Origami Omnibus, pg 204)
*20 Hexagons each composed of 6 Equilateral Triangle units :120 total white units
*12 Black Pentagons composed of 5 Equilateral Triangle Units: 60 Total black units
Ardonik & I folded /assembled this in preparation for our 2010 Future Professionals Day origami presentation
this "origami Soccer ball" is made entirely out of Flat Triangular units
Each triangle Flat unit has 3 pockets & is connected using joining tabs
Notice this is made of all Hexagons ( the white) and Pentagons (the black)
My paying job! more and more of my time on flickr is spent matching flickr flukes with Allied Whale Catalog. I apologize for not being as connected to my flickr friends as before and I am not adding photos very often. But I still keep track of you all when I can.
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Citizen science at its best thanks to flickr!!
Thanks to members of flickr who have joined the humpback whale flukes group and submitted their photos. I have been able to match 76 of the 479 photos submitted to the group with whales in the Allied Whale Catalog. Another 30 whales have gone through the catalog once and a second "fluke matcher" will have to take them through again to see if I missed a match.... if they don't find it either than it will become a new whale and be added to the catalog with their own name and #.
If you would like to know more please go to the discussion in Humpback fluke group
1. Erosion AHK0316_10 AHWC #3641, 2. Nile's '07 calf, 3. CONE 0145, 4. Humpback Whale Fluke - Leukos, 5. Tear AHWC#0906, 6. Tear AHWC #0906, 7. Whaletail, whale id Nine HWC #0896, 8. humpback flukes 2, 9. Freckles HWC#0699, 10. Alphorn GSC02_07_28 AHWC# 0362, 11. Humpback Flukes, Whisk, AHWC#0722, 12. Tail shot of Apostrophe AHWC#0465, 13. Pepper Whale #0074, 14. Pepper and Calf Tail Flukes, 15. Touche DSC_0657 #0405, 16. HWC#3861, 17. whale day 319, 18. Humpback Whale- Swizzle HWC #1467, 19. TUSK 0304, 20. HWC#2345, 21. Zeppelin AHWC #0899, 22. Lynx DSC_0744, 23. Crystal AHWC #0224, 24. Tiara AHWC #0365, 25. 1986 9-7 Janus #0196, 26. 1986 9-28 5J 0104 and calf, 27. Firefly AHWC #0954, 28. Doric AWHC#0413, 29. humpback flukes 5, 30. Anchor and lag, 31. FISSURE #0489, 32. fluke of jabiruAhwc#8469, 33. Gemini, 34. AHWC#3025 fluke matching story!!, 35. AHWC#3025, 36. Cane DSC_0375 AHWC #0556
Created with fd's Flickr Toys.
Fountain Paint Pot trail, Yellowstone National Park, Wyoming, USA
Map (link):
[ www.google.co.in/imgres?imgurl=https://4.bp.blogspot.com/... and Spasm Geysers, Fountain Paint Pot trail, Yellowstone National Park images&ved=0ahUKEwjkgubQv8XeAhUC3Y8KHaFRCQ8QMwhNKBowGg&iact=mrc&uact=8 ]
This part of Lower Geyser Basin seen from a half-mile trail has all four of the hydrothermal features found in the park:
Clepsydra Geyser is a geyser in the Lower Geyser Basin of Yellowstone National Park. Clepsydra plays nearly continuously to heights of 45 feet. The name Clepsydra is derived from the Greek word for water clock. Prior to the 1959 Hebgen Lake earthquake, it erupted regularly every three minutes.
Yellowstone National Park has several hydrothermal areas, so what makes the Fountain Paint Pot Area worth visiting? For starters, this part of Lower Geyser Basin has all four of the hydrothermal features found in the park (mudpots, geysers, hot springs, and fumaroles) and you can see them all from a compact half-mile long boardwalk loop. While none of the many Fountain Paint Pot Area geysers are as famous as Old Faithful, they erupt so frequently that you are almost guaranteed a great show on your short hike. Since the walkway passes all four of Yellowstone’s hydrothermal formations, the hike comes with a guaranteed lesson in hydrothermal volcanism.
Hiking the loop in a clockwise direction, you will first pass through a forest of lodgepole pine snags that were drowned and left lifeless by the surrounding hot springs. As you approach the northwest end of the loop, you will spot a lively collection of geysers. Clepsydra Geyser, Fountain Geyser, Jelly Geyser, Jet Geyser, Morning Geyser, Spasm Geyser, and Twig Geyser erupt with various levels of regularity.
As you progress around the walkway toward the northeast corner, you will pass Red Spouter, which behaves like a fumarole, a hot spring, and a mudpot throughout the year. It is like a hot spring in the winter, a muddy reddish pool in the spring and a steaming fumarole in the drier summer and fall. Wrapping down the east side of the boardwalk, you will pass Leather Pool and a slope of fumaroles. These gaps in the surface whistle and hiss as gasses and steam escape from the ground. Just below the fumaroles, where a little more water is present, the trail circles Fountain Paint Pot. These mudpots bubble and pop as globs of mud springs from the surface like miniature trapeze artists.
Continuing downhill, the hydrothermal features become even wetter as you arrive at Silex Spring. Look down into the small blue pool rimmed with white silica. Water spills over the sides of the spring creating an orange-colored surface covered in rippling runoff. These colors are created by thermophiles, heat-loving microorganisms that live in Yellowstone’s hot springs.
( www.hikespeak.com/trails/fountain-paint-pot-trail-yellows... )
Geothermal features of Yellowstone NP- A brief note:
There are four geothermal features found in the park – Hot springs, Geysers, Fumaroles , and Mud volcanoes/pots.
What is a Hot spring?
Hot spring, also called thermal spring, spring with water at temperatures substantially higher than the air temperature of the surrounding region. Most hot springs discharge groundwater that is heated by shallow intrusions of magma (molten rock) in volcanic areas.
Some thermal springs, however, are not related to volcanic activity. In general, the temperature of rocks within the earth increases with depth. The rate of temperature increase with depth is known as the geothermal gradient. In such cases, the water is heated by convective circulation: groundwater percolating downward reaches depths of a kilometre or more where the temperature of rocks is high because of the normal temperature gradient of the Earth’s crust—about 30 °C / kilometer in the first 10 km. The water from hot springs in non-volcanic areas is heated in this manner.
But in active volcanic zones such as Yellowstone National Park, water may be heated by coming into contact with magma (molten rock). The high temperature gradient near magma may cause water to be heated enough that it boils or becomes superheated. If the water becomes so hot that it builds steam pressure and erupts in a jet above the surface of the Earth, it is called a geyser.
[ Warm springs are sometimes the result of hot and cold springs mixing. They may occur within a volcanic area or outside of one. One example of a non-volcanic warm spring is Warm Springs, Georgia (frequented for its therapeutic effects by paraplegic U.S. President Franklin D. Roosevelt, who built the Little White House there) ].
List of hot springs:
[ en.wikipedia.org/wiki/List_of_hot_springs ]
The science of colors of a hot spring:
[ ttps://www.britannica.com/science/hot-spring]
Many of the colours in hot springs are caused by thermophilic (heat-loving) microorganisms, which include certain types of bacteria, such as cyanobacteria, and species of archaea and algae. Many thermophilic organisms grow in huge colonies called mats that form the colourful scums and slimes on the sides of hot springs. The microorganisms that grow in hot springs derive their energy from various chemicals and metals; potential energy sources include molecular hydrogen, dissolved sulfides, methane, iron, ammonia, and arsenic. In addition to geochemistry, the temperature and pH of hot springs play a central role in determining which organisms inhabit them.
Examples of thermophilic microorganisms found in hot springs include bacteria in the genera Sulfolobus, which can grow at temperatures of up to 90 °C (194 °F), Hydrogenobacter, which grow optimally at temperatures of 85 °C (185 °F), and Thermocrinis, which grow optimally at temperatures of 80 °C (176 °F). Thermophilic algae in hot springs are most abundant at temperatures of 55 °C (131 °F) or below.
What is a Geyser?
A geyser is formed when water collecting below the surface is heated by a magma source. When the water boils, it rises to the surface. If the water has an unobstructed path, it will pool on the surface in the form of a steaming hot springs. If the passage of the water is imposed upon, the pressure will increase. When the pressure becomes too great, the water converts into to steam. Steam takes up 1,500 times the volume of water, and at this point, the pressure becomes so intense that the steam and surrounding water droplets shoot out of the ground in geyser form, erupting until the pressure has abated and the process starts all over again.
What is a fumarole?
It’s a vent in the Earth’s surface from which steam and volcanic gases are emitted. The major source of the water vapour emitted by fumaroles is groundwater heated by bodies of magma lying relatively close to the surface. Carbon dioxide, sulfur dioxide, and hydrogen sulfide are usually emitted directly from the magma. Fumaroles are often present on active volcanoes during periods of relative quiet between eruptions.
Fumaroles are closely related to hot springs and geysers. In areas where the water table rises near the surface, fumaroles can become hot springs. A fumarole rich in sulfur gases is called a solfatara; a fumarole rich in carbon dioxide is called a mofette. If the hot water of a spring only reaches the surface in the form of steam, it is called a fumarole. [ www.britannica.com/science/fumarole ]
What is a mud volcano/ mud pot/ paint pot?
Usually mud volcanoes are created by hot-spring activity where large amounts of gas and small amounts of water react chemically with the surrounding rocks and form a boiling mud.
Geo-chemistry of mud volcano: Hydrogen sulfide gas rising from magma chamber, as in Yellowstone’s, causes the rotten-egg smell. Microorganisms, or thermophiles, use this gas as a source of energy, and then help turn the gas into sulfuric acid. The acid then breaks down the rocks and soil into mud. Many of the colors seen are vast communities of thermophiles, but some of the yellow is pure sulfur. When iron mixes with sulfur to form iron sulfide, gray and black swirls sometimes appear in the mud (From description of the display board in the park).
If the water of a hot spring is mixed with mud and clay, it is called a mud pot. Variations are the porridge pot (a basin of boiling mud that erodes chunks of the surrounding rock) and the paint pot (a basin of boiling mud that is tinted yellow, green, or blue by minerals from the surrounding rocks).
There are other mud volcanoes, entirely of a nonigneous origin, occur only in oil-field regions that are relatively young and have soft, unconsolidated formations.
Sources: [ www.britannica.com/science/mud-volcano ], and display boards of the YNP.
A quick overview of YNP
Yellowstone National Park is an American national park located in Wyoming, Montana, and Idaho. Approximately 96 percent of the land area of Yellowstone National Park is located within the state of Wyoming. The Park spans an area of 8,983 km2 comprising lakes, canyons, rivers and mountain ranges. The park is known for its wildlife and its many geothermal features. It has many types of ecosystems, but the subalpine forest is the most abundant. It is part of the South Central Rockies forests eco-region.
It was established by the U.S. Congress and signed into law by President Ulysses S. Grant on March 1, 1872. Yellowstone was the first national park in the U.S. and is also widely held to be the first national park in the world. Native Americans have lived in the Yellowstone region for at least 11,000 years. Aside from visits by mountain -men during the early to mid-19th century, organized exploration did not begin until the late 1860s.
The park contains the headwaters of the Yellowstone River, from which it takes its historical name. Although it is commonly believed that the river was named for the yellow rocks seen in the ‘Grand Canyon of the Yellowstone’, the Native American name source is unclear.
Yellowstone Lake is one of the largest high-elevation lakes in North America and is centered over the Yellowstone Caldera, the largest supervolcano on the continent. The caldera is considered as an active volcano. It has erupted with tremendous force several times in the last two million year. The Yellowstone Caldera is the largest volcanic system in North America. It has been termed a "supervolcano" because the caldera was formed by exceptionally large explosive eruptions. The magma chamber that lies under Yellowstone is estimated to be a single connected chamber, about 60 km long, 29 km wide, and 5 to 12 km deep. Yellowstone Lake is up to 400 feet deep and has 180 km of shoreline.The lake is at an elevation of 7,733 feet above sea levels. Half of the world's geysers and hydrothermal features are there in Yellowstone, fueled by this ongoing volcanism. Lava and rocks from volcanic eruptions cover most of the land area of Yellowstone. The park is the centerpiece of the Greater Yellowstone Ecosystem, the largest remaining nearly-intact ecosystem in the Earth's northern temperate zone. In 1978, Yellowstone was named a UNESCO World Heritage Site.
In May 2001, the U.S. Geological Survey, Yellowstone National Park, and the University of Utah created the Yellowstone Volcano Observatory (YVO), a partnership for long-term monitoring of the geological processes of the Yellowstone Plateau volcanic field, for disseminating information concerning the potential hazards of this geologically active region.
Hundreds of species of mammals, birds, fish, and reptiles have been documented, including several that are either endangered or threatened. The vast forests and grasslands also include unique species of plants. Yellowstone Park is the largest and most famous mega fauna location in the contiguous United States. Grizzly bears, wolves, and free-ranging herds of bison and elk live in this park. The Yellowstone Park bison herd is the oldest and largest public bison herd in the United States.
Forest fires occur in the park each year. In the largest forest fires of 1988, nearly one third of the park was burnt.
Yellowstone has numerous recreational opportunities, including hiking, camping, boating, fishing and sightseeing. Paved roads provide close access to the major geothermal areas as well as some of the lakes and waterfalls. During the winter, visitors often access the park by way of guided tours that use either snow coaches or snowmobiles.
Fire in Yellowstone NP:
Causes of wildfire in Yellowstone NP
Wildfire has had a role in the dynamics of Yellowstone’s ecosystems for thousands of years. Although many fires were caused by human activities, most ignitions were natural. The term "natural ignition" usually refers to a lightning strike. Afternoon thunderstorms occur frequently in the northern Rocky Mountains but release little precipitation, a condition known as ‘dry lightning’. In a typical season there are thousands of lightning strikes in Yellowstone. Lightning strikes are powerful enough to rip strips of bark off of a tree in a shower of sparks and blow the pieces up to 100 feet away. However, most lightning strikes do not result in a wildfire because fuels are not in a combustible state.
The great fire incidence of 1988
The Yellowstone fires of 1988 collectively formed the largest wildfire in the recorded history of Yellowstone National Park in the United States. Starting as many smaller individual fires, the flames quickly spread out of control due to drought conditions and increasing winds, combining into one large conflagration which burned for several months. The fires almost destroyed two major visitor destinations and, on September 8, 1988, the entire park closed to all non-emergency personnel for the first time in its history. Only the arrival of cool and moist weather in the late autumn brought the fires to an end. A total of 793,880 acres, or 36 percent of the park was affected by the wildfires.
Fire incidence, 2016
As of September 21, 2016, 22 fires (human and lightning-caused) have burned more than 62,000 acres in Yellowstone National Park, making it the highest number of acres burned since the historic 1988 fire.
Heritage and Research Center
The Heritage and Research Center is located at Gardiner, Montana, near the north entrance to the park. The center is home to the Yellowstone National Park's museum collection, archives, research library, historian, archeology lab, and herbarium. The Yellowstone National Park Archives maintain collections of historical records of Yellowstone and the National Park Service. The collection includes the administrative records of Yellowstone, as well as resource management records, records from major projects, and donated manuscripts and personal papers. The archives are affiliated with the National Archives and Records Administration.
Hot and sunny Wednesday greetings, my collector friends! I am grateful to Sara for filling in for me as of late, but I must confess that I am especially jealous that she got to write about our own Ms. Mount and her delightful Ideal Bookshelf. As I said to Jane yesterday: it's like she read my mind! I love every single one of those books, and it seems I'm not alone. Their utter ideal-ness seemed to roust many of you from your lazy summer slumber... the $20 prints were gone in a flash!
Today's photography editions from the talented and sweet-as-pie Taj Forer are also quite fetching. After a lovely chat with the photographer himself about To live with you alone, Red Boiling Springs, Tennessee and Boots and raincoats, San Diego, California, I am that much more enchanted.
We had quite a lot to talk about, it turns out! We started with Taj's Threefold Sun series, inspired by Waldorf school founder and biodynamic farmer, Rudolf Steiner and went on (and on!) from there. I'm only including a snippet below, so if you just can't get enough, look for the full transcript on the 20x200 blog.
Jen: Hi there. Love your editions so! I am excited!
Taj: Oh, shucks. Thanks for doing this. I'm very psyched myself.
Jen: Sure thing, I am sorry that we didn't connect sooner. But what's funny is that this weekend I was at the Hawthorne Valley Farm store. So I've had Steiner on my mind.
Taj: No way! That place is amazing.
Jen: And I also got to drink raw milk. For the first time ever. And it is delicioso. Buttery.
Taj: So tasty. Amazing! Amazing that that's the ONLY way milk used to be consumed and now it's the rare exception...
...
Jen: It's super regulated although I can't tell if it's because of real danger or powerful Dairy Industry lobbyists. So, can you tell me how you connected with Steiner?
Taj: oh, I would imagine it's all lobbyist pressure.
But, to answer your question re: how I connected with Steiner—I attended a Waldorf school when I was a child, K-8 grade... It was a school located in an old farmhouse and surrounded by fields, forests and streams. Just gorgeous. As I got older and began the process of exploring my own life (rather than the lives of others) through photography, I turned my attention to the landscape of the Waldorf school that I attended as a child.
...
It's interesting, Steiner's biodynamic agricultural method came out of many of his followers begging him to address the negative effects that farmers in Europe were beginning to notice as a direct result of the beginning of industrialized farming. Something affecting everyone... Steiner was a devout Christian and often times I felt that his religious beliefs got in the way of more tangible forms of communicating his ideas. Having said this, he was a very open-minded person who borrowed from all of the major faith traditions when formulating various aspects of his philosophy.
...
Jen: I said connectedness and community is what I get from [your images], and you know, I've been looking at the work since the book came out.
Taj: I like that that's what you get from the pictures. ...
Jen: I love Boots and raincoats so much because on a surface level it's just delicious eye-candy.
Taj: It's an old public school that the city of San Diego no longer wanted to use so it rents to the Waldorf school for a good price.
Jen: but also it has such a wonderful cozy warmth about it, and a nostalgia.
Taj: I find that so lovely and metaphorical...
Jen: I mean it has a soundtrack in my mind, when I look at it.
Taj: Thanks. That image seems to resonate with many.
Jen: That is actually super interesting/great to know. And then of course the chalkboard poem—which is ever more charming b/c of its small errors.
Taj: Yes, the flaws MAKE that image for me. Tell me about the soundtrack!
Jen: Well, the soundtrack is that distinctive din of kids in a school yard, and oddly the ocean, for some reason, in the background.
Taj: So representative of the whole movement: beautiful, well-intentioned but, like anything worth a damn, also flawed. Like people!
...
Jen: It's comfortable and nostalgic, even though it's not something I ever experienced. I mean I think my teacher was kind like that, in pre-school, but I grew up in Queens NYC! heh. OK. This is super fun, I actually love talking to the artist about an image and finding out that the little stories I make up make sense. Sometimes they make no sense at all, which is fine too. But I can't lie, I enjoy being right. ;)
Taj: Nice. I always enjoy talking about the work as it often leads to new discoveries/ways of thinking about my own images and process.
Jen: Well, we can always talk more, right now I am going to write an intro... Yea we're a little late, so I gotta hustle like mad.
Text courtesy of Ultimatecarpage.com:
www.ultimatecarpage.com/car/2422/Alfa-Romeo-8C-2900B-Cort...
First introduced in the 8C 2300, the Vittorio Jano designed eight cylinder engine scored at least one victory in every major race and championship. In its initial 1931 configuration, the engine displaced 2336 cc, it grew gradually to 2905 cc, primarily by increasing the stroke. The engine was created by mounting two alloy blocks of four cylinders on a single crankcase. On top of the two blocks an alloy head was installed, housing two camshafts. Aspiration was forced, through two Roots-Type Superchargers.
Although the engine increased in size throughout its career, its layout and auxiliaries remained very much similar to Jano's 1931 design. One of the best known racing cars powered by the 8 cylinder engine was the Tipo B or P3 of 1932, which is to date considered as one of the finest Grand Prix racers ever constructed. Run by Enzo Ferrari's Scuderia Ferrari, the Alfa Romeos were almost unbeatable.
From its 1931 introduction, the 8C 2300 took four straight victories in the 24 Hours of Le Mans, driven by talented drivers like Tazio Nuvolari and Luigi Chinetti. Tazio Nuvolari's brilliance was even more visible when driving the P3, the first single seater racer ever. The P3 was unbeaten in 1933, but eventually succumbed to defeat by the greater budgets being spent by Mercedes-Benz and Auto Union.
With the rise of the German Grand Prix teams, Alfa Romeo focused more of its attention on sportscar and road racing. Designed specifically for Italy's most legendary road race, the Mille Miglia, was the 8C 2900. Much like the contemporary Grand Prix racers, the 8C 2900 featured all-round independent suspension, with wishbones at the front and swing-axles at the rear. Installed in the chassis was a 220 bhp version of the 2.9 litre eight cylinder engine.
A total of six of these road racers, later known as 8C 2900A, were constructed. Three of these were entered in the 1936 running of the Mille Miglia. The new cars were immediately successful and occupied the first three places at the finish with the Brivio and Ongaro driven 8C on top. A year later a second victory was scored. With the winning cars as a base, a road going customer version was constructed. Dubbed 8C 2900B, the road car featured a de-tuned engine, but other than that is very similar to the racer.
Two versions were available, the 2800 mm short wheelbase (Corto) and 3000 mm long wheelbase (Lungo) versions. Most of these were sent to Touring to be fitted with Berlinetta, Spyder and Roadster bodies. With its competition chassis and high top speed it was faster and quicker than anything its competition had to offer. Due to its high price, only a very few of these supercars were constructed (10 Lungo and 20 Corto chassis).
Being very similar to the competition 8C 2900A, it came as no surprise the 8C 2900B was used as a racer as well. To suit this purpose Alfa Romeo constructed a further 13 8C 2900B chassis fitted with the 220 bhp engine. Many of these were fitted with roadster bodies and were competed in road races like the Mille Miglia. After the two 8C 2900A victories in 1936 and 1937, another two victories were scored by the 8C 2900B in 1938 and 1947. No other Alfa Romeo has scored as many 'MM' victories as the 8C 2900.
This Lego miniland-scale Alfa Romeo 8C 2900B Touring Spider has been created for Flickr LUGNuts 76th build Challenge, - "Viva Italia", - celebrating all things automotive and Italian.
hi.kingdomsalvation.org/gospel/son-of-man-is-lord-even-of...
1. मत्ती 12:1 उस समय यीशु
2. मत्ती 12:6-8 पर मैं तुम से कहता हूँ कि यहाँ वह है जो मन्दिर से भी बड़ा है। यदि तुम इसका अर्थ जानते, “मैं दया से प्रसन्न होता हूँ, बलिदान से नहीं,” तो तुम निर्दोष को दोषी न ठहराते। मनुष्य का पुत्र तो सब्त के दिन का भी प्रभु है।
आओ पहले हम इस अंश को देखें: “उस समय यीशु सब्त के दिन खेतों में से होकर जा रहा था, और उसके चेलों को भूख लगी तो वे बालें तोड़-तोड़कर खाने लगे।”
हमने इस अंश को क्यो चुना है? इसका परमेश्वर के स्वभाव से क्या सम्बन्ध है? इस पाठ में, पहली चीज़ जो हम जानते हैं वह है कि यह सब्त का दिन था, परन्तु बाहर गया और अपने चेलों को अनाज के खेतों में ले गया। इससे ज्यादा “चौंका देने वाली बात” क्या हो सकती है कि वे मकई की “बालें तोड़-तोड़कर खाने लगे।” व्यवस्था के युग में, यहोवा परमेश्वर की व्यवस्था थी कि लोग सब्त के दिन यूँ ही बाहर नहीं जा सकते थे और गतिविधियों में भाग नहीं ले सकते थे—बहुत सी ऐसी बातें थीं जिन्हें सब्त के दिन नहीं किया जा सकता था। प्रभु यीशु की ओर से किया गया यह कार्य उनके लिए पेचीदा था जो एक लम्बे समय से व्यवस्था के अधीन जीवन बिता रहे थे, और इसने आलोचना को भी भड़काया था। जहाँ तक उनके भ्रम और इस बात का संबंध है कि यीशु ने जो किया उसके बारे में उन्होंने किस प्रकार बात की, हम फिलहाल उसे एक ओर रखेंगे और पहले यह चर्चा करेंगे कि प्रभु यीशु ने, सभी दिनों में से, सब्त के दिन ही ऐसा करना क्यों चुना, और इस कार्य के द्वारा वह उन लोगों से क्या कहना चाहता था जो व्यवस्था के अधीन रह रहे थे। यह इस अंश और परमेश्वर के स्वभाव के बीच का संबंध है जिसके बारे में मैं तुमसे बात करना चाहता हूँ।
जब प्रभु यीशु मसीह आया, तो उसने लोगों से संवाद करने के लिए अपने व्यावहारिक कार्यों का उपयोग कियाः परमेश्वर ने व्यवस्था के युग को अलविदा किया था और नए कार्य का प्रारम्भ किया था, और इस नए कार्य को सब्त का पालन करने की आवश्यकता नहीं थी; जब परमेश्वर सब्त के दिन की सीमाओं से बाहर आ गया, तो यह उसके नए कार्य का बस एक पूर्वानुभव था, और उसका सचमुच का महान कार्य लगातार जारी हो रहा था। जब प्रभु यीशु ने अपना कार्य प्रारम्भ किया, तो उसने पहले से ही व्यवस्था की जंज़ीरों को पीछे छोड़ दिया था, और उस युग के विधि-विधानों और सिद्धांतों को तोड़ दिया था। उसमें, व्यवस्था से जुड़ी किसी भी बात का निशान नहीं था; उसने उसे पूर्णत: उतार कर फेंक दिया था तथा उसका अब और अनुसरण नहीं करता था, और उसने मनुष्यजाति से उसका अब और अनुसरण करने की अपेक्षा नहीं की थी। इसलिए तुम यहाँ देखते हो कि प्रभु यीशु सब्त के दिन मकई के खेतों से होकर गुज़रा, प्रभु ने आराम नहीं किया, बल्कि बाहर काम करता रहा। उसका यह कार्य लोगों की धारणाओं के लिए एक आघात था और इसने उन्हें सूचित किया कि वह व्यवस्था के अधीन अब और जीवन नहीं बिताएगा, और यह कि उसने सब्त की सीमाओं को छोड़ दिया है और एक नई कार्यशैली के साथ वह मनुष्यजाति के सामने और उनके बीच एक नई छवि में प्रकट हुआ है। उसके इस कार्य ने लोगों को बताया कि वह अपने साथ एक नया कार्य लाया है जो व्यवस्था से बाहर जाने और सब्त से बाहर जाने से आरम्भ हुआ था। जब परमेश्वर ने अपना नया कार्य कार्यान्वित किया, तो वह अतीत से अब और नहीं चिपका रहा, और वह व्यवस्था के युग की विधियों के बारे में अब और चिन्तित नहीं था। न ही वह पूर्ववर्ती युग के अपने कार्य से प्रभावित था, बल्कि उसने सब्त के दिन में भी सामान्य रूप से कार्य किया और जब उसके चेले भूखे थे, तो वे मकई की बालें तोड़कर खा सकते थे। यह सब कुछ परमेश्वर की निगाहों में बिल्कुल सामान्य था। परमेश्वर के पास अधिकांश कार्य करने के लिए जिसे वह करना चाहता है और अधिकांश बातें कहने के लिए जिन्हें वह कहना चाहता है, एक नई शुरूआत हो सकती है। एक बार जब उसने एक नई शुरूआत कर दी, तो वह न तो फिर से अपने पिछले कार्य का उल्लेख करता है और न ही उसे जारी रखता है। क्योंकि परमेश्वर के पास उसके कार्य के स्वयं के सिद्धांत हैं। जब वह नया कार्य शुरू करना चाहता है, तो यह तब होता है जब वह मनुष्यजाति को अपने कार्य के एक नए स्तर में पहुँचाना चाहता है, और जब उसका कार्य एक उच्चतर चरण में प्रवेश कर लेता है। यदि लोग लगातार पुरानी कहावतों या विधि-विधानों के अनुसार काम करते रहेंगे या उन्हें निरन्तर मज़बूती से पकड़ें रहेंगे, तो इसे याद नहीं रखेगा या इसकी प्रशंसा नहीं करेगा। ऐसा इसलिए है क्योंकि वह पहले से ही एक नए कार्य को ला चुका है, और अपने कार्य में एक नए चरण में प्रवेश कर चुका है। जब वह एक नए कार्य को आरम्भ करता है, तो वह मनुष्यजाति के सामने पूर्णतः नई छवि में, पूर्णतः नए कोण से, और पूर्णतः नए तरीके से प्रकट होता है ताकि लोग उसके स्वभाव के भिन्न-भिन्न पहलुओं को और उसके स्वरूप को देख सकें। यह उसके नए कार्य में उसके लक्ष्यों में से एक है। परमेश्वर पुराने को थामे नहीं रहता है या घिसे-पिटे मार्ग को नहीं लेता है; जब वह कार्य करता और बोलता है तो यह उतना निषेधात्मक नहीं होता है जितना लोग कल्पना करते हैं। परमेश्वर में, सभी स्वतंत्र और मुक्त हैं, और कोई निषेधात्मकता नहीं है, कोई लाचारी नहीं है—जो वह मनुष्यजाति के लिए लाता है वह सम्पूर्ण आज़ादी और मुक्ति है। वह एक जीवित परमेश्वर है, एक ऐसा परमेश्वर जो असलियत में, और सचमुच में अस्तित्व में है। वह कोई कठपुतली या मिट्टी की मूर्ति नहीं है, और वह उन मूर्तियों से बिल्कुल भिन्न है जिन्हें लोग प्रतिष्ठापित करते हैं और जिनकी आराधना करते हैं। वह जीवित और जीवन्त है और उसके कार्य और वचन मनुष्यों के लिए जो लेकर आते हैं वे हैं सम्पूर्ण जीवन और ज्योति, सम्पूर्ण स्वतन्त्रता और मुक्ति, क्योंकि वह सत्य, जीवन, और मार्ग को धारण करता है—और वह अपने किसी भी कार्य में किसी भी चीज़ के द्वारा विवश नहीं होता है। लोग चाहे कुछ भी क्यों न कहें और चाहे वे उसके नए कार्य को किसी भी प्रकार से क्यों न देखें या कैसे भी उसका आकलन क्यों न करें, वह बिना किसी रुकावट के अपने कार्य को पूरा करेगा। वह किसी की भी धारणाओं या उसके कार्य और वचनों पर उठी अँगुलियों के बारे में, या अपने नए कार्य के लिए उनके कठोर विरोध और प्रतिरोध की भी चिन्ता नहीं करेगा। जो परमेश्वर करता है उसे मापने या परिभाषित करने, उसके कार्य को बदनाम करने, या तितर-बितर करने या उसमें तोड़फोड़ करने के लिए, संपूर्ण सृष्टि में कोई भी मानवीय तर्क, या मानवीय कल्पनाओं, ज्ञान, या नैतिकता का उपयोग नहीं कर सकता है। उसके कार्य में और जो वह करता है उसमें कोई निषेधात्मकता नहीं है, और उसे किसी मनुष्य, चीज़ या पदार्थ के द्वारा लाचार नहीं किया जाएगा, और उसे किसी शत्रुतापूर्ण ताक़तों के द्वारा तितर-बितर नहीं किया जाएगा। अपने नए कार्य में, वह एक सर्वदा विजयी राजा है, और किन्हीं भी शत्रुतापूर्ण ताक़तों और मनुष्यजाति में से सभी विधर्मों और भ्रांतियों को उसकी चरण-पीठ के नीचे कुचल दिया जाता है। इस बात से कोई फर्क नहीं पड़ता है कि वह अपने कार्य के किस नए स्तर पर काम कर रहा है, इसे मनुष्यजाति के बीच विकसित और विस्तारित अवश्य होना चाहिए, इसे संपूर्ण विश्व में तब तक अबाधित रूप से अवश्य कार्यान्वित किया जाना चाहिए जब तक कि उसका महान कार्य पूर्ण नहीं हो जाता है। यह परमेश्वर की सर्वशक्तिमत्ता और बुद्धि, और उसका अधिकार और उसकी सामर्थ्य है। इस प्रकार, प्रभु यीशु मसीह खुलकर बाहर जा सकता था और सब्त के दिन कार्य कर सकता था क्योंकि उसके हृदय में कोई नियम नहीं थे, और वहाँ मनुष्यजाति से उत्पन्न कोई ज्ञान और सिद्धांत नहीं था। उसके पास जो था वह परमेश्वर का नया कार्य और उसका मार्ग था, और उसका कार्य मनुष्यजाति को स्वतन्त्र करना था, उसे मुक्त करना था, उन्हें प्रकाश में बने रहने की अनुमति देना था, और उन्हें जीने की अनुमति देना था। और जो मूर्तियों या झूठे ईश्वरों की पूजा करते हैं वे, सभी प्रकार के नियमों और वर्जनाओं से नियंत्रित, हर दिन शैतान के बन्धनों में जीते हैं—आज एक चीज़ का निषेध होता है, कल किसी दूसरी चीज़ का निषेध होता है—उनके जीवन में कोई स्वतन्त्रता नहीं है। वे जंज़ीरों में जकड़े हुए कैदियों के समान हैं जिनके पास कोई खुशी नहीं है जिसके बारे में वे बात करें। “निषेध” क्या दर्शाता है? यह विवशता, बन्धनों, और दुष्टता को दर्शाता है। जैसे ही कोई व्यक्ति किसी मूर्ति की आराधना करता है तो वह एक झूठे ईश्वर की आराधना कर रहा होता है, वह एक दुष्ट आत्मा की आराधना कर रहा होता है। प्रतिबन्ध इसके साथ आता है। तुम यह या वह नहीं खा सकते हो, तुम आज बाहर नहीं जा सकते हो, तुम कल अपना चूल्हा नहीं जला सकते हो, तुम अगले दिन नए घर में नहीं जा सकते हो, विवाह तथा अन्तिम क्रिया के लिए, और यहाँ तक कि बच्चे को जन्म देने के लिए भी कुछ निश्चित दिनों को ही चुनना होगा। यह क्या कहलाता है? यही प्रतिबन्ध कहलाता है; यह मनुष्यजाति का बंधन है, और ये शैतान की जंज़ीरें हैं और दुष्ट आत्माएँ इन्हें नियन्त्रित कर रही हैं, और उनके हृदयों और शरीरों को अवरुद्ध कर रही हैं। क्या ये प्रतिबन्ध परमेश्वर के साथ विद्यमान रहते हैं? जब परमेश्वर की पवित्रता की बात करते हैं, तो तुम्हें सबसे पहले यह सोचना चाहिएः कि परमेश्वर के साथ कोई भी निषेध नहीं है। परमेश्वर के वचनों और कार्य में उसके सिद्धांत हैं, किन्तु कोई निषेध नहीं हैं, क्योंकि परमेश्वर स्वयं सत्य, मार्ग, और जीवन है।
आओ हम निम्नलिखित अंश को देखें: “पर मैं तुम से कहता हूँ कि यहाँ वह है जो मन्दिर से भी बड़ा है। यदि तुम इसका अर्थ जानते, ‘मैं दया से प्रसन्न होता हूँ, बलिदान से नहीं,’ तो तुम निर्दोष को दोषी न ठहराते। मनुष्य का पुत्र तो सब्त के दिन का भी प्रभु है” (मत्ती 12:6-8)। यहाँ “मन्दिर” किस का इशारा करता है? आसान शब्दों में कहें तो, “मन्दिर” एक शोभायमान, ऊँची इमारत का इशारा करता है, और व्यवस्था के युग में, मन्दिर परमेश्वर की आराधना हेतु याजकों के लिए एक स्थान था। जब प्रभु यीशु ने कहा, “कि यहाँ वह है जो मन्दिर से भी बड़ा है,” यहाँ “वह” किसकी ओर इशारा करता है? स्पष्ट रूप से “वह” प्रभु यीशु है जो देह में है, क्योंकि केवल वही मन्दिर से बड़ा था। उन वचनों ने लोगों से क्या कहा? उन्होंने लोगों को मन्दिर से बाहर आने के लिए कहा—परमेश्वर पहले ही बाहर आ चुका था और उसमें अब और कार्य नहीं कर रहा था, इसलिए लोगों को मन्दिर के बाहर परमेश्वर के पदचिह्नों को ढूँढ़ना चाहिए और उसके नए कार्य में उसके कदमों का अनुसरण करना चाहिए। प्रभु यीशु मसीह के इस कथन की पृष्ठभूमि यह थी कि व्यवस्था के अधीन, लोग किसी ऐसी चीज़ के रूप में मन्दिर को देखने के लिए आए थे जो स्वयं परमेश्वर से भी बड़ा था। अर्थात्, लोग परमेश्वर की आराधना करने के बजाए मन्दिर की आराधना करते थे, इसलिए प्रभु यीशु मसीह ने उन्हें सावधान किया कि वे मूर्तियों की आराधना न करें, बल्कि परमेश्वर की आराधना करें क्योंकि वह सर्वोच्च है। इसलिए उसने कहाः “मैं दया से प्रसन्न होता हूँ, बलिदान से नहीं।” यह स्पष्ट है कि प्रभु यीशु की नज़रों में, व्यवस्था के अधीन अधिकांश लोग यहोवा की अब और आराधना नही करते थे, बल्कि मात्र बलिदान की प्रक्रिया से होकर जाते थे, और प्रभु यीशु ने निर्धारित किया था कि यह प्रक्रिया मूर्ति पूजा है। इन मूर्ति पूजकों ने मन्दिर को परमेश्वर से अधिक महान और उच्चतर रूप में देखा था। उनके हृदयों में केवल मन्दिर था, न कि परमेश्वर, और यदि वे मन्दिर को खो देते हैं, तो वे अपने निवास स्थान को भी खो देते हैं। मन्दिर के बिना उनके पास आराधना के लिए कोई जगह नहीं थी और वे बलिदानों को कार्यान्वित नहीं कर सकते थे। उनका तथाकथित निवास स्थान वहाँ है जहाँ से वे यहोवा परमेश्वर की आराधना के झण्डे तले संचालन करते थे, जहाँ उन्हें मन्दिर के टिके रहने और अपने स्वयं के क्रियाकलापों को करने की अनुमति दी जाती थी। उनके तथाकथित बलिदानों को चढ़ाना मन्दिर में उनकी सेवा आयोजित करने के बहाने बस उनके स्वयं के व्यक्तिगत शर्मनाक व्यवहारों को कार्यान्वित करने के लिए था। यही वह कारण था कि उस समय लोग मन्दिर को परमेश्वर से भी बड़ा देखते थे। क्योंकि वे मन्दिर को एक आड़ के रूप में, और बलिदानों को लोगों को धोखा देने और परमेश्वर को धोखो देने के लिए एक बहाने के रूप में उपयोग करते थे, इसलिए प्रभु यीशु ने लोगों को चेतावनी देने के लिए ऐसा कहा था। …
आगे, आओ हम पवित्रशास्त्र के इस अंश के इस अन्तिम वाक्य पर एक नज़र डालें: “मनुष्य का पुत्र तो सब्त के दिन का भी प्रभु है।” क्या इस वाक्य का कोई व्यावहारिक पक्ष है? क्या तुम लोग इसके व्यावहारिक पक्ष को देख सकते हो? हर एक बात जो परमेश्वर कहता है उसके हृदय से आती है, तो उसने ऐसा क्यों कहा? तुम लोग इसे कैसे समझते हो? हो सकता है तुम लोग इस वाक्य का अर्थ अब समझते हों, परन्तु उस समय बहुत से लोग नही समझते थे क्योंकि मनुष्यजाति बस उसी समय व्यवस्था के युग से बाहर निकली थी। उनके लिए, सब्त से बाहर निकलना एक कठिन बात थी, और सच्चा सब्त क्या होता है इसे समझने का तो ज़िक्र ही मत करो।
यह वाक्य “मनुष्य का पुत्र तो सब्त के दिन का भी प्रभु है” लोगों को बताता है कि परमेश्वर का सब कुछ अभौतिक है, और यद्यपि परमेश्वर तुम्हारी सारी भौतिक आवश्यकताओं को प्रदान कर सकता है, फिर भी जब एक बार तुम्हारी भौतिक आवश्यकताएँ पूरी कर दी जाती हैं, तो क्या इन चीज़ों से सन्तुष्टि तुम्हारी सत्य की खोज का स्थान ले सकती है? यह निःसन्देह संभव नहीं है! परमेश्वर का स्वभाव और उसका स्वरूप जिसके बारे में हमने संगति की है दोनों सत्य हैं। इसे भौतिक वस्तुओं की भारी कीमत के साथ भी नहीं तौला जा सकता है और न ही इसके मूल्य की पैसों में मात्रा निर्धारित की जा सकती है, क्योंकि यह कोई भौतिक वस्तु नहीं है, और यह हर एक व्यक्ति के हृदय की आवश्यकताओं की आपूर्ति करता है। प्रत्येक मनुष्य के लिए, इन अमूर्त सच्चाईयों का मूल्य ऐसी किसी भी भौतिक चीज़ से बढ़कर होना चाहिए जिसे तुम अच्छा समझते हो, ठीक है न? यह कथन कुछ ऐसा है जिस पर तुम लोगों को टिके रहने की आवश्यकता है। जो कुछ मैंने कहा है उसका मुख्य बिन्दु यह है कि परमेश्वर का स्वरूप और उसका सब कुछ हर एक व्यक्ति के लिए अति महत्वपूर्ण चीज़ें हैं और इन्हें किसी भौतिक पदार्थ के द्वारा बदला नहीं जा सकता है। मैं तुम्हें एक उदाहरण दूँगाः जब तुम्हें भूख लगती है, तो तुम्हें भोजन की आवश्यकता होती है। यह भोजन सापेक्ष रूप से अच्छा हो सकता है, या सापेक्ष रूप से कमी वाला हो सकता है, किन्तु जब तुम अपना पेट भर लेते हो, तो भूखे होने का वह अप्रिय एहसास अब और नहीं होगा—वह चला जाएगा। तुम वहाँ आराम से बैठ सकते हो, और तुम्हारा शरीर आराम में होगा। लोगों की भूख का भोजन से समाधान किया जा सकता है, किन्तु जब तुम परमेश्वर का अनुसरण करते हो, और तुम्हें यह एहसास होता है कि तुम्हें उसके बारे में कोई समझ नहीं है? तो तुम अपने हृदय के खालीपन का समाधान कैसे करोगे? क्या इसका समाधान भोजन से किया जा सकता है? या जब तुम परमेश्वर का अनुसरण कर रहे हो और उसकी इच्छा तुम्हारी समझ में नहीं आती है, तो तुम अपने हृदय की उस भूख को मिटाने के लिए किस चीज़ का उपयोग कर सकते हो? परमेश्वर के माध्यम से उद्धार के तुम्हारे अनुभव की प्रक्रिया में, अपने स्वभाव में किसी परिवर्तन की खोज करने के दौरान, यदि तुम उसकी इच्छा को नहीं समझते हो या यह नहीं जानते हो कि सत्य क्या है, और यदि तुम परमेश्वर के स्वभाव को नहीं समझते हो, तो क्या तुम बहुत व्याकुलता महसूस नहीं करते हो? क्या तुम अपने हृदय में एक बड़ी भूख और प्यास महसूस नहीं करते हो? क्या ये एहसास तुम्हें तुम्हारे हृदय में शांति महसूस करने से रोकते नहीं हैं? तो कैसे तुम अपने हृदय की उस भूख की क्षतिपूर्ति कर सकते हो—क्या इसका समाधान करने का कोई तरीका है? कुछ लोग खरीददारी करने के लिए बाज़ार चले जाते हैं, कुछ लोग भरोसा करने के लिए मित्रों को ढूँढ़ लेते हैं, कुछ लोग जी भरकर सोते हैं, अन्य लोग परमेश्वर के वचनों को और अधिक पढ़ते हैं, या अपने कर्तव्यों को निभाने के लिए कठिन मेहनत और अधिक प्रयास व्यय करते हैं। क्या ये चीज़े तुम्हारी वास्तविक कठिनाईयों का समाधान कर सकती हैं? तुम लोगों में से सभी इस प्रकार के अभ्यासों को पूर्णत: समझ लो। जब तुम निर्बलता महसूस करते हो, जब तुम परमेश्वर से प्रबुद्धता पाने की दृढ़ इच्छा महसूस करते हो ताकि वह तुम्हें उसकी सच्चाई और उसकी इच्छा की वास्तविकता को जानने की अनुमति दे सके, तो तुम्हें सबसे ज़्यादा किसकी आवश्यकता होती है? तुम्हें जिसकी आवश्यकता होती है वह भरपेट आहार नहीं है, और यह कुछ भले वचन नहीं हैं। उससे बढ़कर, यह देह का क्षणिक आराम और देह की सन्तुष्टि नहीं है—तुम्हें जिसकी आवश्यक है वह है कि परमेश्वर तुम्हें सीधे और स्पष्ट रूप से बताए कि तुम्हें क्या करना चाहिए और तुम्हें इसे कैसे करना करना चाहिए, और तुम्हें स्पष्ट रूप से बताए कि सत्य क्या है। तुम्हारे द्वारा इसे समझ लेने के बाद, भले ही यह थोड़ा सा ही क्यों ना हो, क्या तुम एक अच्छा भोजन कर लेने की तुलना में अपने हृदय में अधिक सन्तुष्टि महसूस नहीं करते हो? जब तुम्हारा हृदय सन्तुष्ट होता है, तो क्या तुम्हारा हृदय, तुम्हारा सम्पूर्ण व्यक्तित्व सच्ची शांति प्राप्त नहीं करता है? इस दृष्टान्त और विश्लेषण के द्वारा, क्या तुम लोगों को अब समझ में आया कि क्यों मैं तुम लोगों के साथ इस वाक्य को साझा करना चाहता था कि, “मनुष्य का पुत्र तो सब्त के दिन का भी प्रभु है”? इसका वह अर्थ है जो परमेश्वर से आता है, जो उसका स्वरूप है, और उसका सब कुछ किसी भी अन्य चीज़ से बढ़कर है, जिसमें वह चीज़ या वह व्यक्ति भी शामिल है जिस पर तुमने किसी समय विश्वास किया था और जिसे तुमने सबसे अधिक सँजोया था। अर्थात्, यदि मनुष्य परमेश्वर के मुँह के वचन प्राप्त नहीं कर सकते हैं या वे उसकी इच्छा को नहीं समझते हैं, तो वे शांति प्राप्त नहीं कर सकते हैं। अपने भविष्य के अनुभवों में, तुम लोग समझोगे कि मैं क्यों चाहता था कि आज तुम लोग इस अंश को देखो—यह बहुत महत्वपूर्ण है। सब कुछ जो परमेश्वर करता है वह सत्य और जीवन है। मनुष्य-जाति के लिए सत्य कोई ऐसी चीज़ है जिसकी उनके जीवन में कमी नहीं हो सकती है, जिसके बिना वे कभी कुछ नहीं कर सकते हैं; तुम ऐसा भी कह सकते हो कि यह सबसे बड़ी चीज़ है। यद्यपि तुम उसे देख या उसे छू नहीं सकते हो, फिर भी तुम्हारे लिए उसके महत्व की उपेक्षा नहीं की जा सकती है; यही वह एकमात्र चीज़ है जो तुम्हारे हृदय में शांति ला सकती है।
— “वचन देह में प्रकट होता है” से उद्धृत
स्रोत: सर्वशक्तिमान परमेश्वर की कलीसिया
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अनुशंसित: यीशु की कहानी—परमेश्वर के दिल की वाणी—बाइबल की कथाओं की व्याख्या
lyricstranslate.com/en/tickawinda-old-pendle-lyrics.html
Old Pendle, old Pendle, thou standest alone
Twixt Burnley and Clitheroe, Whalley and Colne
Where Hodder and Ribble’s fair waters meet
With Barley and Downham content at thy feet
Old Pendle, old Pendle, by moorland and fell
In glory and loveliness ever to dwell
Through life’s fateful journeys, where e’er we may be
We’ll pause in our labours and oft think on thee
When witches fly on a cold winter’s night
We won’t tell a soul and we’ll bolt the door tight
We’ll sit around the fire and we'll keep ourselves warm
Until once again we can walk on your arms
Old Pendle, old Pendle, majestic, sublime
Thy praises shall ring till the end of all time
Through life’s fateful journeys, where e’er we may be
We’ll pause in our labours and oft think on thee
Old Pendle, old Pendle, thou standest alone
Twixt Burnley and Clitheroe, Whalley and Colne
Where Hodder and Ribble’s fair waters meet
With Barley and Downham content at thy feet
clickeventonline.com/event/politica/150504-TheHonorableCa...
INTERVIEWER: Jaime Suchlicki, is the Emilio Bacardi Moreau Distinguished Professor and Director of the Institute for Cuban and Cuban-American Studies, University of Miami. He is also editor of “Cuban Affairs,” a quarterly electronic journal published by ICCAS, and the author of Cuba: from Columbus to Castro; Mexico: from Montezuma to the Rise of PAN; and of the recently published Breve Historia de Cuba. Dr. Suchlicki is a highly regarded consultant to the public and private sector in the U.S.
The Honorable Carlos Gutierrez, is Chair of Albright Stonebridge Group (ASG), a premier strategic advisory and commercial diplomacy firm. Secretary Gutierrez spent nearly thirty years with Kellogg Company. After assignments in Latin America, Canada, Asia, and the United States, he became President and Chief Executive Officer of Kellogg in 1999 − the youngest CEO in the company's hundred year history and in April 2000, was named Chairman of the Board. He also served as the 35th U.S. Secretary of Commerce from 2005 to 2009 under President George W. Bush. Secretary Gutierrez joined ASG from Citi, where he served as Vice Chairman of the Institutional Clients Group and as a member of the Senior Strategic Advisory Group. He serves on the Boards of Occidental Petroleum Corporation, MetLife, Time Warner, and Viridis Learning. Secretary Gutierrez is Chairman of the Board of Trustees of Meridian International Center, and a Member of the Board of the U.S.-Mexico Foundation. He is a member of George W. Bush Institute’s Human Freedom Advisory Council. Secretary Gutierrez also serves on the Advisory Committee for Presidential Leadership Scholars, a program established in partnership with the U.S. presidential centers of George W. Bush, Bill Clinton, George H.W. Bush and Lyndon B. Johnson. He is chairman of Republicans for Immigration Reform, the political action group that he co-founded in 2012. He also serves as a National Trustee at the University of Miami and as a non-resident scholar at the University’s Institute for Cuban and Cuban American Studies.
This Series is made possible thru a generous anonymous grant honoring Cesar L. Alvarez.
Cesar is the past Chief Executive Officer and current Chairman of Greenberg Traurig, LLP. During his 13 year tenure as CEO, which began in 1997, he led the firm to become one of the Top 10 law firms in the United States by the leading its growth from 325 lawyers in eight offices to approximately 1850 attorneys in more than 36 locations in the United States, Europe, Asia and Latin America. Under Cesar’s leadership and with the support of his partners, the firm was recognized as the fastest-growing law firm in the United States. Cesar was the only Hispanic to lead a Top 10 law firm in the United States. At the age of 13, Cesar immigrated from Cuba with his family to escape communism. After graduating from the University of Florida in 1972 with his Bachelor of Science, Master of Business Administration, and Juris Doctor, he joined Greenberg Traurig as its 13th lawyer. Before taking the helm as CEO, Cesar practiced securities, corporate and international law for more than 25 years. He has been recognized nationally and in his community for his professional, business and charitable leadership. Cesar has been honored as one of the "100 Most Influential Lawyers in America" by The National Law Journal in 1997, 2000, and 2006, as one of the top most powerful Hispanics by PODER's Power Issue, and among "The 25 Best Latinos in Business," Hispanic Magazine's Power Issue. He also has been honored with the Chambers and Partners’ "Lifetime Achievement" Award, American Bar Association’s "Spirit of Excellence" Award, and The Florida Bar’s “President’s Award of Merit.” He serves on the boards of Florida International University, University of Miami School of Law Visiting Committee, and Chairs the Florida International University College of Law Dean’s Advisory Council.
Este es el brazalete que presenté al concurso de Beads Perles
beads-perles.blogspot.com/2009/06/he-intentado-hacer-un-b...
cuyas piezas debían basarse en las exquisitas joyas de Todd Reed
En realidad, no sabía dónde me metía cuando pensé en hacer esta pieza; de la panzá a limar que me di no me quiero ni acordar, pero lo peor estaba por venir: el verdadero problema fue hacer todos los agujeros perfectamente alineados y a distancias exactas, porque quería que fueran esas anillas y no otras, y medio milímetro arriba o abajo hacía que no encajaran bien. Después de varias pruebas con taladradora de mano y desperdicio de material, tuve que comprar un pie fijo para sujetar la taladradora, y esa fue la solución, porque así pude hacerlos con una precisión inimaginable.
Está realizado con plata (oxidada la zona más oscura), pequeños cubos Miyuki de 1´8 mm., Gold Filled y símiles Swarovski.
Para hacer la foto, otro problema, porque los imanes de los cierres creaban unos campos magnéticos en todas las láminas, que hacían que se retrayeran y no se quedaran en su sitio...¡Ufff! si hago otro como éste no será más que con una pistola en la sien.
Muchas gracias por votar y participar. Y cómo no, también a La Tienda de las Cuentas: www.latiendadelascuentas.com/b2c/
Foto: Manuela Parreño
Anna! I am absolutely overwhelmed with what you sent me!!! Thank you just doesn't seem enough!!! Blogged
How about one of these.........
www.showrods.com/showrod_pages/calfornian.html
This is how Lino likes to supply me 'By Random Appointment' - which means, "Hey build on of these cars, and there is only one or two pictures, and about a paragraph of info."
So, here we go.
The Bradley Californian appears to be a customising kit for a scale-model car. The car base to customised appears to be a late-1960s Oldsmobile Toronado - this is indicated in part by the shape (including some detail formwork) and the mention of front-wheel-drive. The original car was designed by vehicle-customiser Harry Bradley. From my research it is not clear whether this car was ever built as a full-size concept - but you'd have to imagine so, given the existence of the model kit.
What else can I add?
I really like the nose - very period Pontiac, and quite aggressive. The free-standing headlamps - a motif used at a similar time as the ultra-exclusive Stutz Motor Corporation product - looks less weird than it sounds. I really like the bladed fender fronts - a design element I went to great trouble to work into the design.
Along the side, I don't mind the side window treatment and the side-mount exhaust. The triple-bladed red glass treatment is distinctive, but seems to not sit ideally with the rest of the design - so I haven't made up my mind yet.
Then we get to the back.
Boomerang tail lamps are ok. But these small rear wings are a big fail. Not only do they not add any function, but they would likely be damaged very easily, are likely to slice your stomach when putting things in the trunk, and plain look weird.
Overall though - quite a solid effort, and generally quite restrained (aside from the wings).
Production photo.Starring William Shatner, Leonard Nimoy, DeForest Kelley, James Doohan, George Takei, Majel Barrett, Walter Koenig, Nichelle Nichols, Persis Khambatta, Stephen Collins, Grace Lee Whitney, and Mark Lenard. Directed by Robert Wise.
putlocker.bz/watch-star-trek-the-motion-picture-online-fr... Full Feature
Plot Contains Spoilers:
In Klingon space, three Klingon battle cruisers encounter a huge cloud-like anomaly. On the bridge of one of the ships, the captain (Mark Lenard) orders his crew to fire torpedoes at it, but they have no effect. The ships take evasive action.
Meanwhile, in Federation space, a monitoring station, Epsilon 9, picks up a distress signal from one of the Klingon ships. As the three ships are attempting to escape the cloud, energy beams shoot out and engulf each ship one by one, and they vanish. On Epsilon 9, the crew tracks the course of the cloud and discovers that it is headed for Earth.
On Vulcan, Spock (Leonard Nimoy) has been undergoing the kohlinahr ritual, in which he has been learning how to purge all of his emotions, and is nearly finished with his training. A female Vulcan Master (Edna Glover), surrounded by two men, is about to give him an ornate necklace as a symbol of pure logic, when Spock holds out his hand to stop her. Confused, she mind-melds with him and senses a consciousness calling to him from space that is affecting his human side. She drops the necklace. "You have not yet achieved kohlinahr. You must look elsewhere for your answer," she says as they leave Spock. "You will not find it here."
In San Francisco, Admiral James T. Kirk (William Shatner) arrives at Starfleet Headquarters in a shuttlecraft. He sees Commander Sonak (Jon Rashad Kamal), a Vulcan science officer who is joining the Enterprise crew and recommended for the position by Kirk himself. Kirk is bothered as to why Sonak is not on board yet. Sonak explains that Captain Willard Decker (Stephen Collins), the new captain of the Enterprise, wanted him to complete his science briefing at Headquarters before they left on their mission. The Enterprise has been undergoing a complete "refitting" for the past 18 months and is now under final preparations to leave, which would take at least 20 hours, but Kirk informs him that they only have 12. He tells Sonak to report to him on the Enterprise in one hour; he has a short meeting with Admiral Nogura and is intent on being on the ship.
Kirk transports to an office complex orbiting Earth and meets Montgomery Scott (James Doohan), the Enterprise's chief engineer. Scotty expresses his concern about the tight departure time. The cloud is less than three days away from Earth, and the Enterprise has been ordered to intercept it because they are the only ship in range. Scotty says that the refit can't be finished in 12 hours, and tries to convince him that the ship needs more work done as well as a shakedown cruise. Kirk insists that they are leaving, ready or not. They board a travel pod and begin the journey over to the drydock in orbit that houses the Enterprise.
Scotty tells Kirk that the crew hasn't had enough transition time with all the new equipment and that the engines haven't even been tested at warp power, not to mention that they have an untried captain. Kirk tells Scotty that two and a half years as Chief of Starfleet Operations may have made him a little stale, but that he wouldn't exactly consider himself untried. Kirk then tells a surprised Scotty that Starfleet gave him back his command of the Enterprise. Scotty doubts it, saying that he doesn't think it was that easy with Admiral Nogura, who gave Kirk his orders. They arrive at the Enterprise, and Scotty indulges Kirk with a brief tour of the new exterior of the ship.
Upon docking with the ship, Scotty is summoned to Engineering. Kirk goes up to the bridge, and is informed by Lt. Uhura (Nichelle Nichols) that Starfleet has just transferred command from Captain Decker over to him. Kirk finds Decker in engineering, whom is visibly upset when Kirk breaks the news that he is assuming command, but recognizes it is because Kirk has more experience. Decker will remain on the ship as 2nd officer. As Decker storms off, an alarm sounds. Someone is trying to beam over to the ship, but the transporter is malfunctioning. Kirk and Scotty race to the transporter room. Transporter operator Janice Rand (Grace Lee Whitney) is frantically trying to tell Starfleet to abort the transport, but it is too late. Commander Sonak and an unknown female officer are beaming in, but their bodies aren't re-forming properly in the beam. The female officer screams, and then their bodies disappear. Starfleet signals to them that they have died. Kirk tells Starfleet to express his sympathies to their families.
In the corridor, Kirk sees Decker and tells him they will have to replace Commander Sonak and wants another Vulcan. Decker tells him that no one is available that is familiar with the ship's new design. Kirk tells Decker he will have to double his duties as science officer as well.
In the recreation room, as Kirk briefs the assembled crew on the mission, they receive a transmission from Epsilon 9. Commander Branch (David Gautreaux) tells them they have analyzed the mysterious cloud. It generates an immense amount of energy and measures 2 A.U.s (300 million km) in diameter. There is also a vessel of some kind in the center. They've tried to communicate with it and have performed scans, but the cloud reflects them back. It seems to think of the scans as hostile and attacks them. Like the Klingon ships earlier, Epsilon 9 disappears.
Later on the bridge, Uhura informs Kirk that the transporter is working now. Lt. Ilia, (Persis Khambatta), a bald being from the planet Delta IV, arrives. Decker is happy to see her, as they developed a romantic relationship when he was assigned to her planet several years earlier. Ilia is curious about Decker's reduction in rank and Kirk interrupts and tells her about Decker being the executive and science officer. Decker tells her, with slight sarcasm, that Kirk has the utmost confidence in him. Ilia tells Kirk that her oath of celibacy is on record and asks permission to assume her duties. Uhura tells Kirk that one of the last few crew members to arrive is refusing to beam up. Kirk goes to the transporter room to ensure that "he" beams up.
Kirk tells Starfleet to beam the officer aboard. Dr. Leonard "Bones" McCoy (DeForest Kelley) materializes on the platform. McCoy is angry that his Starfleet commission was reactivated and that it was Kirk's idea for him to be brought along on the mission. His attitude changes, however, when Kirk says he desperately needs him. McCoy leaves to check out the new sickbay.
The crew finishes its repairs and the Enterprise leaves drydock and into the solar system. Dr. McCoy comes up to the bridge and complains that the new sickbay is nothing but a computer center. Kirk is anxious to intercept the cloud intruder, and orders Hikaru Sulu (George Takei) to go to warp speed. Suddenly, the ship enters a wormhole, which was created by an engine imbalance, and is about to collide with an asteroid that has been pulled inside. Kirk orders the phasers to be fired on it, but Decker tells Pavel Chekov (Walter Koenig) to fire photon torpedoes instead. The asteroid and the wormhole are destroyed. Annoyed, Kirk wants to meet with Decker in his quarters. Dr. McCoy decides to go along.
Kirk demands an explanation from Decker. Decker pointed out that the redesigned Enterprise channeled the phasers through the main engines and because they were imbalanced, the phasers were cut off. Kirk acknowledged that he had saved the ship; however, he accuses Decker of competing with him. Decker tells Kirk that, because of his unfamiliarity with the ship's new design, the mission is in jeopardy. Decker tells Kirk that he will gladly help Kirk understand the new design. Kirk then dismisses him from the room. In the corridor, Decker runs into Ilia. Ilia asked if the confrontation was difficult, and he tells her that it was about as difficult as seeing her again, and apologizes. She asked if he was sorry for leaving Delta IV, or for not saying goodbye. He said that if he had seen her again, would she be able to say goodbye? She says "no," and walked around him and entered her quarters nearby.
Back in Kirk's quarters, McCoy accuses Kirk of being the one who was competing, and the fact that it was Kirk who used the emergency to pressure Starfleet into letting him get command of the Enterprise. McCoy thinks that Kirk is obsessed with keeping his command. On Kirk's console viewscreen, Uhura informs Kirk that a shuttlecraft is approaching and that the occupant wishes to dock. Chekov also pipes in and replies that it appears to be a courier vessel. Kirk tells Chekov to handle the situation.
The shuttle approaches the Enterprise from behind, and the top portion of it detaches and docks at an airlock behind the bridge. Chekov is waiting by the airlock doors and is surprised to see Spock come aboard. Moments later, Spock arrives on the bridge, and everyone is shocked and pleased to see him, yet Spock ignores them. He moves over to the science station and tells Kirk that he is aware of the crisis and knows about the ship's engine design difficulties. He offers to step in as the science officer. McCoy and Dr. Christine Chapel (Majel Barret Roddenberry) come to the bridge to greet Spock, but Spock just stares alarmingly at their emotional outburst. Spock leaves to discuss fuel equations with Scotty in engineering.
With Spock's assistance, the engines are now rebalanced for full warp capacity. The ship successfully goes to warp to intercept the cloud. In the officers lounge, Spock meets with Kirk and McCoy. They discuss Spock's kohlinahr training on Vulcan, and how Spock broke off from his training to join them. Spock describes how he sensed the consciousness of the intruder, from a source more powerful that he has ever encountered, with perfect, logical thought patterns. He believes that it holds the answers he seeks. Uhura tells Kirk over the intercom that they have visual contact with the intruder.
The cloud scans the ship, but Kirk orders no return scans. Spock determines that the scans are coming from the center of the cloud. Uhura tries sending "linguacode" messages, but there is no response. Decker suggests raising the shields for protection, but Kirk determines that that might be considered hostile to the cloud. Spock analyzes the clouds composition, and discovers it has a 12-power energy field, the equivalent of power generated by thousands of starships.
Sitting at the science station, Spock awakens from a brief trance. He reveals to Kirk that the alien was communicating with him. The alien is puzzled; it contacted the Enterprise--why has the Enterprise not replied? A red alert sounds, and an energy beam from within the cloud touches the ship, and begins to overload the ship's systems. Bolts of lightning surround the warp core and nearly injure some engineering officers, and Chekov is also hurt--his hand is burned while sitting at the weapons station on the bridge. The energy beam then disappears. A medical team is summoned to the bridge, and Ilia is able to use her telepathic powers to soothe Chekov's pain.
Spock confirms to Kirk that the alien has been attempting to communicate. It communicates at a frequency of more than one million megahertz, and at such a high rate of speed, the message only lasts a millisecond. Spock programs to computer to send linguacode messages at that frequency. Another energy beam is sent out, but Spock transmits a message just in time, and the beam disappears. The ship continues on course through the cloud. They pass through many expansive and colorful cloud layers and upon clearing these, a giant vessel is revealed. It is roughly cylindrical in shape, with large spikes jutting out from the surface at equidistant angles between each other, forming a hexagon-like shape.
Kirk tells Uhura to transmit an image of the alien to Starfleet, but she explains that any transmission sent out of the cloud is being reflected back to them. Kirk orders Sulu to fly above and along the top of the vessel. The Enterprise is so small compared to the size of the alien vessel that it appears only as a little white dot next to it. The ship travels past many oddly-shaped structures, including a sunken area where the energy beams originate.
An alarm sounds, and yet another energy bolt approaches the ship. It appears on the bridge as a column of bright light that emits a very loud noise. The crew struggles to shield their eyes from its brilliant glow. Chekov asks Spock if it is one of the alien's crew, and Spock replies that it is a probe sent from the vessel. The probe slowly moves around the room and stops in front of the science station. Bolts of lightning shoot out from it and surround the console--it is trying to access the ship's computer. Spock manages to smash the controls to prevent further access, and the probe gives him an electric shock that sends him rolling onto the floor. The probe approaches the helm/navigation console and it scans Lt. Ilia. Suddenly, she vanishes, along with the probe.
Ahead of the ship looms another giant section of the vessel. A tractor beam is drawing the Enterprise toward an opening aperture. Decker calls for Chief DiFalco (Marcy Lafferty) to come up to the bridge as Ilia's replacement. The ship travels deep into the next chamber. Decker wonders why they were brought inside--they could have been easily destroyed outside. Spock deduces that the alien is curious about them. Uhura's monitor shows that the aperture is closing; they are trapped. The ship is released from the tractor beam and suddenly, an intruder alert goes off. Someone has come aboard the ship and is in the crew quarters section.
Kirk and Spock arrive inside a crewman's quarters to discover that the intruder is inside the sonic shower. It is revealed to be Ilia, although it isn't really her--there is a small red device attached to her neck. In a mechanized voice, she replies "You are the Kirk unit--you will listen to me." She explains that she has been programmed by an entity called "V'Ger" to observe and record the normal functions of the carbon-based units (humans) "infesting" the Enterprise. Kirk opens the shower door and "Ilia" steps out, wearing a small white garment that just materialized around her. Dr. McCoy and a security officer enter the room, and Kirk tells McCoy to scan her with a tricorder.
Kirk asks her who V'Ger is. She replies "V'Ger is that which programmed me." McCoy tells Kirk that Ilia is a mechanism and Spock confirms she is a probe that assumed Ilia's physical form. Kirk asks where the real Ilia is, and the probe states that "that unit" no longer functions. Kirk also asks why V'Ger is traveling to Earth, and the probe answers that it wishes to find the Creator, join with him, and become one with it. Spock suggests that McCoy perform a complete examination of the probe.
In sickbay, the Ilia probe lays on a diagnostic table, its sensors slowly taking readings. All normal body functions, down to the microscopic level, are exactly duplicated by the probe. Decker arrives and is stunned to see her there. She looks up at him and addresses him as "Decker", rather than "Decker unit," which intrigues Spock. Spock talks with Kirk and Decker in an adjoining room, and Spock locks the door. Spock theorizes that the real Ilia's memories and feelings have been duplicated by the probe as well as her body. Decker is angry that the probe killed Ilia, but Kirk convinces him that their only contact with the vessel is through the probe, and they need to use that advantage to find out more about the alien. Suddenly, the probe bursts through the door, and demands that Kirk assist her with her observations. He tells her that Decker will do it with more efficiency.
Decker and Ilia are seen walking around in the recreation room. He shows her pictures of previous ships that were named Enterprise. Decker has been trying to see if Ilia's memories or emotions can resurface, but to no avail. Kirk and McCoy are observing them covertly on a monitor from his quarters. Decker shows her a game that the crew enjoys playing. She is not interested and states that recreation and enjoyment has no meaning to her programming. At another game, which Ilia enjoyed and nearly always won, they both press one of their hands down onto a table to play it. The table lights up, indicating she won the game, and she gazes into Deckers eyes. This moment of emotion ends suddenly, and she returns to normal. "This device serves no purpose."
"Why does the Enterprise require the presence of carbon units?" she asks. Decker tells her the ship couldn't function without them. She tells him that more information is needed before the crew can be patterned for data storage. Horrified, he asks her what this means. "When my examination is complete, all carbon units will be reduced to data patterns." He tells her that within her are the memory patterns of a certain carbon unit. He convinces her to let him help her revive those patterns so that she can understand their functions better. She allows him to proceed.
Spock slowly enters an airlock room. He sees an officer standing at a console, his back to Spock. Spock quietly approaches him, and gives him the Vulcan nerve pinch to render him unconscious.
Decker, the probe, Dr. McCoy, and Dr. Chapel are in Ilia's quarters. Dr. Chapel gives the probe a decorative headband that Ilia used to wear. Chapel puts it over "Ilia's" head and turns her toward a mirror. Decker asks her if she remembers wearing it on Delta IV. The probe shows another moment of emotion, saying Dr. Chapel's name, and putting her hand on Decker's face, calling him Will. Behind them, McCoy reminds Decker that she is a mechanism. Decker asks "Ilia" to help them make contact with V'Ger. She says that she can't, and Decker asks her who the Creator is. She says V'Ger does not know. The probe becomes emotionless again and removes the headband.
Spock is now outside the ship in a space suit with an attached thruster pack. He begins recording a log entry for Kirk detailing his attempt to contact the alien. He activates a panel on the suit and calculates thruster ignition and acceleration to coincide with the opening of an aperture ahead of him. He hopes to get a better view of the spacecraft interior.
Kirk comes up to the bridge and Uhura tells him that Starfleet signals are growing stronger, indicating they are very close to Earth. Starfleet is monitoring the intruder and notifies Uhura that it is slowing down in its approach. Sulu confirms this and says that lunar beacons show the intruder is entering into orbit. Chekov tells Kirk that Airlock 4 has been opened and a thruster suit is missing. Kirk figures out that Spock has done it, and orders Chekov to get Spock back on the ship. He changes his mind, and instead tells him to determine his position.
Spock touches a button on his thruster panel and his thruster engine ignites. He is propelled forward rapidly, and enters the next chamber of the vessel just before the aperture closes behind him. The thruster engine shuts down, and the momentum carries Spock ahead further. He disconnects the thruster pack from his suit and it falls away from him.
Continuing his log entry, Spock sees an image of what he believes to be V'Gers home planet. He passes through a tunnel filled with crackling plasma energy, possibly a power source for a gigantic imaging system. Next, he sees several more images of planets, moons, stars, and galaxies stored and recorded. Spock theorizes that this may be a visual representation of V'Gers entire journey. "But who or what are we dealing with?" he ponders.
He sees the Epsilon 9 station, and notes to Kirk that he is convinced that all of what he is seeing is V'Ger; and that they are inside a living machine. Then he sees a giant image of Lt. Ilia with the sensor on her neck. Spock decides it must have some special meaning, so he attempts to mind-meld with it. He is quickly overwhelmed by the multitude of images flooding his mind, and is thrown backward.
Kirk is now in a space suit and has exited the ship. The aperture in front of the Enterprise opens, and Spock's unconscious body floats toward him. Later, Dr. Chapel and Dr. McCoy are examining Spock in sickbay. Dr. McCoy performs scans and determines that Spock endured massive neurological trauma from the mind-meld. Spock tells Kirk he should have known and Kirk asks if he was right about V'Ger. Spock calls it a conscious, living entity. Kirk explains that V'Ger considers the Enterprise a living machine and it's why "Ilia" refers to the ship as an entity and the crew as an infestation.
Spock describes V'Ger's homeworld as a planet populated by living machines with unbelievable technology. But with all that logic and knowledge, V'Ger is barren, with no mystery or meaning. He momentarily lapses into sleep but Kirk rouses him awake to ask what Spock should have known. Spock grasps Kirk's hand and tells him "This simple feeling is beyond V'Ger's comprehension. No meaning, no hope. And Jim, no answers. It's asking questions. 'Is this all that I am? Is there nothing more?'"
Uhura chimes in and tells Kirk that they are getting a faint signal from Starfleet. The intruder has been on their monitors for a while and the cloud is rapidly dissipating as it approaches. Sulu also comments that the intruder has slowed to sub-warp speed and is three minutes from Earth orbit. Kirk acknowledges and he, McCoy and Spock go up to the bridge.
Starfleet sends the Enterprise a tactical report on the intruders position. Uhura tells Kirk that V'Ger is transmitting a signal. Decker and "Ilia" come up to the bridge, and she says that V'Ger is signaling the Creator. Spock determines that the transmission is a radio signal. Decker tells Kirk that V'Ger expects an answer, but Kirk doesn't know the question. Then "Ilia" says that the Creator has not responded. An energy bolt is released from V'Ger and positions itself above Earth. Chekov reports that all planetary defense systems have just gone inoperative. Several more bolts are released, and they all split apart to form smaller ones and they assume equidistant positions around the planet.
McCoy notices that the bolts are the same ones that hit the ship earlier, and Spock says that these are hundreds of times more powerful, and from those positions, they can destroy all life on Earth. "Why?" Kirk asks "Ilia." She says that the carbon unit infestation will be removed from the Creator's planet as they are interfering with the Creator's ability to respond and accuses the crew of infesting the Enterprise and interfering in the same manner. Kirk tells "Ilia" that carbon units are a natural function of the Creator's planet and they are living things, not infestations. However "Ilia" says they are not true life forms like the Creator. McCoy realizes V'Ger must think its creator is a machine.
Spock compares V'Ger to a child, and suggests they treat it like one. McCoy retorts that this child is about to wipe out every living thing on Earth. To get "Ilia's" attention, Kirk says that the carbon units know why the Creator hasn't responded. The Ilia probe demands that the Creator "disclose the information." Kirk won't do it until V'Ger withdraws all the orbiting devices. In response to this, V'Ger cuts off the ship's communications with Starfleet. She tells him again to disclose the information. He refuses, and a plasma energy attack shakes the ship. McCoy tells Spock that the child is having a "tantrum."
Kirk tells the probe that if V'Ger destroys the Enterprise, then the information it needs will also be destroyed. Ilia says that it is illogical to withhold the required information, and asks him why he won't disclose it. Kirk explains it is because V'Ger is going to destroy all life on Earth. "Ilia" says that they have oppressed the Creator, and Kirk makes it clear he will not disclose anything. V'Ger needs the information, says "Ilia." Kirk says that V'Ger will have to withdraw all the orbiting devices. "Ilia" says that V'Ger will comply, if the carbon units give the information.
Spock tells Kirk that V'Ger must have a central brain complex. Kirk theorizes that the orbiting devices are controlled from there. Kirk tells "Ilia" that the information cant be disclosed to V'Ger's probe, but only to V'Ger itself. "Ilia" stares at the viewscreen, and, in response, the aperture opens and drags the ship forward with a tractor beam into the next chamber. Chekov tells Kirk that the energy bolts will reach their final positions and activate in 27 minutes. Kirk calls to Scotty on the intercom and tells him to stand by to execute Starfleet Order 2005; the self-destruct command. A female crewmember asks Scotty why Kirk ordered self-destruct, and Scotty tells her that Kirk hopes that when they explode, so will the intruder.
The countdown is now down to 18 minutes. DiFalco reports that they have traveled 17 kilometers inside the vessel. Kirk goes over to Spock's station, and sees that Spock has been crying. "Not for us," Kirk realizes. Spock tells him he is crying for V'Ger, and that he weeps for V'Ger as he would for a brother. As he was when he came aboard the Enterprise, so is V'Ger now--empty, incomplete, and searching. Logic and knowledge are not enough. McCoy realizes Spock has found what he needed, but that V'Ger hasn't. Decker wonders what V'Ger would need to fulfill itself.
Spock comments that each one of us, at some point in our lives asks, "Why am I here?" "What was I meant to be?" V'Ger hopes to touch its Creator and find those answers. DiFalco directs Kirk's attention to the viewscreen. Ahead of them is a structure with a bright light. Sulu reports that forward motion has stopped. Chekov replies that an oxygen/gravity envelope has formed outside of the ship. "Ilia" points to the structure on the screen and identifies it as V'Ger. Uhura has located the source of the radio signal and it is straight ahead. A passageway forms outside the ship as Kirk Spock, McCoy, Decker, and "Ilia" enter a turbolift.
The landing party exits an airlock on the top of the saucer section and walks up the passageway. At the end of the path is a concave structure, and in the center of it is an old NASA probe from three centuries earlier. Kirk tries to rub away the smudges on the nameplate and makes out the letters V G E R. He continues to rub, and discovers that the craft is actually Voyager 6. Kirk recalls the history of the Voyager program--it was designed to collect data and transmit it back to Earth. Decker tells Kirk that Voyager 6 disappeared through a black hole.
Kirk says that it must have emerged on the far side of the galaxy and got caught in the machine planet's gravity. Spock theorizes that the planet's inhabitants found the probe to be one of their own kind--primitive, yet kindred. They discovered the probe's 20th century programming, which was to collect data and return that information to its creator. The machines interpreted that instruction literally, and constructed the entire vessel so that Voyager could fulfill its programming. Kirk continues by saying that on its journey back, it amassed so much knowledge that it gained its own consciousness.
"Ilia" tells Kirk that V'Ger awaits the information. Kirk calls Uhura on his communicator and tells her to find information on the probe in the ship's computer, specifically the NASA code signal, which will allow the probe to transmit its data. Decker realizes that that is what the probe was signaling--it's ready to transmit everything. Kirk then says that there is no one on Earth who recognizes the old-style signal--the Creator does not answer.
Kirk calls out to V'Ger and says that they are the Creator. "Ilia" says that is not logical--carbon units are not true life forms. Kirk says they will prove it by allowing V'Ger to complete its programming. Uhura calls Kirk on his communicator and tells him she has retrieved the code. Kirk tells her to set the Enterprise transmitter to the code frequency and to transmit the signal. Decker reads off the numerical code on his tricorder, and is about to read the final sequence, but Voyager's circuitry burns out, an effort by V'Ger itself to prevent the last part of the code from being transmitted.
"Ilia" says that the Creator must join with V'Ger, and turns toward Decker. McCoy warns Kirk that they only have 10 minutes left. Decker figures out that V'Ger wanted to bring the Creator here and transmit the code in person. Spock tells Kirk that V'Ger's knowledge has reached the limits of the universe and it must evolve. Kirk says that V'Ger needs a human quality in order to evolve. Decker thinks that V'Ger joining with the Creator will accomplish that. He then goes over to the damaged circuitry and fixes the wires so he can manually enter the rest of the code through the ground test computer. Kirk tries to stop him, but "Ilia" tosses him aside. Decker tells Kirk that he wants this as much as Kirk wanted the Enterprise.
Suddenly, a bright light forms around Decker's body. "Ilia" moves over to him, and the light encompasses them both as they merge together. Their bodies disappear, and the light expands and begins to consume the area. Kirk, Spock, and McCoy retreat back to the Enterprise. V'Ger explodes, leaving the Enterprise above Earth, unharmed. On the bridge, Kirk wonders if they just saw the beginning of a new life form, and Spock says yes and that it is possibly the next step in their evolution. McCoy says that its been a while since he "delivered" a baby, and hopes that they got this one off to a good start.
Uhura tells Kirk that Starfleet is requesting the ship's damage and injury reports and vessel status. Kirk reports that there were only two casualties: Lt. Ilia and Captain Decker. He quickly corrects his statement and changes their status to "missing." Vessel status: fully operational. Scotty comes on the bridge and agrees with Kirk that it's time to give the Enterprise a proper shakedown. When Scotty offers to have Spock back on Vulcan in four days, Spock says that's unnecessary, as his task on Vulcan is completed.
Kirk tells Sulu to proceed ahead at warp factor one. When DiFalco asks for a heading, Kirk simply says "Out there, thataway." With that, the Enterprise flies overhead and engages warp drive.
/ Germany / Baden-Wurttemberg / Tubinga / Castle
inside
www.uni-tuebingen.de/museum-schloss/aktuell.html#schlossf...
define:
castle, Schloß , Burg , Château
a large building formerly occupied by a ruler
and fortified against attack
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Erstmals wird die Burg, das castrum twingia, 1078 erwähnt. Kaiser Heinrich IV. belagerte damals auf seinem Rückweg von Canossa vergeblich die Festung, die Graf Hugo von Tübingen hielt, ein Verbündeter des Gegenkönigs Herzog Rudolf.
Sie dürfte die Fläche des heutigen Schlosshofes eingenommen haben. Hier residierten die im 12. Jahrhundert zu Pfalzgrafen ernannten Grafen von Tübingen, bis sie aus Geldmangel Burg und Stadt 1301 an das Kloster Bebenhausen verpfänden und schließlich 1342 an die Grafen von Württemberg verkaufen mussten. Wenige Jahre nach dem Tod des Universitätsgründers Graf Eberhard im Bart 1496 begann sein Nachfolger Herzog Ulrich mit ersten Umbauten. Die eigentliche Umgestaltung zu einem Renaissanceschloß erfolgte jedoch erst in den Jahren 1534-1550 nach Ulrichs Rückkehr aus 15 Jahre währendem Exil. Entscheidende Ergänzung erfuhr die Anlage schließlich unter Herzog Friedrich I. in den Jahren 1604-1607 durch den Bau des unteren Schlosstores und der östlichen Bastionen. Schon 1188 ist die Johanneskapelle auf dem Burgberg erwähnt. Sie ist somit die älteste urkundlich bekannte Kirche Tübingens. Beim Neubau des Schlosses wurde sie in den Südflügel integriert. Seit 1815 untersteht sie der württembergischen Landeskirche. Noch heute üben hier die angehenden Tübinger evangelischen Theologen das Predigen. Besonders beeindruckend ist das holzgetäfelte Tonnengewölbe aus der Mitte des 17. Jahrhunderts. Die Wandmalereien, die Gobelins vortäuschen, wurden im späten 19. Jahrhundert aufgebracht. Die Gemälde sind Werke des frühen 18. Jahrhunderts.
Die Kapelle ist nicht für die Öffentlichkeit zugänglich.
Sie kann jedoch über die evangelische Landeskirche Stuttgart zu Hochzeiten etc. in Anspruch genommen werden.
Bilder vom Innern der Kapelle folgen.
_____________
attack this castle of Tübingen, but he failed
here:
1. Henry IV, Holy Roman Emperor
The beginning of the conflict known as the Investiture Controversy can be assigned to Christmas night of 1075: Gregory was kidnapped and imprisoned by Cencio I Frangipane, a Roman noble, while officiating at Santa Maria Maggiore in Rome. Later freed by Roman people, Gregory accused Henry of having been behind the attempt.
In 1075 Gregory excommunicated some members of the Imperial Court, and threatened to do the same with Henry himself.
He stood in the snow outside the gates of the castle of Canossa for three days, from 25 January to 27 January 1077, begging the pope to rescind the sentence (popularly portrayed as without shoes, taking no food or shelter, and wearing a hairshirt - see Walk of Canossa). The Pope lifted the excommunication, imposing a vow to comply with certain conditions, which Henry soon violated.
On his return to Swabia he tried to attack this castle of Tübingen, but he failed here too.
1076 Investiturstreit – der Streit um die Einsetzung der Bischöfe in nicht nur ihre kirchlichen Ämter, sondern auch in die damit verbundenen Ämter der Reichsverwaltung –
Heinrich IV - seine Auseinandersetzung mit Papst Gregor VII. und sein Gang nach Canossa gelten als Höhepunkt des Investiturstreits. - wollte es nach dem Gang nach Canossa einnehmen, vergeblich.
Gregor VII. befürchtete das Anrücken eines kaiserlichen Heeres Heinrich des IV und wollte einer Begegnung mit Heinrich ausweichen, zog sich deshalb auf die gut befestigte Burg Canossa der Markgräfin Mathilde von Tuszien zurück.
--
1076 La pénitence de Canossa
Grégoire VII déclare Henri IV déchu et l'excommunie ; s'étant rebellé contre la souveraineté de l'Église, il ne peut plus être roi. Celui qui refuse ainsi l'obéissance au représentant de Dieu et fréquente d'autres excommuniés est de fait déchu de sa souveraineté. En conséquence, tous ses sujets sont déliés de l'allégeance qu'ils lui ont prêtée.
-
En échange de son pardon, il obtient le droit de venir en Germanie et l'assurance que le différend entre les princes et le roi serait soumis à son arbitrage
Sur son retour à Swabia il a essayé d'attaquer ce château de Tübingen, mais il a échoué ici aussi.
--
dust and fog
Nebel am hereinbrechenden Abend
Measured EV0.41
-
Focus Mode Manual Focus (3), infinity, unendlich
-
distance: ~ 2500 meters
-
Focal Length
70.6 mm x 5.6 =~ 395 mm analog 35 mm
ISO Speed 400
vom Bergfriedhof aus aufgenommen
Lagu Pujian - Semua yang dengan Tulus Mengasihi Tuhan adalah Orang Jujur
Bait 1
Murni dan jujur, seperti anak kecil yang polos,
cemerlang dan penuh vitalitas muda,
mereka hanya mengasihi Tuhan, bebas dari daging, seperti malaikat yang datang ke dunia.
Tanpa tipu daya, hanya hati terbuka, mereka bermartabat.
Mereka memberikan hati kepada Tuhan dan memperoleh kepercayaan-Nya.
Mereka adalah orang-orang jujur yang dikasihi Tuhan.
Refrain
Biarkan firman Tuhan membimbing kita setiap hari,
maka kita diberkati dan Roh Kudus memimpin kita.
Kita menerima pengawasan Tuhan, hidup di hadapan-Nya.
Sungguh-sungguh mengasihi Tuhan berarti bersukacita.
Orang-orang jujur memperoleh keselamatan Tuhan dan memasuki kerajaan,
mereka akan hidup bersama Tuhan selamanya.
Kerajaan Kristus adalah surga bagi orang-orang jujur.
Dan itulah rumah mereka yang indah.
Bait 2
Semua yang mencintai kebenaran memiliki hati yang jujur dan pasti akan diberkati Tuhan.
Kita bersukacita dalam melakukan kebenaran.
Dengan menaati Tuhan, hati kita damai.
Kita takut akan Tuhan dan menjauhi kejahatan, hidup oleh firman Tuhan.
Hidup dalam firman Tuhan, kita telah dibebaskan.
Mengasihi Tuhan berarti sepenuhnya bahagia.
Refrain
Biarkan firman Tuhan membimbing kita setiap hari,
maka kita diberkati dan Roh Kudus memimpin kita.
Kita menerima pengawasan Tuhan, hidup di hadapan-Nya.
Sungguh-sungguh mengasihi Tuhan berarti bersukacita.
Orang-orang jujur memperoleh keselamatan Tuhan dan memasuki kerajaan,
mereka akan hidup bersama Tuhan selamanya.
Kerajaan Kristus adalah surga bagi orang-orang jujur.
Dan itulah rumah mereka yang indah.
Bait 3
Penghakiman dan hajaran Tuhan telah mentahirkanku, aku telah menjadi orang jujur yang menyenangkan Tuhan.
Aku korbankan diri untuk Tuhan dan tak meminta imbalan apa pun, aku merenungkan kehendak Tuhan dengan hati dan jiwaku.
Mengasihi Tuhan mendatangkan ketenangan dan kesenangan.
Kita hidup dengan mudah saat kita bertindak sesuai firman Tuhan.
Hanya Tuhan dan kebenaran yang ada di hati kita.
Firman Tuhan telah menjadi keseluruhan hidup kita.
Refrain
Biarkan firman Tuhan membimbing kita setiap hari,
maka kita diberkati dan Roh Kudus memimpin kita.
Kita menerima pengawasan Tuhan, hidup di hadapan-Nya.
Sungguh-sungguh mengasihi Tuhan berarti bersukacita.
Orang-orang jujur memperoleh keselamatan Tuhan dan memasuki kerajaan,
mereka akan hidup bersama Tuhan selamanya.
Kerajaan Kristus adalah surga bagi orang-orang jujur.
Dan itulah rumah mereka yang indah.
Rekomendasi:
🎦 Film Kristen Kisah nyata "UMAT KERAJAAN SURGA" Hanya menjadi orang jujur dapat memasuki kerajaan surga
SALKANTAY TREK TO MACHU PICCHU
7 DAYS - 6 NIGHTS
SALKANTAY TREK TO MACHU PICCHU
7 DAYS - 6 NIGHTS
The amazing Salkantay trek to Machupicchu is one of the famous treks in Cusco and the best alternative route to get to Machupicchu. It is takes you through different types of landscapes from the typical Andean landscape up to the snowcapped mountains and down to the tropical forests and finally gets you into the jungle, Salkantay trek named among the 25 best Treks in the World, by National Geographic Adventure Travel Magazine
If you are thinking to do a hiking trip to Machupicchu and you want to be off of the beaten path and be in touch with the nature; Salkantay trek is the best option. Hiking 75 kilometers = 46 miles and reaching the famous Apacheta (mountain offerings) pass 4621masl = 15160ft which is the highest point of the Salkantay trek: enjoying the amazing view during the hike from Mollepata town to Soraypampa base camp at knee of the Umantay mountain. Then to go up to the highest point to enjoy the view of outstanding snow-capped Salkantay mount. This was one of the most important Apus in the Inca period! Then you are going dawn to Chaullay through the beautiful scenery and then go to Santa Teresa to jump into the natural and medicinal hot spring. And finally we reach to Aguas Calientes town for overnight in the hotel and the last day of your adventure you will get up too early to be the firsts ones up in Machupicchu and enjoy the sunrise.
OVERVIEW
Highlight: Hiking alongside the magnificent Apu Salkantay and then arriving at the ruins of Machu Picchu.
Location: The Salkantay trek begins 3 hours drive west of Cusco, Peru. We pass the village of Mollepata and begin hiking at Sayllapata.
Duration: 7 days/ 6 nights
Level: Moderate to Challenging
Adventure Rating: Given the new restrictions on the Inca trail, Salkantay is the second most popular hike in the region and some of the campsites are less remote than on other trails.
Modality: Trekking, Archaeological and Cultural
Ideal for: Adventure Seekers, Couples , Friends, Nature Lovers, Intrepid People
Altitude: 2,800 masl to 4,650 masl
Inka Trail alternative: Yes, the Salkantay trek is an excellent option.
Departure Dates: Daily departures
All private service departure dates are adapted to your request
Trekkers Wanted: If you wish to join a group tour, please see Next Departures 2014.You can also form your own tour to be advertised on this page. Maximum group size 10.
ITINERARY - SALKANTAY TREK TO MACHU PICCHU 7 DAYS - 6 NIGHTS
DAY 1: : Transfer Airport - Cusco Hotel, City Tour(Afternoon)
See and hear about the 6 archaeological sites of Cusco - the Cathedral, Koricancha (Temple of the Sun), Sacsayhuaman, Q'enqo, Pucapucara and Tambomachay.
DAY 2: Sacred Valley Tour (Full Day)
Visit the Sacred Valley of the Incas on this full-day monumental tour.
Sacred Valley Itinerary:
Visit Pisac Market & Ruins
Ollantaytambo
Chinchero
Chinchero Market
DAY 3: Cusco - Mollepata - Marcocasa - Soraypampa.
We will pick you up from your hotel in Cusco from 5: 00 am to 5:30 am to go by bus to Mollepata. Begin a spectacular scenic drive through the Anta plains with beautiful and panoramic views of the majestic Salkantay and other mountains covered with snow, and the Valley of Apurimac River. After two and a half hours drive we stop in Mollepata to have breakfast for last minute supplies, leg-stretching or to use the bathrooms, before continuing to Marcocasa. There we will meet with our support staff. They will load the equipment on horses and mules. Around 9:30 a.m. we will star our trek toward Soraypampa (3900 meters above sea level) if we keep a regular pace we will take 4 hours approximately to reach to Soraypampa the first camp site where will have lunch after lunch in the afternoon we have an option to go up to Umantay lake (4200masl) which takes 3 hours hike back and forth from the camp to see the glacier lake of Umantay. But if we keep slow pace; we will have lunch at halfway between Soraypampa and Marco Casa maybe after 3 hours of hiking. And after that we hike two a half hours more to Soraypampa. Anyway our camp is going be at Soraypampa. Sleeping tents will be ready and we will have a warm delicious dinner in the evening.
Meals: Lunch, Dinner.
Overnight: Soraypampa in the tents.
Maximum Altitude: 3850 masl.
Minimum Altitude: 2850 masl.
Hiking distance: 14 km approx.
DAY 4: Soraypampa - Salkantay Pass - Huayramachay – Chaullay
Today early in the morning we will wake you up with the coca tea. Around 6:00 we will have a nutritious breakfast around 7:00 am we will start the hardest day of the whole Salkantay trek; we will be walking up to the highest point of the trek. After 6 kilometers uphill through the magnificent scenery of Rocky Mountains and enjoying the view of Salkantay mount. We reach the top of the trek. We will appreciate spectacular views of the mountains and the imposing snowy peaks of the Salkantay (6264 meters above sea level) which is known as the second highest mountain of the Cusco region. After 2 hours downhill around 1:00 p.m. we will have our delicious Peruvian lunch, in the area called Huayracmachay. Then we continue our hike to Chaullay approximately 3 hours of downhill we will get to our camp in Chaullay = 2900 masl Where we will have the sleeping tents ready. Around 7: 00 pm we will have dinner to recover energy from the trek.
Meals: Breakfast, Lunch, Dinner.
Overnight: Chaullay in the tents.
Maximum Altitude: 4650 masl.
Minimum Altitude: 2920 masl.
hiking distance: 20km to Chaullay.
DAY 5: Chaullay - Collpapampa - La Playa - Santa Teresa (Cola de Mono Campsite)
Around 7:30 am; we will start our trek to La Playa through the Santa Teresa valley. We will hike 6 hours approximately during the hike will see: water fall, orchids, coffee, banana, avocado plantations and we will taste the famous passion fruit or granadilla and also we will see a village call Colpapampa also call the “forest cloudy brow” where waterfalls, thermal hot springs, fruit-bearing trees, varied flora, and birds can be observed. If we are lucky, we will be able to see the famous bird called “the Cock of the Rocks”. After lunch at La playa, we will catch a local transportation to Santa Teresa. Where will have an overnight at “cola de mono” campsite. We are the only trekking company allow camping there. In the afternoon we may go to Santa Teresa´s hot spring to enjoy it. Then back at the campsite for happy hours and dinner.
Meals: Breakfast, Lunch, Dinner.
Overnight: Santa Teresa “cola de mono campsite” in the tents.
Maximum Altitude: 2920 masl.
Minimum Altitude: 1600 masl.
Hiking distance: 15km approx.
DAY 6: Santa Teresa (Cola de Mono Campsite) - Hidroeléctrica - Aguas Calientes
After of our delicious breakfast we are going to walk approximately 7 hours. Around 8:30 a.m. we start our trek to Colpani village we will have the opportunity to see coca farms, mandarin, orange and yucca. And a lovely view of the Santa Teresa Valley. We follow along the riverside of Vilcanota River until arrive to the Oroya (cable bridge) then we keep going to Hidroelectrica where will have our lunch. After lunch we going to walk along the train track but on the base of Machupicchu and Waynapicchu Mountain from the way we will see Machupicchu. After two a half hours hike we will be at Aguas Calientes town: base town of Machupicchu for overnight in the hotel and dinner at the local restaurant.
Meals: Breakfast, Lunch, Dinner.
Overnight: in Aguas Calientes at the hotel which included in the package.
Maximum Altitude: 2350 masl.
Minimum Altitude: 2000 masl.
Hiking distance: 18 km approx.
DAY 7: Aguas Calientes - Machu Picchu - Ollantaytambo – Cusco
Today early in the morning after breakfast at the hotel you will be able to choose between. Walk up to Machupicchu. Or take bus up to Machupicchu. Any way we will be the first ones into Machupicchu to enjoy the sunrise and you will have two a half hours guided tour. Then you will have the free time to explore Machupicchu by yourselves or if you desire, ascent toward the Huaynapicchu Mountain. Or climb to Machupicchu montaña. After Machupicchu you are going back to Aguas Calientes to take a train to Ollantaytambo and from there by bus back to Cusco. The bus drops you off at your hotel in Cusco.
Meals: Breakfast.
WHAT IS INCLUDED?
Hoteles in Cusco
Day 1: City Tour Half Day
Day 2: Sacred Valley Tour Full Day
Pre-departure briefing at the office in Cusco
Collection from your hotel in the morning and transfer in private transportation to Marcocasa (starting point of the trek).
Personal tents: 2 people in each 4-people-capacity tent, to allow for higher comfort and a safe keeping of backpacks. Our tents are 3-season, highly maintained to ensure an excellent performance in field. Kailas, Pro Aconcagua and Rei 4 Outfitter tents are employed when double accommodation is requested.
One sleeping pad per person.
1 Blanket. Or Liner.
One pillow per person.
Dining tent with tables and chairs
Kitchen tent
English speaking professional and official tourist guide (2 guides for groups of over 10 people)
1 night accommodation in Aguas Calientes
Chef and cooking equipment
Pack animals (to carry tents, food and cooking equipment) – days 1 to 4
Pack animals to carry personal gear up to a maximum of 7kg per person (including sleeping pad and sleeping bag) – days 1 to 4
1 emergency horse every 8 persons – days 1 to 3
Accommodation for all our staff
Meals (4B, 4L, 4D + daily morning snack + daily tea service except last day). Vegetarian or special menus are available at no extra cost
One textile snack bag per person, to avoid the usage of plastic bags that contaminate our environment
Boiled filtered water every day since the first lunch. For your water bottles.
Bio-degradable personal hand soaps
Bio-degradable dishwashing detergents used by our kitchen staff
Others: hot water every morning and evening for washing purposes / boiled water to fill in your water bottle every morning and night, and at lunch time if requested with enough time ahead
First-aid kit including emergency oxygen bottle
Machupicchu entrance fee
One way bus ticket from Aguas Calientes to Machupicchu on day 4
Expedition Train from Aguas Calientes to Cusco. Upgrade to Vistadome or Hiram Bingham service, availability upon request.
Transfer from train station to the hotel in Cusco
24-h guest service: please ask for the emergency number available during your time of visit.
WHAT IS NOT INCLUDED?
Entrance fees - You need to purchase the Boleto de Turistico at the first site you enter (Soles 130 per person; valid for 10 days and allows you entrance into 16 various sites around Cusco and the Sacred Valley).
Entrance to visit the Cathedral of Cusco. S/25 Soles
Entrance to Visit Coricancha. S/ 10 Soles
Meals in Cusco
Day 3: breakfast on day one.
Lunch on the last day after the guided tour at Machu Picchu
Walking Sticks
Sleeping bag: you may rent it from us. Our sleeping bags are -20ºC-comfort (0ºF), mummy form and include a sleeping liner. They are cleaned after every use and have a maximum usage of 30 trips.
OPTIONAL AND RENTALS
Extra night in Aguas Calientes $50 (or email us for alternate options). We will just need to arrange your train back to Cusco for the following day.
Please tell us before final booking process.
Personal horse and horsemen for riding or carrying extra personal belongings while on the trek.
Extra cost is $80 for the trek.
Therma-rest inflatable sleeping pad rent: US$ 5.00 per day
Entrance to the Hot Springs in Santa Teresa.
With grateful acknowledgement to the Roll of Honour (RoH) web-site that served as the starting point for my research.
www.roll-of-honour.com/Norfolk/Martham.html
Allen, Frederick………………………………………………(RoH)
Driver 60648. "B" Battery, 57th Brigade Royal Field Artillery. Died on 31st March 1919. Aged 33. Son of John Frederick and Jane Allen, of Martham, Norfolk; husband of Beatrice Allen, of 142, Colney Hatch Lane, Muswell Hill, London. Buried: Mikra British Cemetery, Kalamaria, Greece. Ref. 1329.
CWGC: www.cwgc.org/search/casualty_details.aspx?casualty=340311
Picture Norfolk – no match
1901 Census. There is a 15 year old Frederick E, born Martham, Norfolk, whose relationship to the head of the household, John S Waddell, (aged 30 Grocer, Draper and Clothier Shop Keeper from Stirling, Scotland) is recorded as a Servant. However his occupation is given as Assistant Grocer and Draper. The household concerned is Bon Marche, Snape Road, Leiston, Suffolk – which sounds like the family and shop assistants were living on the premises. John Waddell has four children, the youngest of which is only one, all of whom were born Martham. He has three other live-in shop assistants, with one of them born Martham – sounds very much like he moved wholesale from a shop in Martham within the last 12 months.
As Frederick wasn’t living with his family, I went back to the 1891 census, when the 5 year old Frederick was living at White Street, Martham. This was the household of his parents, John, (aged 31 and a Prudential Assurance Agent from Southwark, Surrey) and Sarah, (aged 30 and from Upton, Norfolk). Their other children are:-
Jane…………..aged 7………….born Martham
Walter………..aged 4………….born Martham
Alice…………aged u/1………..born Martham
Additional info (November 2015) - see comments below
Bracey, William Daniel………………………………………….(RoH)
Private 19913. 7th Battalion Norfolk Regiment. Died of wounds on 8th May 1917. Aged 19. Born Martham. Enlisted Gt. Yarmouth. Son of Albert Ernest and Henrietta Bracey, of Morse House, Martham, Norfolk. Buried: Faubourg D'Amiens Cemetery, Arras, Pas de Calais, France. Ref. V. D. 26.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=283548
Picture Norfolk – no match
1911 Census. There is a William Bracey born Martham circa 1898 who was recorded in the Flegg District that covers the village. He doesn’t appear to be on the 1901 census. Absent also is Albert and Henrietta. Henrietta is on the 1911 census in the Flegg district but there is still no Albert.
The Commonwealth section of the FAUBOURG D'AMIENS CEMETERY was begun in March 1916, behind the French military cemetery established earlier. It continued to be used by field ambulances and fighting units until November 1918. The cemetery was enlarged after the Armistice when graves were brought in from the battlefields and from two smaller cemeteries in the vicinity.
www.cwgc.org/search/cemetery_details.aspx?cemetery=28800&...
The Battalion had sustained a number of casualties in an attack on the 29th/30th April and Private Bracey could have been one of those. They returned to the same sector of the front between the 4th to 8th May, with casualties every day - the Battle of Arras was winding down into a stalemate.
Extract from the Battalion War Diary for this last period.
4th May 1917 Monchy Wood.
News was received this morning that the attack made by the 36th + 37th Infantry Brigades had been unsuccessful. A slight advance had been made by the 36th Infantry Bde. At 9 pm tonight the 35th Infantry Bde relieved the 37th Infantry Bde with the 7:Norolk regt in the front line, 9:Essex Regt in support. 7:Suffolk Regt + 5:R.Berks Regt in reserve. The 7:Norfolk Regt relieved the Queens + Royal W. Kents in RIFLE TRENCH+MONCHY TRENCH with Battn HQ in MONCHY WOOD. Relief was complete by twelve midnight.
(Side note - On the way up to the front line, the Bn came under heavy shelling. 2nd Lieut C F W Nash was wounded, O.R’s 1 killed, 6 wounded).
5th May 1917 Monchy Wood 11pm
There has been no work done on the trenches since the 7:Norfolk Regt was relieved on April 30th and it is still dangerous to go to the front line from Bn HQ in daylight. Tonight large working parties of the Essex Regt, Pioneers and R.Es beside our own parties are working on new trenches and on the C.T to the Front Line. 2nd Lieut. H English was wounded by rifle fire while out supervising the digging of a new trench.
6th May 1917 Monchy Wood. 11pm.
The enemy shelled MONCHY TRENCH (Support Line) and the vicinity of Bn HQ during the day, knocking out a Vickers Gun crew and causing two casualties to ourselves - 1 killed + 1 wounded. Working is in progress tonight as last night and all trenches should be complete by daylight tomorrow.
7th May 1917 Monchy Wood. 11pm.
The enemy bombarded our Support Line and Bn HQ intensely + at short intervals throughout last night + this morning. Retaliation was obtained from our Field Guns + Heavies.
2nd Lieut K R POTTER, commanding “A” Coy, was wounded by shrapnel in the face during the afternoon.
At about 10 pm the 5’ Royal Berkshire Regt.began to relieve the 7’Norfolk Regt in the front line. Our relief companies moved off independently to the BROWN LINE.
8th May 1917 Brown Line 11pm.
About 1 am this morning, the enemy shelled the BROWN LINE. Major H L GIELGUD was wounded in the shoulder and later 3 men were killed and 12 others severely wounded. The remainder of the day has passed uneventfully. The batteries in rear of BROWN LINE were shelled at intervals but we have sustained no further casualties. We found a working party of 250 other ranks for work under OC 7’ Suffolk Regt at 9pm tonight.
Additional info (November 2015) - see comments below
Brown, Arthur………………………………………………………(RoH)
RoH - No further information available at present.
Picture Norfolk – no match
Arthur’s recorded in the Flegg District on the 1911 census
Arthur born Winterton circa 1903
Reginald Arthur born Caister on Sea circa 1902
Update November 2015 - now identified - see comments below
Brunson (Arthur) Frederick………………………………………..(RoH)
Second Hand 519 SA. H.M.S. City of London Royal Naval Reserve. Died on 12th March 1919. Aged 26. Son of Mr. and Mrs. James Brunson, of Repps Rd., Martham, Great Yarmouth. Buried: Martham (St. Mary) Churchyard Extension. Ref. F. 42
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=2802653
(Arthur Frederick)
Norlink – no match
The 8 year old Arthur F. born Martham, was recorded on the 1901 census at Somerton Road, Martham. This is the household of his parents, James W, (aged 33 and a Labourer on Farm&Garden) and Ellen (aged 32 and from Salhouse). Their other children are:-
Dora……………………..aged 10
Elsie M…………………..aged 4
James……………………aged 6
Sydney…………………..aged 2
The normally reliable Naval Net site has no record of this individual, so it is likely that he had already been demobilised at this time. The Spanish Flu was rampant during this period- (see the later entry for Redvers Turner on Panel 3)
The death of an Arthur F Brunson, aged 26, was recorded in the Flegg District of Norfolk, (which covers Martham) in the January to March 1919 quarter.
Additional info (November 2015) - see comments below
Brunson, John Dyball………………………………………………………(RoH)
Able Seaman 199115. H.M.S. Coquette Royal Navy. Died on 7th March 1916. Born circa 1883 at Martham. Listed as a Crew Member, Ordinary Seaman, in the 1901 census, aged 18, born Martham. Son of Calara Brunson (widow in 1891 census), brother of Ethel, Charles and Ann. Commemorated: Chatham Naval Memorial, Kent. Column 16.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=3050685
Norlink – no match
Coquette, old destroyer
MINED AND SUNK IN COMPANY IN NORTH SEA
www.naval-history.net/xDKCas1916-03Mar.htm
Additional info (November 2015) - see comments below
Dyball, Leslie Uric………………………………………………………..(RoH)
Private 28318. 1st Battalion Wiltshire Regiment. Formerly T4/084429 Royal Army Service Corps. Killed in action in France & Flanders on 23rd October 1918. Aged 26. Born and lived Martham. Enlisted Norwich. Father of Phyllis Dyball. Buried: Ovillers New Communal Cemetery, Solesmes, Nord, France. Ref. A. 7/26.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=336212 (L.U.)
Norlink – no match
The 9 year old Leslie U, born Martham, was recorded on the 1901 census at Hemsby Road, Norwich. This was the household of his grandparents, Thomas, (aged 69 and a Farmer from West Somerton) and Maria, (aged 65 and from Martham). Also in the household is another grand-son, Frank C. (aged 17 and a Railway Porter from Catfield). Thomas and Maria also have a married daughter living with them, Naomi L, Harriss (aged 22 and born Martham) along with her husband, Walter, (aged 25 and a Carpenter and Wheelwright from Filby) and their children :- Dorothy M. (aged 1) and Walter A, (aged 3), both born Martham.
23rd October 1918
02.00. Battn in conjunction with 7th Battn Leicestershire Regt on the left and 64th Inf Bde on the right attacked red dotted line W of OVILLERS and red line W of VENDIGIES-AU-BOIS. Battn succeeded in taking all its objectives and held them until 6th Battn The Leicestershire Regt and 62nd Inf Bde went through to capture further objectives. Casualties: Killed Officers. 2nd Lieuts H R Palmer & H B Cooper. Ors 23. Wounded Officers Lieut W J E Ross, 2nd Lieuts E G Blackmore and H Aston. Ors 120. Missing Officers Nil. ORS 7. 16.00 Battn took over defence of RED LINE. Battn HQ established at E.23c.8.2. (Map sheet 57b.NE)
Dyball, Lewis Ernest………………………………………………………(RoH)
Corporal 15937. 9th Battalion Norfolk Regiment, attd. Trench Mortar Battery. Killed in action in France & Flanders on 1st December 1916 (CD gives 1st December 1917) Born Martham. Enlisted Norwich. Buried: Woburn Abbey Cemetery, Cuinchy, Pas de Calais, France. Ref. I. E. 20.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=594279(shown as L E)
The Great War Roll of Honour records the death of Private 15937 Lewis Dyball of the Norfolk Regiment in 1916.
Norlink – no match
On the 1901 census, the 5 year old “Louis E” is recorded at Hemsby Road, Martham. This is the household of his parents, Edgar E, (aged 26 and a Farmers Son from Martham) and Elizabeth R, (aged 27 and from Chesham, Surrey). Their other children are:-
Edgar J G………………aged u/1………born Martham
Edith S M………………aged 2………..born Martham
Marjorie N……………..aged 4………..born Martham
On the 1911 one, a Lewis E, born circa 1896 Martham, is recorded in the Flegg District that covers the village.
Futter, Robert Benjamin…………………………………………………..(RoH)
Private 15510. 9th Battalion Norfolk Regiment. Killed in action in France & Flanders on 15th September 1916. Born Martham. Enlisted Great Yarmouth. Commemorated: Thiepval Memorial, Somme, France. Pier and Face 1 C and 1 D.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=750499
Norlink – no match
The 5 year old Robert, born Martham, is recorded on the 1901 census at Black Street, Martham. This is the household of his parents, Henry, (aged 39 and a Builder from Martham) and Alberta (?), (aged 38 and from Gt.Yarmouth). Their other children are:-
Alberta……………aged 10………born Martham
Edward……………aged 6……….born Martham
Emily……………..aged 14………born Martham
Flora………………aged 3……….born Martham
John………………aged 12………born Martham
Maud……………..aged 19………born Martham….Dressmaker
Thomas………….aged 17……….born Martham…..Carpenter
Family headstone in the Church yard
In Loving Memory of
Henry
The beloved husband of
Arletta Futter
Who passed away Dec.6th 1938
Aged 77(?) years
Also of the above Arletta
Who passed away Aug.2nd 1958
Aged 98 years
Re-united
Also of Robert
Son of the above
Killed in Action in France
15th September 1916
Aged 2? Years
15th September 1916 Battle of the Somme
The last great Allied effort to achieve a breakthrough came on 15 September in the Battle of Flers-Courcelette with the initial advance made by 11 British divisions (nine from Fourth Army, two Canadian divisions on the Reserve Army sector) and a later attack by four French corps.
The battle is chiefly remembered today as the debut of the tank. The British had high hopes that this secret weapon would break the deadlock of the trenches. Early tanks were not weapons of mobile warfare—with a top speed of 2 mph (3.2 km/h), they were easily outpaced by the infantry—but were designed for trench warfare. They were untroubled by barbed wire obstacles and impervious to rifle and machine gun fire, though highly vulnerable to artillery. Additionally, the tanks were notoriously unreliable; of the 49 tanks available on 15 September, only 32 made it to the start line, and of these, only 21 made it into action
en.wikipedia.org/wiki/Battle_of_Flers-Courcelette
An intense preliminary bombardment began on 12 September and at 6.20am on Friday 15 September the advance began in mist and smoke. XIV Corps attack, on the extreme right, where hopes of breakthrough were pinned, fared badly; 56th Division and 6th Division lost heavily as tanks and artillery support failed to neutralise vital defensive positions
www.cwgc.org/somme/content.asp?menuid=27&id=27&me...
151 Soldiers of the 9th Battalion appear to have died on this day using the (late lamented) Geoff‘s Search Engine on the CWGC database.
Garman, Harry…………………………………………………………….(RoH)
Private 2247. 1st/4th Battalion East Yorkshire Regiment. Killed in action in France & Flanders on 18th June 1915. Aged 26. Born Norwich. Lived Great Yarmouth. Enlisted Hull. Railway Porter by trade. Son of William [Railway Gateman - 1901 census] and Elizabeth Garman, of 42, Gatehouse, Martham, Great Yarmouth; brother of Blanche (below). Commemorated: Ypres (Menin Gate) Memorial, Ieper, West-Vlaanderen, Belgium. Panel 21 and 31.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=930467
Norlink – no match
The 13 year old Harry, born Norwich and already working as Labourer on Farm, is recorded on the 1901 census at No.42. Gatehouse, Martham. This is the household of his parents, William, (aged 39 and a Railway Gate Man from Aylsham), and Elizabeth, (aged 32 and from Norwich). Their other children are:-
Blanch…………aged 3…………..born Holt …see below
Ernest………….aged 10…………born Norwich
George…………aged 17………..born Norwich……..Railway Porter
Nellie………….aged 8…………born Holt
William………..aged 6…………born Holt
See below for details from Blanche’s headstone.
Garman, Blanche…………………………………………………………(RoH)
Blanche was suffering from Chlorosis, which is a severe form of anaemia which turns to complexion green and can weaken the heart. Whilst workng as a tractor driver in the Land Army her tractor caught fire which resulted in her having a fatal heart attack, between April and June 1919 [GRO reference Flegg 4 b 45]. Aged 21, born 1898 at Holt. Daughter of William [Railway Gateman - 1901 census] and Elizabeth Garman, of 42, Gatehouse, Martham, Great Yarmouth; sister of Harry (above).
Norlink – no match
See brother Harry above for census details.
Blanche is buried in the Churchyard. Her headstone reads
BLANCHE ELIZABETH
The beloved daughter of William and Elizabeth Garman, died June 30th 1919, aged 21 years.
Also of their son
PRIVATE HARRY W.GARMAN ??? E.Yorks
Killed in Action near Ypres
June 18th 1915
Aged 26 years.
Gymer, William……………………………………………………………(RoH)
Private 43219. 1st Battalion Norfolk Regiment. Died of wounds in France & Flanders on 21st September 1916. Aged 19. Son of William and Laura Gymer, of Cess, Martham, Norfolk. Buried: Grove Town Cemetery, Meaulte, Somme, France. Ref. I. H. 14.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=31135
Norlink – no match
The four year old William, born Martham, is recorded on the 1901 census at Cess, Martham. This is the household of his parents, William, (aged 39 and a Coal Carter from Martham) and Laura, (aged 39 and from East Ruston).They also have another son, Arthur E. (aged 6 and from Martham), while Laura has a son prior to marrying William as there is a Walter Watson, (aged 9 and born Martham) whose relationship to William is shown as Step Son.
From a family headstone in the churchyard
In loving memory of
Private WILLIAM GYMER ???Norfolk Regiment
The beloved son of William & Ann Mary Gymer
Killed in action Sept.21st 1916
Aged 19 years.
Buried in the British Military Cemetery, Groves Town.
Also of
HARRIET, the beloved wife of WILLIAM GYMER
Died August 9th 1885 Aged 23 years
Also of
ANN MARY his second wife
Died December 14th 1899 Aged 30 years
Also 2 children died in infancy
GROVE TOWN CEMETERY, MEAULTE
In September 1916, the 34th and 2/2nd London Casualty Clearing Stations were established at this point, known to the troops as Grove Town, to deal with casualties from the Somme battlefields.
www.cwgc.org/search/cemetery_details.aspx?cemetery=3200&a...
From an article in the EDP in 2009
This prolonged carnage on the Somme, one of the lowest points of that war, has resurfaced as the result of a phone call to a former Gorlestonian from a Norfolk family that lost young men in the mud of France in 1916.
Mike King, now of Lowestoft, tells me: “In 1983 an old friend and long-time Gorleston neighbour, Henry Leonard (“Pop”) Gymer, died, aged 80. Later his daughter Lily rang to ask me to visit her at her home off Southtown Road so she could give me some items relating to her father, found in his loft, because she knew of my interest in local and family history.
“Those items made up a small archive of artefacts from the First World War, including: four medals and gold-printed scroll relating to Private John James Gymer, Imperial War Graves Commission book on Grove Town Cemetery in France, 20 postcards of wrecked villages in the Somme area, parcel wrapper sent home from France, and photographs of a large group of people on a railway station and of wooden crosses in a war cemetery.
“Lily explained that John James Gymer was Pop's older brother who was killed fighting on the Somme. The cemetery book's index included an adjacent entry that was also a Gymer, and Lily said these young Gymer men were cousins.”
Recently Mr King researched the Gymers, discovering that James John Gymer. born in 1896 in Martham, lived with his parents, Henry John and Georgiana, and younger siblings Lily and Henry junior in Anson Road, Southtown. On joining the Norfolk Regiment he was assigned to the 9th Battalion.
Also, his cousin, William Gymer, born 1897, lived with his parents, William and Laura Gymer, and siblings at Cess, Martham. He too joined the Norfolk Regiment as a private, assigned to the 1st Battalion. Henry John and William senior were brothers, sons of John and Sarah Gymer, of Martham. The Gymer family had been in the Damgate area of Martham for several generations.
Mr King mused: “Did James John and William junior know each other? It is possible, but by the 1901 census Henry and Georgiana had moved with their children to Anson Road, before James was four. Certainly they would have known of each other's existence. Maybe either family got on the M&GN Railway at Beach Station in Yarmouth, or Martham, to visit one another!”
He wonders if the Gymer cousins, who fought in that epic Battle of the Somme, were aware they were fighting in the same area? “Were they in touch with each other? We will never know.”
“William was the first casualty, killed outright in September, aged 19. James lasted nine more days before dying of wounds although it is possible he was wounded in action much earlier. By coincidence they are buried in adjacent rows in the Grove Town Cemetery.
“The bodies of the fallen were moved there in April 1917 and the cemetery was immediately closed. This cemetery contains the bodies of 1366 UK soldiers, 14 from Australia, one from New Zealand and one from France as well as 36 German prisoners.
“The two photographs are quite poignant and I imagine they were hung on a wall in the family home. About 1920, the Government paid for relatives to visit the graves of their loved ones and the first shows a group - mainly female (mothers and widows presumably), on platform one at Thorpe Station in Norwich - of relatives of Norfolk Regiment casualties.
“Many folk from the Yarmouth area were in this group but the only one I can identify is the lady on the extreme right with a white shawl, Georgiana Gymer. In all probability her sister-in-law Laura Gymer is near her. Those who remember Pop Gymer will see that he was the spitting image of his mother!
“The second photograph is of the grave itself, marked with a temporary wooden cross. Georgiana had put a wreath on the cross with the words 'From his dear mother…' Her umbrella and other personal items can be seen leaning against the cross. “
The name of James appears on the war memorial in St George's Park, Yarmouth, and that of William is on the war memorial in Martham churchyard.
www.edp24.co.uk/news/casualties_of_the_somme_recalled_1_5...
Hayton, George…………………………………………………..(RoH)
Private 6930. 9th Battalion Norfolk Regiment. Killed in action in France & Flanders on 15th July 1918. Aged 36. Born Martham. Enlisted Norwich. Son of George and Emma Hayton, of Martham, Norfolk. Buried: La Clytte Military Cemetery, Heuvelland, West-Vlaanderen, Belgium. Ref. V. E. 1.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=438432 (G)
Norlink – no match
The 18 year old George W., born Martham, and employed as a Carpenters Labourer, was recorded on the 1901 census at Black Street, Martham. This was the household of his parents, George, (aged 48 and a Parish Clerk and Gardener from Martham) and Harriet, (aged 50 and from Ingham, Norfolk). Their other children are:-
Edmund J ………aged 15…….born Martham…….Engineers Labourer
George W……….aged 13…….born Martham…….Carpenters Labourer
James A…………aged 13…….born Martham
Leopold…………aged 17…….born Martham…..Agricultural Labourer
Ruth…………….aged 10……..born Martham
Hodds, John Spencer……………………………………………………(RoH)
Private 18711. 2nd Battalion Norfolk Regiment. Killed in action in Mesopotamia on 22nd April 1916. Aged 35. Born Martham. Enlisted Norwich. Husband of Lilian Maud Hodds, of Repps Rd., Martham, Great Yarmouth, Norfolk. Commemorated: Basra Memorial, Iraq. Panel 10.
CWGC www.cwgc.org/search/casualty_details.aspx?casualty=866036
Norlink – no match
The 19 year old John, born Martham and employed as an Agricultural Labourer is recorded on the 1901 census at Piggins Yard, Martham. This is the household of his widowed Grandmother, Mary Utting, (aged 74 and a Charwoman from Repps cum Bastwick). Also in the household is John’s brother, William, aged 17 and also an Agricultural Labourer from Martham. On the 1891 census, the 10 year old John is recorded at 2 Repps Road, Martham, the household of his parents Charles, (aged 43 and a General Labourer from Martham) and Elizabeth, (aged 40 and from Martham). As well as William and John, there is a Frederick, (13), Gertrude, (5), Edward (3) and Mildred, (2 months) – all born Martham.
To protect the British owned oil fields in Persia and to stop Turkish domination of the Middle East an Indian Expeditionary Force was sent to the Persian Gulf. As part of this Force the Norfolk Regiment left Belgaum for Bombay under the command of Lieu-Colonel E C Peebles and boarded HM Transport Elephanta on 6 November1914. The 2nd Norfolks arrived at Seniyeh in the Persian Gulf on 15 November 1914 and joined the 18th Brigade, which consisted of the 7th Rajput's, 110th Mahratta Light Infantry and 120th Rajputana Infantry.
www.stephen-stratford.co.uk/pte_wilby.htm
After some initial, (but costly) victories , the Allied force were eventually forced to retreat, and out-manoeuvred, found themselves trapped inside the city of Kut. Most of the 2nd Battalion was caught inside the city walls, although a few were outside, and together with the remnants of another holed up battalion from the Dorset Regiment, formed a composite unit, the “Norsets”, which was involved in several attempts to lift the siege.
The Siege of Kut
During the siege of Kut which lasted for 5 months aircraft were first used to try and drop supplies to the garrison. The aircraft could not carry enough supplies some were shot down and the attempt ended in failure. The Turks used aircraft more successfully in bombing the town, many troops having been wounded were then killed in hospital by an air raid. Several attempts were made to break out across the river on floating bridges, but as the river was in flood at this time of the year the attempts failed. Radio contact with the outside world was kept up until the end.
Towards the end of the siege the daily ration for British troops was reduced to ten ounces of bread and one pound of horse or mule flesh. Indian troops who refused to eat flesh were dying of scurvy at the rate of 10 to 20 a day. In all 1746 people died during the siege from wounds or disease.
Kut falls
On 29 April 1916 Kut surrendered to the Turks. After agreeing terms, Townshend marched his troops out into captivity, and certain death for most of them. Most of the Arabs left in Kut were hanged by the Turks for helping the British.
www.stephen-stratford.co.uk/pte_wilby.htm
On 22nd April the Norsets (part of the 21st Brigade) were in the marsh area trying to relief the Kut fortress. Heavy fighting took part in the early hours of the day. Of the 45 officers and 858 other ranks 22 OR's were killed, 146 wounded and 22 missing.
The attack was beaten back and the Norsets eventually retired when Kut was captured.
1914-1918.invisionzone.com/forums/lofiversion/index.php/t...
Private Hodds could therefore have died in the relief party who attacked on the 22nd, the day of his death or could have been part of the main Battalion holed up in Kut.
Photos taken of Jan and Dean taken June 1987 at the Dardenella Bar at Wasaga Beach
After concert Jan signed autographs for concert goers.In 2004 Jan Berry
died. Today Dean Torrence still tours.
For more information on Jan and Berry check websites below :
www.jananddean-janberry.com/main/
www.surfcityallstars.com/torrence.html
JAN AND DEAN
Jan Berry and Arnie Ginsburg decided they had what it took to be a music act. How hard could it be? Seems Arnie had come up with a song based on a real person...a stripper named Jennie Lee, "The Bazoom Girl," charter member of the "League of Exotic Dancers." Arnie, 18 years old and sowing a few wild oats, had caught her act at an L.A. burlesque club. It was 1958; Jan was still in high school and missed out on Arnie's "adult" excursion. The guys got together in the garage at Jan's home in Westwood with an Ampex reel-to-reel recorder Jan's dad had gotten him and began harmonizing, doo wop style, while another friend, Donald Altfeld, supplied makeshift percussion (banging on sticks). A primitive, echo-drenched version of "Jennie Lee" was the result.
It didn't take much effort on the part of Jan and Arnie to get the song released on Arwin Records, owned by Doris Day's husband Marty Melcher. Joe Lubin, A&R man for the Hollywood-based label, heard the tape and felt strongly enough about its potential that he got together with the guys do a more polished version, but insisted on duplicating the sound he heard on the tape. An all night session with Lubin in Jan's garage produced a second take as well as "Gotta Getta Date," written on the fly by the three and recorded in the early morning hours for use as the single's B side. Back in the studio, Lubin hired the best session men in town (guitarist Rene Hall, saxophonist Plas Johnson, pianist Ernie Freeman and drummer Earl Palmer) and overdubbed the band for the finished product. It was an unconventional way to make a record...but not all that uncommon in the early rock and roll environment of the late '50s.
The song caught on, hit big (top ten in June '58), and Berry and Ginsburg found themselves appearing onstage doing rock shows with some of the hottest names of the era in a blur of bright lights and adoring female fans that began to affect Arnie in a stressful, emotional way. Not everyone, it seems, is cut out for instant stardom. Jan was fine with it. The follow-up, "Gas Money" (Altfeld shared writer credit with Berry and Ginsburg on this one), hit the charts less impressively while hinting at a car-and-hot-rod direction the act (or Jan at least) would explore more deeply in the future. The third Arwin single didn't sell and the duo appeared to be done, which was okay by Arnie, mentally and physically drained and ready to move into a less manic vocation. He quit to attend the University of Southern Cal, leaving Jan, wound up and ready for more, with the task of finding another singing partner.
An old football buddy, Dean Torrence, had just returned from six months' initial training with the U.S. Army Reserve and was game to take over where Ginsburg left off. The two had met at Emerson Junior High in Westwood several years earlier, playing on the school football team there and at University High School right up through graduation. Locker room harmonizing had become a regular routine with other school athletes joining in; roughhousing on the gridiron, singing in the showers. A school club called The Barons, counting Jan, Dean, future actor James Brolin and pounding-drum devotee Sandy Nelson among its members, did some impromptu singing as well. It was a no-brainer in 1959 for Jan and Dean to attempt to continue what Jan and Arnie had begun.
Budding record industry everyman Kim Fowley, another classmate of Jan, Arnie and Dean at University High, recommended the new duo to Lou Adler and Herb Alpert, producers at Los Angeles label Dore (upon meeting them, Adler said they had a "very California look" in contrast to the Philadelphia breed of teen idols saturating the biz at the time). For "Baby Talk" (penned by Melvin Schwartz), a recent release by Brooklyn doo wop group The Laurels, Jan and Dean put more emphasis on the song's nonsense baby syllables; their version hit the national top ten in September 1959. Several follow-up singles on Dore appeared on the charts in '59 and '60: Alpert and Adler's "There's a Girl," the oldtime standard "Clementine" (eclipsed by Bobby Darin's rendition, released at about the same time) and two older R&B hits-turned-teen-tunes, The Moonglows' "We Go Together" and The Crows' "Gee."
With a solid track record, Jan and Dean approached Liberty, one of L.A.'s top record companies, in the hopes of working with the label's bigtime hitmaking team and securing longer-term success. A demo of Hoagy Carmichael and Frank Loesser's 1938 tune "Heart and Soul" done up J&D style was rejected by the label, though they were interested in signing the duo. The two instead took the song to Gene Autry's Challenge Records, relying on their gut instinct that it would be a hit (even though a version by The Cleftones was already scaling the charts). It was; number one in Los Angeles in June '61 and a top 30 hit nationally (the markedly different-sounding Cleftones record did reach the top 20 a few weeks earlier, winning the overall competition). After one other Challenge 45, "Wanted, One Girl," Jan recorded a solo single, "Tomorrow's Teardrops," released by Alpert and Adler on a "just for fun" label, Ripple Records. In late 1961, Jan and Dean signed a long-term contract with Liberty.
Early Liberty efforts were a bit directionless as they stayed with the previously established formula. "A Sunday Kind of Love" (a Louis Prima standard best known through Jo Stafford's 1947 hit and a 1953 R&B version by New York group The Harptones) hit the charts briefly in early 1962. "Tennessee," with a doo wop hook not unlike the ones in "Jennie Lee" and "Baby Talk," had a slightly better run a few months later. "Linda," written in the '40s by Jack Lawrence, showed promise when adjusted to Jan and Dean mode in spring 1963, a top 40 hit but just the third overall among more than a dozen releases since '59.
The Beach Boys had been together for two years and were really heating up at about this time, opening for Jan and Dean in concert and serving as the duo's backing band onstage. Jan began writing songs with the group's leader Brian Wilson and their composition of "Surf City" opened the world of surf music to J&D and hit number one on the charts in July '63. Suddenly Jan and Dean and the Beach Boys were competing with one another...and the leader of the latter was consorting with the enemy! Of course it was a friendly rivalry and Wilson continued to contribute songs, usually in collaboration with Berry and Roger Christian, a songwriter and well-known Los Angeles disc jockey. "Honolulu Lulu," a Berry-Christian-Spunky song ("Spunky" being another case of Lou Adler just "having fun"), was a fall '63 hit in the surf-and-beach vein, then Jan and Dean took the next logical step into the drag race craze (as the Beach Boys had done on the B sides of their last few surf hits) with the first of several hot rod and/or car songs. "Drag City," written by Berry, Christian and Brian Wilson, went top ten in January 1964.
Jan Berry began writing and producing outside acts, among them The Matadors, who backed Jan and Dean on many of their studio recordings. He and Art Kornfeld composed The Angels' 1963 hit "I Adore Him" and with Christian he contributed "Three Window Coupe" to The Rip Chords' run of car song smashes in '64. Dean Torrence went in another direction during what little free time he had, attending USC and studying a number of subjects, including architecture and science. At the start of 1964, the guys came up with a song that crossed the car craze with the "teen death" movement going strong since the start of the decade: "Dead Man's Curve" (the nickname of an actual stretch of Sunset Boulevard) was deemed a bit dark by Liberty Records brass, so they made sure it was backed with a "happy" song, "The New Girl in School," promoting the record as a double A side. Both songs were hits, but "Dead Man's Curve" was bigger and landed them back in the top ten. The song's impact didn't end there, though; in a couple of years it would become a permanent, and tragic, part of the Jan and Dean story.
Donald Altfeld turned a possible hallucination into a major hit for his longtime pals. One night while driving down Colorado Boulevard in Pasadena, he swore he saw a little old grandmother-type in a hot, souped-up rod speed past him. The illusion became reality after that, when he and Roger Christian wrote "The Little Old Lady (From Pasadena)," another top ten for Jan and Dean during the summer of '64. At the same time, the Dodge Dealers of Southern California came up with a series of TV commercials with actress Kathryn Minner as a Granny in '...a brand new shiny red Super Stock Dodge,' as the song described. The spots were popular and Minner became a star, causing a sensation at personal appearances and even appearing with Jan and Dean on the cover of their album titled after the hit song.
Next up was the theme from the summer film "Ride the Wild Surf" starring Fabian and Shelley Fabares, backed with "The Anaheim, Azusa and Cucamonga Sewing Circle, Book Review and Timing Association," the logical follow-up to "Little Old Lady," featuring an entire group of Grannies hipper than yourself. "Sidewalk Surfin'" made sure skateboarders weren't overlooked; it used the melody of Wilson's Beach Boys tune "Catch a Wave."
The T.A.M.I. Show was a big event for rock music fans, hosted by Jan and Dean during two nights of filming in October 1964 at the Santa Monica Civic Auditorium. Shot on videotape and later transferred to film for a theatrical premiere in December, the all-star concert featured James Brown, The Rolling Stones, Lesley Gore, The Supremes, J&D partners-in-crime the Beach Boys and many others. The film's theme, "(Here They Come) From All Over the World," was written by P.F. Sloan and Steve Barri (of The Fantastic Baggys, another sometimes-backup band for Jan and Dean) and a live performance by the duo was released as a single, even though the version heard at the beginning of the film was a studio recording.
Following the high of hosting one of the all time great, star-studded music movies, Jan and Dean's singles began showing sings of weakness. Like Brian Wilson, Berry and Torrence were huge fans of producer Phil Spector; "You Really Know How to Hurt a Guy" was produced by Jan in a Spectoresque "Wall of Sound" style and hit the top 40 at the start of summer 1965. Sloan and Barri's "I Found a Girl" had more in common with their early recordings and was also a top 40 hit. Jan released another solo single, his one attempt at a protest song, "The Universal Coward" (a takeoff on "The Universal Soldier," a fall '65 hit for both Donovan and Glen Campbell), but like the earlier Berry single, it didn't catch on. Meanwhile, Dean sang on the early 1966 Beach Boys hit "Barbara Ann." When the Batman TV series premiered on ABC-TV in January and immediately dominated in the ratings, the duo released their own "Batman" single (with no similarities to the show's theme by Neal Hefti), a cartoonish take on Gotham City's dependancy on the Caped Crusader.
If the best days were behind them, any chance of a resurgence was extinguished in April 1966 when Jan Berry ran into a parked truck while driving his Corvette Stingray not far from the location detailed so morbidly in "Dead Man's Curve." He suffered brain damage and paralysis resulting in limited use of his limbs, including his legs (doctors diagnosed that he would never be able to walk again). The likelihood of his making records or performing in the future was slim, but Dean Torrence continued solo, releasing several singles under the name of the duo. Their contract with Liberty had expired and the label released a few older recordings as singles, including the act's last top 40 hit that summer, "Popsicle" (a remix of a 1963 recording, "Popsicle Truck"). Dean formed the J&D label and licensed one track, "Yellow Balloon," to Columbia Records (competing in the spring of '67 with a version by a band named The Yellow Balloon, which became the hit). He also started his own company, Kittyhawk Graphics, geared specifically toward creating logos and cover art for music acts and, with artist Gene Brownell, won a Grammy Award in the category of Best Album Cover for designing the cover art for the 1971 release by the band Pollution.
There were no further chart appearances for the duo after 1967. Berry rehabbed successfully enough over the next few years to return to studio recording and the two worked together off and on. Live appearances were trickier, as Jan's struggles were all too obvious to concertgoers, but they kept at it and made regular appearances in the '70s and '80s as headliners (with a new backup band, Papa Doo Run Run, named after a variation on the lyrical intro of "The New Girl in School") and as an opening act for longtime colleagues The Beach Boys. Jan Berry passed away in 2004 at the age of 62. Dean Torrence still performs occasionally under the name The Jan and Dean Show in memory of his close friend and musical other half. Music fans will always keep that image of two guys with a "very California look" in their minds and hearts.
- Michael Jack Kirby
NOTABLE SINGLES:
Jennie Lee - 1958
by Jan and Arnie
Gas Money - 1958
by Jan and Arnie
Baby Talk - 1959
There's a Girl - 1959
Clementine - 1960
We Go Together - 1960
Gee - 1960
Heart and Soul - 1961
Wanted, One Girl - 1961
Tomorrow's Teardrops - 1961
by Jan Berry
A Sunday Kind of Love - 1962
Tennessee - 1962
Linda - 1963
Surf City - 1963
Honolulu Lulu - 1963
Drag City - 1963
Dead Man's Curve /
The New Girl in School - 1964
The Little Old Lady (From Pasadena) - 1964
Ride the Wild Surf /
The Anaheim, Azusa and Cucamonga Sewing Circle, Book Review
and Timing Association - 1964
Sidewalk Surfin' - 1964
(Here They Come) From All Over the World - 1965
You Really Know How to Hurt a Guy - 1965
I Found a Girl - 1965
The Universal Coward - 1965
by Jan Berry
A Beginning From an End - 1966
Batman - 1966
Popsicle - 1966
Fiddle Around - 1966
Yellow Balloon - 1967
This memorial is displayed in the church of St Fabian and St Sebastian, Woodbastwick.
RoH = www.roll-of-honour.com/Norfolk/Woodbastwick.html
And is a web-site I am deeply indebted too for providing a starting point.
Woodbastwick fell within the Rural District of Blofield for both the 1901 and 1911 Censuses.
Those who served
Corporal Ernest Abel
Suffolk Regiment
No obvious match on the 1901 Census or the 1911 Census, (latter only a high-level search).
Update There is a Medal index card listed at the National Archive for a 2nd Corporal 40444 Suffolk Regiment, Ernest Abel. He had originally been 3244 Suffolk Regiment.
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+Sergeant John Abel
Scots Guard
ABEL John Thomas
Lance Corporal 748. 4th Battalion Guards Machine Gun Regiment. Formerly 13611 Scots Guards. Died of wounds in France & Flanders on 27th March 1918. Aged 22. Born Runhall, Norfolk. Lived Attleborough. Enlisted Norwich. Son of Henry and Annie Elizabeth Abel, of "Old Bird in Hand," Hardingham, Norfolk. Buried: Cabaret-Rouge British Cemetery, Souchez, Pas de Calais, France. Ref. VIII. R. 51. (RoH)
Its difficult to see the link with Woodbastwick for this John Abel. The list of people served in the Woodbastwick Church describes him as a Sergeant in the Scots Guards, and presumably there is some link through the Cators.
Possibly therefore, (the only John Abel listed as serving with the Scots Guards)
Name: ABEL, JOHN
Rank: Private Regiment/Service: Scots Guards Unit Text: 1st Bn.
Age: 26 Date of Death: 27/09/1918 Service No: 16647
Additional information: Son of Mrs. J. Abel, of North Kirkhill, Dyce, Aberdeenshire. Grave/Memorial Reference: Panel 3. Memorial: VIS-EN-ARTOIS MEMORIAL
www.cwgc.org/search/casualty_details.aspx?casualty=1739408
No obvious match on the 1901 Genes Reunited Census search, nor a trace of Henry & Annie Elizabeth. Unfortunately I don’t have access to Scottish Census Records. The 1911 high-level Census search has a 15 year old John Abel, (which would tie in with the Hardingham man), recorded in the District of Mitford, Norfolk.
Norlink has a Lance Corporal John Thomas Thomas Abel of the Scots Guard, but links him to Hardingham without any further information as to which village he came from, or indeed if he even died during WW1. The Cator’s who owned the village, have historic associations with the Scots Guards. The shoulder tabs in the picture definitely look like they begin “Machine”
norlink.norfolk.gov.uk/02_Catalogue/02_013_PictureTitleIn...
The John Abel from Hardingham is also commemorated in the church of St George in the village
flickr.com/photos/norfolkodyssey/868771765/
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Private Harry Alden.........Norfolk Regiment
There are two Harry Aldens who were born in Norwich and still resident there in 1901, but neither family appear to have any obvious connection with the Woodbastwick area.
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+Corporal Arthur J Alden
North Staffordshire Regiment
ALDEN Arthur John
Lance Corporal 7743. 1st Battalion North Staffordshire Regiment. Killed in action in France & Flanders on 9th April 1915. Born Saxlingham, Norfolk. Enlisted Norwich. Commemorated: Ploegsteert Memorial, Comines-Warneton, Hainaut, Belgium. Panel 8. (RoH)
www.cwgc.org/search/casualty_details.aspx?casualty=873769
No match on Norlink
There is an Arthur J Alden, aged 13 and born Saxlingham on the 1901 Census. Looking through the rest of the family there is nothing to immediately connect them with Woodbastwick, a village some twenty miles away on the other side of Norwich.
Arthur’s family were living at The Gravel Pitts, Stoke Holy Cross, and consisted of father John, (aged 40, a Yardman on Farm and born Rockland St Peter), mother Harriet, (aged 39 and from Saxlingham Thorpe) and siblings
Alice M .............aged 8..........Born Barford
James H..............aged 5..........Born Barford
Mabel P..............aged 3..........Born Stoke Holy Cross
Rose E...............aged 11.........Born Saxlingham
Walter...............aged 1..........Born Norwich
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Driver Henry Austin
Red Cross Motor Ambulance
No obvious match on the 1901 Census or the 1911 Census, (latter only a high-level search).
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+Private Alfred G Bailey
Royal Fusiliers
BAILEY Alfred George
Private 11120. 13th Battalion Royal Fusiliers. Killed in action in France & Flanders on 15th November 1916. Born Keswich, Norfolk. Lived and enlisted Norwich. Commemorated: Thiepval Memorial, Somme, France. Pier and Face 8 C 9 A and 16 A.
www.cwgc.org/search/casualty_details.aspx?casualty=771756
No match on Norlink
There is an Alfred G Bailey, aged 17, born Keswick, Norfolk on the 1901 Census. Alfred was working as a Domestic Groom and was living at The Street, Keswick, the household of his parents, Edward J, (aged 53 and a Domestic Gardener), and Ann, (aged 57), along with brother Herbert S, (aged 15 and also working as a Domestic Gardener)
There is a Corporal Alfred Bailey of the Royal Garrison Artillery listed on the People who served memorial in the Swardeston village church, but he appears to have survived. Swardeston is next door to Keswick, and I know when I looked at Swardeston and Mulbarton, there was a smattering of Keswick names on both villages memorials, presumably as a result of individuals choosing to go to church, (these are frequently Parish rather than Village memorials), or moving in the intervening years between 1901 and the outbreak of the war.
www.roll-of-honour.com/Norfolk/Swardeston.html
The 1911 Census is now starting to come on line. From a high-level search, it would appear that there were two Alfred Bailey’s living in Norfolk of the right age, (26/27) to tie in with the Groom who was living at Keswick.. One was at Blofield, and one was at Henstead.
The fall of Beaucourt: 14th November 1916
On Freyberg's right II Corps had taken St Pierre Divion on the afternoon of the 13th and men from the 1st Cambridgeshire Regiment had been ferrying ammunition and grenades across the Ancre to replenish spent supplies.
During the night 111th Brigade from 37th Division had been brought up to assist the 63rd in their assault on the untaken section of the Beaucourt Trench to the left of Freyberg's group. The 13th Royal Fusiliers and 13th Rifle Brigade started their advance at 06:20 hours but despite some gains it soon became apparent that nothing further was going to be achieved until Beaucourt had been taken.
For the push to take the village 190th Brigade had assembled as many men as it could in the vicinity of Beaucourt Station, including 400 men from 1st HAC and about 80 of the 7th Royal Fusiliers. These advanced at 07:45 hours as far as Freyberg, who then led the men immediately into the attack on the village.
Despite the strong resistance in the trenches to the west of the village, Beaucourt fell remarkably easily with the gain of 500 prisoners. By 10:30 hours Freyberg could report that he was in control of Beaucourt.
Tanks
The original planning for the attack had utilised a number of tanks, but it had quickly been realised that with the ground so well churned by the bombardment that they would be more of a hindrance and had been sent back to the rear.
Now, on the second day, two were again brought forward in an attempt to deal with the stronghold machine gun nest which continued to hold up the Division's advance to the west of Beaucourt.
Both tanks soon became bogged down in mud but not before one of them had advanced far enough to be able to use its 6 pounder guns to good effect, and causing the German garrison of over 400 to surrender.
That evening the line of advance was pushed further forward around Beaucourt and the left was brought up to the Beaucourt Trench. It would take another few days of fighting to finally secure all that had been envisaged on the 12th
www.webmatters.net/france/ww1_ancre_4.htm
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Gunner Charles Brady
Royal Field Artillery
The 1901 Census has a 26 year old Charles Brady, living at Wroxham Road, Sprowston, and working as a Domestic Gardener. He was married, and living with his wife Emma. (aged 25 and from Topcroft) and their children Eva, (aged u/1 and born Sprowston), Mellie F, (aged 4 and born Topcroft), and Mildred G, (aged 2 and born Coltishall).
The 1911 Census has a 33 year old Charles Henry registered in the District of Blofield. The 26 year old Gardener now appears to be resident in the District of Loddon,
*****************************************************************
+Sapper John Burrows
Royal Engineers
The RoH has BURROWS John Mandell
Private 34693. 9th Battalion The Loyal North Lancashire Regiment. Formerly 164369 Royal Engineers. Killed in action in France & Flanders on 7th June 1917. Aged 38. Born and enlisted Norwich. Husband of Susanna Burrows, of Spixworth Rd., Old Catton, Norwich. Buried: Wulverghem-Lindenhoek Road Military Cemetery, Heuvelland, West-Vlaanderen, Belgium. Ref. V. F. 17 (RoH)
CWGC reference is:-
www.cwgc.org/search/casualty_details.aspx?casualty=450189
This would appear to be an unrelated individual, if the unit shown in the church is correct. However the rank shown is Sapper.
The only J Burrows listed on CWGC as serving with the Royal Engineers
Name: BURROWS Initials: J
Rank: Lance Corporal Regiment: Royal Engineers Unit Text: 38th Div. Signal Coy.
Date of Death: 10/05/1918 Service No: 42569
Grave/Memorial Reference: II. K. 7. Cemetery: VARENNES MILITARY CEMETERY
www.cwgc.org/search/casualty_details.aspx?casualty=72755
This John Burrows has a different service number.
No match on Norlink
The 1901 Census has a number of potential John Burrows born in Norwich and the suburb of Sprowston, which is off the roads that lead to Woodbastwick. However there is not one of the right age to tie in with John Mandell Burrows, on the Genes Re-united search engine.
The basic search of the 1911 Census that’s available reveals that a John Burrows of the right age was recorded in the District of Blofield.
The 7th June 1917 was the opening day of the Battle of Messines, a considerable success for the British. Significant mining of the German front line had been achieved. When the British artillery bombardment ceased, the German troops emerged to man their weapons in anticipation of the coming attack. At this point the simultaneous detonation of 19 mines (600 tons of explosives) is claimed to have cost over 10,000 German lives. The 74th Brigade, of which the 9th Loyal North Lancs formed a part, were part of the force that then moved forward to hold the ground. The explosion is claimed to have been the loudest man-made noise up to that time. Or to quote the General in charge - "Gentlemen, we may not make history tomorrow, but we shall certainly change the geography."
74.125.77.132/search?q=cache:cNQFB2habycJ:www.firstworldw...
The most serious fighting of the day was in the northern sector of the battle, where the 9th
was.
en.wikipedia.org/wiki/Battle_of_Messines
www.chavasse.u-net.com/messines.html
www.nzetc.org/tm/scholarly/tei-CowMaor-t1-body-d12.html
www.ww1battlefields.co.uk/flanders/messines.html
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Maj.General Albermarle B E Cator, DSO
Scots Guards
On the 1901 Census, Albermarle Cator was a 64 year old JP, living off his own means and resident at Woodbastwick Hall. Living there with him was his wife, Mary M, (aged 65), his daughters Diana M, (aged 28), Christobel, (age 26), his son Christopher, (aged 20) and a Grand-Daughter Frances A Hawley, (aged 11 months), plus a small army of servants.
From the memorial plaque in the church.
Major-General Albermarle Bertie Edward Cator, C.B. D.S.O.
Joined Scots Guards 8th June 1897
Served in South Africa War 1899 - 1902
And Great War 1914 - 1918, when he commanded 37th Infantry Brigade followed by 58th Division.
Commanded
Scots Guards29th March 1920 - 30th November 1923
Inf. Brigade Shorncliffe 1st December 1923 - 30th September 1925
Sind Rajpunta District, India 3rd April 1927 - 2nd April 1931
London District and Brigade of Guards 4th April 1932 - 18th November 1932
Died 18th November 1932, aged 55.
www.thepeerage.com/p5062.htm#i50612
Bury House, London.
These upper chambers had numerous occupants of which two are note worthy. The first was Albermarle Bertie Cator in 1904. 'Alby" Cator was the Scots Guards officer incarnate. During the Great War, at the first battle of Ypres, he assumed command for several critical days when he was the only field officer left in the brigade. Cator survived the war and lived until 1932, when, at the age of 55 he dropped dead from a heart attack whilst out hunting.
www.the-mea.co.uk/brief-history.asp
www.mortiboy.co.uk/mort/gwar1a.htm
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Captain Christopher A M Cator MC
Scots Guards
On the 1901 Census, the 20 year old Christopher is resident at Woodbastwick Hall, the household of his parents. His occupation is given as Army Officer, (Lieutenant), in the 7/12th (?) Hussars
From the memorial plaque in the church
Captain Christopher Arthur Mohun Cator M C
Served in the South African War with 7th Hussars from 11th August 1900 to June 1902. Joined Special Reserve of Officers Scots Guards 15th August 1914. Served in the Great War 1914 - 1918. Retired 22nd May 1919. Died 7th December 1923, aged 42.
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Captain Henry J Cator MC
Royal Scots Grays
On the 1901 Census, the 4 year old Henry J was living at Church Farm House, the household of his parents, John Cator Esq. Justice of the Peace and various squiggles - could be mayor, Norfolk County or Major Norfolk ??? John was 38 and his wife Maud was 34.
From the memorial plaque in the church.
Henry John Cator OBE MC
For many years Squire of Ranworth and Woodbastwick. Born 25th January 1897. Died 27th March 1965 in Fernleigh, Australia.
Served in the Royal Scots Greys 1914- 1918
Airborne Forces 1939-1945
en.wikipedia.org/wiki/History_of_the_SAS
***************************************************************
Private Arthur R Corke
Norfolk Regiment
The most likely match is a 6 year old Arthur, living at Nelson Street, North Walsham.
He was living in the household of his parents, William, S, (aged 36, a House Builder, born in North Walsham) and Jane, (aged 33 and born Bury St Edmunds). Also there are brothers John, (aged 2, born North Walsham), William, (aged 7 and born North Walsham), and sisters Dorothy, (aged 4, born North Walsham), Florence, (aged 9, born North Walsham), and Maud, (aged 11, born North Walsham).
There is no Arthur Corke of the right age coming up on the 1911 Census for England and Wales.
***************************************************************
Driver George Crisp
R.A.S.C (M.T)
No obvious match on the 1901 Census
There are no George Crisps recorded in the District of Blofield in the 1911 Census. There is one, aged 26 in the District of St Faiths.
****************************************************************
Private Wallace Crisp
Suffolk Regiment
The only Wallace Crisp listed on the 1901 Census for England and Wales is a 31 year old Druggist and Chemist, living with his widowed father at the “Live & Let Live” Inn, Windsor Road, South Lynn, Kings Lynn. It seens unlikely that they would become an ordinary private soldier, and Wallace’s age at the time of the outbreak of war would have made it unlikely that he would have been taken as a Volunteer in 1914/15.
The 41 year old Wallace is still listed in the District of Kings Lynn in the 1911 Census.
*****************************************************************
Private Albert Ellis
Norfolk Regiment
No obvious match on the 1901 Census
There is a 15 year old Albert E Ellis registered in the District of Blofield on the 1911 Census. Looking again at the 1901 Census, that gives us Albert Edward Ellis, living at Mill Hill, Woodbastwick. Albert is an American born, British subject. He is living with his father George, a 30 year old teamster on farm, who had been born in Woodbastwick and mother Rosanna T. who was 28 and born at Salhouse. Albert’s siblings are George J, (aged 9, born Woodbastwick), Gertrude F, (born US), and Beatrice E, (born US).
*****************************************************************
+Private George Ellis
Norfolk Regiment
ELLIS George Ernest
Private G/67713. 6th Battalion The Queen's (Royal West Surrey Regiment). Formerly 3540 Yeomanry Cyclists. Killed in action in France & Flanders on 30th June 1918. Aged 19. Born and lived Woodbastwick. Enlisted Wroxham. Son of Edward and Sarah Ellis, of Church Cottages, Sprowston, Norfolk. Buried: Bouzincourt Ridge Cemetery, Albert, Somme, France. Ref. I. B. 18. (RoH)
www.cwgc.org/search/casualty_details.aspx?casualty=294324
No match on Norlink
The 2 year old George Ellis was living in a “Cottage on Slad Lane” in the 1901 Census. This was the household of his parents, Edward, (aged 39, a Teamman on Farm, born Woodbastwick), and Sarah, (aged 39 and born Horning) as well as brothers Edward, (aged 11), Reginald, (aged 4), William, (aged 7) and sisters Annie, (aged 6), and Lily, (aged 9).
*****************************************************************
Driver Reginald H Ellis
Royal Field Artillery
See entry for George above
*******************************************************************
+Private Charles Fox
R.A.M.C
There are many Charles Fox of the most likely ages, but none with an obvious Woodbastwick connection. The most likely based on nearby Villages is a Charles Fox who was aged 28 at the time of the 1901 Census, a single bricklayer living with his parents at Tower Street, Horning, having been born at Hoveton St John.
The high-level search available for the 1911 Census has a 15 year old Charles recorded in the District of Blofield and a 23 year old Robert Charles.
Our 28 year old bricklayer now appears to be registered in the District of St Faiths.
*******************************************************************
Private Edward J Fox
Royal Marines
The most likely match is an Edward J Fox who at the time of the 1901 Census was aged 20, single, and a carpenters assistant, living at The Street, Salhouse. This was the household of his parents, James G, (a 45 year old Yardman on a Farm) and Mary A, (aged 41). Both parents had been born in Salhouse. Amonst his siblings was Herbert, A, aged 18 and a Postman.
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Officers Servant Ernest G Fox
Royal Navy
Looking at a scan of the original 1901 Census, we have a “Earnest” Fox, aged 8, living near The Green, Woodbastwick. This is the household of his parents, William Fox, (aged 43 and a Marshman by trade, born Woodbastwick) and Mary Ann, (aged 48 and born Salhouse). As well as Earnest, their other children living with them at the time were daughter Annie, (aged 10) and sons Fred, (age 16 and a Domestic Under Gardener), Harry, (aged 13 and a Domestic Gardener) and William, (aged 15 and a Cattle Boy on Farm)
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Private Frederick Fox
Lincolnshire Regiment
See Ernest G above
*****************************************************************
Stoker Petty Officer Herbert A Fox
Royal Navy
See Edward J above
****************************************************************
Ordinary Seaman Harry E Fox
Royal Navy
See Ernest G above
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Stoker Chief Petty Officer Elijah Hardesty
Royal Navy
The only Elijah Hardesty on the 1901 Census for England and Wales was already 50. He doesn’t even appear on the 1891 Census, (at least not on the transcribed version on the Genes Re-united site). In 1901 he was an ordinary Agricultural Labourer, who was born at Bergh Apton but had married Sophia C., from Salhouse. Sophia was also 50. Living with them was their daughter Annie, (aged 14), and sons James, (aged 17 and an ordinary agricultural labourer), and Thomas, (age 23 and a Railway Labourer)
There is no match at all on the 1911 Census for England and Wales, (18/01/09), although not all the Counties are loaded as yet.
www.1911census.co.uk/search/tnaform.aspx?x=252057341
However there is a James Hardesty on the Salhouse village roll of honour which notes that he is the son of Mr and Mrs E Hardesty of Brick Kiln Farm, Woodbastwick.
I assume this is probably the James referred to above as aged 17 and an ordinary agricultural labourer, which makes it surprising that he isn’t commemorated in Woodbastwick.
www.roll-of-honour.com/Norfolk/Salhouse.html
see comment below from DVC214, Elijah's great great great grandson.
*****************************************************************
Private Herbert Hubbard
Royal Fusiliers
Herbert was living in “a Cottage in Slad Lane” at the time of the 1901 Census. He was aged 21 and employed as a Labourer on the Estate. The head of the household was his widowed mother, Elizabeth aged 56. Also resident was his 18 year old sister Maud who was working as a Teacher in the “National School”
On the 1911 Census a 31 year old Herbert Hubbard is still registered in the District of Blofield.
******************************************************************
Private Bertie Jermany
Norfolk Regiment
The 1901 Census has two Bertie Jermany’s. One is aged 10 and lives Near the Green, at Woodbastwick. He is a Bertie J, and was born at Woodbastwick, He lives in the household of his parents, Benjamin, (aged 44 and a “Marshman” by trade), and Mary E, (aged 41). Also resident are Bertie’s brothers Basil, (aged 13 and a Cattle Boy on Farm), and sisters Beatrice, (aged u/1), Elice, (aged 20), Ethel J, (aged 12), Herbert, (aged 19 and a Domestic Gardener), Louis, (aged 5), Noel J, (aged 8) and Victor, (aged 7),
The 1918 Electoral Register has Bertie James living “opposite the Church”
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Private Herbert Jermany
Norfolk Regiment
See brother Bertie above
The 1918 Electoral Register has a Herbert Benjamin at Decoy Cottage, Woodbastwick.
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Driver Victor Jermany
Royal Field Artillery
See brother Bertie above
The 1918 Electoral Register has a Victor William living “opposite the Church”
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Corporal John Jermy DCM, MM
Norfolk Yeomanry
The 1901 Census has a William J Jermy, (aged 4, born St Faiths) living at Street Farm, Woodbastwick. There is no obvious John Jermy otherwise. William was living in the household of his parents, William, (aged 46 and a farmer, born South Walsham) and Mary L, (aged 48, born Wymondham).
I suspect it is father William who is recorded as dieing on the 4th November 1922
******************************************************************
+Private George King
Norfolk Yeomanry
KING George Edward
Private 320404. 12th (Norfolk Yeomanry) Battalion. Norfolk Regiment. Killed in action in France & Flanders on 12th September 1918. Aged 21. Born Sprowston. Enlisted Norwich. Son of James and Hannah King, of Woodbastwick, Norwich. Buried: Strand Military Cemetery, Comines-Warneton, Hainaut, Belgium. Ref. VIII. M. 10. (RoH)
www.cwgc.org/search/casualty_details.aspx?casualty=165293
No match on Norlink
The 1901 Census has a 5 year old George King who was born at Sprowston but is now resident at a “Cottage near the Church”, Woodbastwick. This is the household of his parents, James, (aged 38, a Gardener Domestic from Shotesham, Norfolk), and Hannah, (aged 36 and from Shotesham), along with brothers Bertie, (aged 15, and a Domestic Groom, born Shotesham), Sidney, (aged 6, born Stanhoe), and sisters Ethel, (aged 2, born Sprowston), Hannah, (aged 12, born Shotesham), May (aged 8, born Dunston), Rosa, (aged 14, born Shotesham) and Violet, (aged 11, born Shotesham)
See comments for more on the Lambert family. *******************************************************************
Private Alfred C Lambert
Norfolk Regiment
See Brother George below for family
******************************************************************
+Private George H Lambert
Norfolk Regiment
LAMBERT George
Private 1837. 6th Battalion Norfolk Regiment. Transferred to (239024) 428th Agricultural Company, Labour Corps. Died on 28th February 1919. Aged 24. Son of Alfred and Harriet Lambert, of Woodbastwick; husband of Carrie Lambert, of Mill Cottages, Sledmere, Malton, Yorks. Buried: Woodbastwick (SS. Fabian And Sebastian) Churchyard. North-East of Church. (RoH)
www.cwgc.org/search/casualty_details.aspx?casualty=2802351
No match on Norlink
In 1901 the 6 year old George Herbert Lambert was living at Hidness Farm, Ranworth (with Panxworth). George had been born at Brandiston. He lived at this address with his parents, father Alfred, (aged 42 and a Hoop Hurdle maker from Beccles), and mother Harriet, (aged 31 and born Norwich). Also resident were siblings,
Alfred........................aged 8.........born Bawdeswell
Alice.........................aged 13........born Norwich
Ernest......................aged 10........born New Catton, Norwich
Florence Louise......aged 12........born Hainford
Frank Sidney...........aged 20.......born Upper Hellesdon, Norwich
(also a Hoop Hurdle maker)
Mabel Maud...........aged 3,,,,,,,,,,born Cawston
Voilet Ethel (as shown on the original !) aged 1.....born Panxworth
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Sergeant Frank Lambert
Norfolk Regiment
See Brother George above for family
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Sergeant Frank Lamkin
Scots Guards
No obvious match on the 1901 Census or the 1911 Census, (latter only a high-level search, both only England and Wales).
******************************************************************
Farrier William Moyes
3rd Hussars
There is a 12 year old William F, living at Lower Road, Tasburgh, the village where he was born, but neither he nor his family had any obvious connection with this part of Norfolk at the time of 1901 Census. Otherwise no obvious match on the 1901 Census.
The 22 year old William Frank is registered in the Henstead District for the 1911 Census.
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Private Ernest Nockolds
Norfolk Yeomanry
No obvious match on the 1901 Census or the 1911 Census, (latter only a high-level search).
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Private William H Nockolds
Norfolk Regiment
No obvious match on the 1901 Census or the 1911 Census, (latter only a high-level search).
******************************************************************
Private Charles Roofe
Machine Gun Corps
The 1901 Census has a 1 year old Charles living in a dwelling “adjoining the Post Office”, Woodbastwick. This was the household of his parents, William E, (aged 38, a general shoeing smith, born Gunton) and Maria E, (aged 39, born Swardeston). Also resident were brothers Frederick (aged 4), Thomas W, (aged 10 and born Norwich), and sisters Annie, (aged 8), Daisy, (aged 7) and Gertrude, (aged 6). The Roofe’s also had a live in servant, Blanch Ellis, aged 14 and born Woodbastwick, presumably a relative of Albert, George & Reginald Ellis, listed above.
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Private Frederick R Roofe
Queens Westminster Rifles
See brother Charles above for family details
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Corporal Farrier Thomas W Roofe
Australian Imperial Force
See brother Charles above for family details
God bless Australia !
As usual their archive system comes up trumps, - Thomas’s service file can be found on line here
naa12.naa.gov.au/scripts/imagine.asp?B=8036581&I=1&am...
In summary his place of birth is given as Woodbastwick, he is a farrier blacksmith by trade having served an 8 year apprentice at Norwich. His next of kin is his father William, still living at Woodbastwick. His service number was 22279. He enlisted on the 4.8.1915 at Maribyrong, Victoria initialy in an Infantry Battalion but was transferred in May 1916 with the trade qualification of Shoeing Smith and was assigned to the 23rd Howitzer Brigade, 109th Battery. He sailed for England in May 1916, arriving July 1916 and then on to France where he was assigned to the 8th Field Artillery Brigade, gaining promotion to Corporal Farrier. He was repeatedly hospitalised in 1918 with furuncolosis (Boils). He was discharged from the Army on the 30/11/1919. At his pension medical board, I think the doctor has written that his military related injuries are as a result of “scabies and gassing” - typical doctor’s handwriting, so look for yourself.
There is still a Thomas Roofe, aged 20, registered in the District of Blofield.on the 1911 census
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Private David Saunders
Bedfordshire Regiment
The 1901 Census has a 1 year David Saunders living at Low Road Cottage, Woodbastwick, with his parents, David, (aged 35, a Woodman Labourer, born Ranworth), and Sarah, (aged 29 and born Salhouse) as well as sisters Elsie, (aged 7, born Salhouse), Flossie (aged 9, born Salhouse), Mary, (aged 3), and Mildred, (aged 5, born Salhouse).
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Signaller John Sexby
Suffolk Regiment
The only John Sexby on the 1901 Census is a 19 year old Land Agents Clerk, born Horstead and now a boarder in the household of, Mary Foulger, (age 59, a widow and a blacksmith!) on Norwich Road Horstead. There is no match on the 1891 census.
By the 1911 Census there is a 29 year old John Sexby registered in the District of Blofield.
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Private John Thurtle
Norfolk Regiment
The 1901 Census has a 25 year old married Gamekeeper, John R Thurtle, living at The Honeycombs, Salhouse. He was born at Ranworth. His wife is Edith C, (aged 25 and from Salhouse) and they have two sons, Arthur I, (aged 4) and Robert W (aged 4 months).
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Lance Corporal Ernest Varvel
R.A.S.C (M.T)
There is only 1 Ernest Varvel listed on the 1901 Census for England & Wales. He is a 26 year old Domestic Coachman born in Norwich. He is a live-in servant at Alvaston Hall Stables, Reaseheath near Nantwich.
The 1911 Census has the 35 year old Ernest resident in the District of St Georges, London.
There is a family web-site here
donaldfamily.co.uk/3/11043.htm
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+Rifleman Albert White
Rifle Brigade
WHITE Albert
Rifle Brigade. No further information available at present. (RoH)
Choices are
www.cwgc.org/search/casualty_details.aspx?casualty=4040352
www.cwgc.org/search/casualty_details.aspx?casualty=913795
www.cwgc.org/search/casualty_details.aspx?casualty=1750167
www.cwgc.org/search/casualty_details.aspx?casualty=154457
No match on Norlink
No obvious match on the 1901 Census
The high-level search on the 1911 Census reveals a 21 year old Herbert Albert White registered in the District of Blofield. Going back and checking, this would tie in with an 11 year old Herbert on the 1901 Census who was living at Railway Bridge Road, Lingwood
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Private John Whisken
??
There is only 1 John Whisken on the 1901 Census for England & Wales and he is a 15 year old living at Church Street, Bishops Castle, Herefordshire. He is staying with his Uncle John Pugh, who is listed as an Innkeeper. There is no obvious link with Norfolk.
By the 1911 Census a 27 year old John William Whisken is registered in the District of Blofield.
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Private James Wilson
Norfolk Regiment
The 1901 Census has a 17 year old Farm Labourer living at Hulver Cottage, Ranworth, with his widowed father John, (aged 62 and a farm labourer), brother William, (age 33 and a farm labourer), and sister Ethel May, (aged 14 and under occupation listed as “Housekeeper”)
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Inspector Robert Winter
Cape Military Police
There a number of Robert Winter’s on the 1901 Census from Norwich, plus one from Salhouse who had moved to Manchester and was already aged 40. Of course “our” Robert Winter could already be in South Africa at that time, serving in the Boer War.
The 1911 still has too many potential matches - the only one in the District of Blofield was aged 65.
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Gunner Benjamin Wrench
Royal Field Artillery
There is only one Benjamin Wrench recorded on the 1901 Census for England and Wales, and he is 7 years old and living at Spixworth Road, Old Catton, Norfolk. He was living there with his parents, George, (age 33, a brick kiln burner from Norwich) and Alice, (aged 28 and from Old Catton.) Also resident is sister May, (aged 8)
The 17 year old Benjamin is resident in the district of St Faiths, Norfolk at the time of the 1911 Census.
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Driver Bertie Woodcock
R.A.S.C (M.T)
The most likely Bertie Woodcock on the 1901 census was aged 1 and living in the hamlet of Waterloo, near Horsham St Faiths. His father William, aged 52 and from St Faiths, was a farmer. His mother Annie, was aged 32 and from Norwich. Also resident were brothers Ashley, (aged 3) and Sidney, (aged 5). There is an S Woodcock listed on the St Faiths Village Memorial, but as there are several Woodcock familys in the village I’ve not been able to conclusively prove it is Sidney.
There are two 12 year old Bertie Woodcock’s on the 1911 census, both registered in the District of St Faiths.
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Ordinary Seaman Samuel Woods
Royal Navy
The 1901 Census has 1 year old Samuel living at Primrose Corner, Woodbastwick, with his parents, Frederick Woods, (a 34 year old Woodman from Salhouse), Sallie M Woods (aged 26 and from Salhouse) as well as sisters Ida V, (aged 3) and and Lilian T, (aged 4) Ida and Lilian both have Salhouse as their place of birth, so the Woods were fairly recent arrivals in the village.
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Private Hubert Youngman
R.A.M.C
There are two Hubert Youngman’s listed on the 1901 Census for England & Wales. One was aged three, had been born at Sidcup Kent and was now resident Bexley. The other was aged 24 and was Head Groom at a Norfolk Stud. He was currently living at 3 Church Lane Cottages, Heacham, and was born at Holt. He was living at this address with his wife, Maude, (aged 24 and from Wimbotsham, Norfolk) and their daughter Lilian K, (aged 1).
The 34 year old Hubert was registered in the district of Smallburgh by the time of the 1911 Census.
troybooks.co.uk/a-witch's-natural-history.html
CHAPTER 12:
THE WITCH BY MOOR AND WOOD AND SHORE
The “secret, black and midnight hags” are waiting. He alights from his horse, his heel squelching into boggy ground. Behind him, a mosaic of moss and peaty pools stretches away to the horizon, buffeted by wind. There is not a tree in sight; the acid soil and exposure forbid the growth of anything above knee-height. Beside the pool at his feet, the moss draws water, a thirsty sponge plastered over the stone, inches thick, the air above it slick with moisture. Further out into the water, flowers hang above the surface like heads of nodding puppets, the stems blushing as if freshly bruised. Beneath the water, the plant bears little bladders, like shed reptiles’ scales adhering to the leaves. Crustaceans swim between the submerged stems, and the bladders gape like mouths, toothed with bristles. One touch of a branched antenna, and the valve trap springs and expands. Sucked inside, the crustacean struggles in vain as the sealed door slams, its prison walls exuding the juice of death. It may share its death-cell with an assortment of other partially digested insects and crustaceans, some of them still alive and threshing their appendages ever more slowly. The man knows nothing of these struggles between microscopic titans; he turns up the hill towards drier ground, where the first clumps of heather struggle to retain a foothold. His eyes are set on a triple cairn at the top of the hill, so he does not notice the plant underfoot, with its pale, curling leaves, sticky with their own exudations. Midges convulse in their death throes, their wings hopelessly glued to the surface of the leaves. There are other diminutive plants here too, with spatulate leaves bristling with appendages, all oozing a substance as sticky and seductive as toffee. A fly struggles on one of them, adhering haphazardly by one of its bulging compound eyes, doomed to buzz itself into its own minor oblivion. As it does so, the other tentacles on the leaf bend inwards to further ensnare the victim. The man pays them no heed, for he is heading up to the higher, drier heath, his mind reeling with the import of his meeting with the minions of Hecate. A wildcat yowls and bares its teeth at him, arching its back and twitching its grey bushy tail, before disappearing amongst the ling; no domestic cat – perhaps it is Graymalkin. He is Macbeth, King of Scotland, bent on his own struggle for survival, anticipating his assignation with three witches, who have already divined that they will meet him on this “blasted heath”.
Had Macbeth not been so oblivious to these struggles on a smaller scale, he might have knelt, and learnt much from the wortlore of bogland plants. The spasmodic death throes of their insect victims might have led him more quickly to his nihilistic conclusion that life “is a tale told by an idiot, full of sound and fury, signifying nothing.” The crustacean-devouring water plant was Bladderwort (Utricularia), and its terrestrial cousin with the scroll-like leaves was Butterwort (Pinguicula), so named because the digestive juices exuded by the leaves are a sort of herbal rennet. Indeed, the leaves may be added to cream in order to form butter, provided, of course, one picks the dying flies off them first. Beside this was the Sundew (Drosera), perhaps the most easily recognisable of the bogland carnivorous plants. Moorland folklore insists that the Sundew and Butterwort, together with the liliaceous, yellow flowered Bog Asphodel, are injurious to sheep and cattle, causing weakness in the bones. Although the latter is indeed poisonous to cattle, it is probably the moorland environment itself which causes the problem, since the soil, and everything that grows upon it, is calcium deficient. Paradoxically, it is also said on Colonsay that cows that have eaten Butterwort are safe from supernatural maladies and elvish arrows, and they have at times been used in conjunction with whin and juniper as a charm against maleficient witchcraft. On the Isle of Man, Sundew is traditionally used as a love-charm by hiding the sticky rosettes in the clothing of one’s intended lover, but the token might just as easily be used as a signal for a clandestine assignation. Another plant of the upland bogs, the Bog Myrtle is used as an insect-repellant, emetic and vermifuge, and in the 1860s it will figure as the main ingredient of a regenerative beer made by the landlady of the ‘Black Horse’ in Ampleforth, Yorkshire. The glands in its leaves secrete a wax which can be made into fragrant candles.
Macbeth will not pause on his way up the hill to chew on the stalk of the Heath Rush, for he is reliably informed that it causes hare-lips. Nor will he stoop to rip up the “tormenting root” of Tormentil, which jilted lovers burn at midnight on Friday to compel their lovers to return. He is soon knee-deep in heather, whose pink or purple flowers are said to be stained with Pictish blood shed in battle. It has long been used for tanning leather, it makes a refreshing dry ale, and its bell-shaped flowers are tempting to bees. Robert Graves makes an obscure and tantalising reference to an Irish tale of the goddess Garbh Ogh, collected by Dean Swift at Lough Crew. She haunted the heather moors, riding in a cart drawn by elks, accompanied by ten giant hounds, all with birds’ names, and she subsisted on venison milk and eagles’ breasts. Perhaps she was a winter goddess, for with the flowering of the heather, she built herself a triple cairn of stones and settled amongst the blooms to die, like a spent queen bee. Other parts of the moor may be covered with Bilberries, also known as Blueberries or Whortleberries, a delicacy picked in Ireland in anticipation of the feast of Lughnasadh.
The calcium deficiency in these acid soils limits the range of fauna Macbeth is likely to encounter. A stag may cross his path, the whites of his eyes visible as he hurls himself away from the likely hunter. A hen harrier may wheel overhead. There are other moorland birds too: the “treacherous” lapwing, as Chaucer called her, roused from her nest into flop-winged flight. She lets out a succession of pies and weeps the further she flies, the wan sky catching her silhouette. Now she wings a lap around the lone man, leaving her little ones behind and tempting him to follow her. Should he tread amongst them, they will scatter, spindle-shanked and peeping, with eggshells on their heads. In the distance, there may be the cackle of a grouse, prey to the hen harrier. At another time, Macbeth might have come upon the “lek”, a communal display ground used by the polygamous male grouse to attract mates. For now, the grouse pecks at the heather, scuds over sodden sphagnum bogs, bubbling and crooning to himself, and eluding the shadow of man. Since the reign of the gun-hung gamekeeper has not yet begun, he must also elude the tooth and claw of the native wildcat if he is to dance in his lek next year.
When Macbeth reaches the cairn on the flattened summit, the witches will ply him with a hallucinogenic brew. The ingredients sound disgusting, but most of them are code-words for herbs gathered somewhere in the lowlands. Shakespearean tragic heroes are fond of such places in a crisis: King Lear and his Fool came to such a place when he was insane, and learned wisdom. On his way back down the hill, a less preoccupied man might stop at a solitary rowan tree by a stone wall – the only standing tree for miles. He has need of it, for its white flowers and red berries make it a goddess tree, a tree of inspiration. He might need to pick his way through the gorse, for here it has not been piled and burnt, and were he of more tender disposition, he might repeat the old adage, “Kissing’s out of fashion when the gorse is out of bloom.” Little does he know that the witches themselves will retire to this thorny bower if ever they are pursued. But his thoughts are on matters of state: trivial, irrelevant questions to bring to this ageless place. Of course, in the end, the witches tell Macbeth nothing that the bladderwort in the bog, the wildcat in his path, the harrier in the welkin, or the bleak and pitiless moor itself could not have told him: the truth about himself.
*
Of course, she is quite as beautiful as all of the other young Russian girls throughout history who have one day become wives to a Tsar: a simple, uncomplicated beauty which is scorned in her own house, but would be sufficient to light up the throne room in her future palace. But today, her brow is knitted in furrows and her body trembles as she runs. In her hand she clutches a little wooden doll, her magical saviour in times of crises, and her knuckles whiten for fear of losing it. In the distance, dimly visible between the moonlit boles of the birches, there glows a great arc of paired lights: a dull, greenish glow that sets her teeth on edge. Everything within her is telling her to seek the safety of darkness in the woods rather than hurry towards the ring of light, for she knows why the lights glow from paired orbs: they are human skulls, glowing in the sockets with a magical luminescence. Beyond the skulls, which are mounted on stakes around the perimeter of a fence knitted from human bones, there stands a wretched little hut – or rather, it doesn’t stand exactly – it prances and scratches about in the dust, for it is mounted on a pair of grotesquely oversized hen’s legs. A thin plume of smoke rises from the chimney of this hovel, and momentarily obscures the moon, for its occupant is at home. She is the Baba Yaga, a hideous hag who always puts her guests to the test, and eats them if she finds them wanting. No doubt she is also the lingering folk memory of a dark goddess, for when she is not flaying the skin from warriors’ backs, she teaches her initiates the hard way, and they return to their own land filled with arcane wisdom. The young girl catches at the stitch in her side with her spare hand, and looks ahead in fear. She is Wassilissa the Beautiful, and whether she likes it or not, she is the Baba Yaga’s next initiate into the mysteries of the forest – or, if she is unworthy, into the mysteries of the cauldron, as viewed from the inside.
When Wassilissa overcomes her fear and presents herself to the Baba Yaga, she is taken into the squalid hut and imprisoned there. On successive days, she is given a series of increasingly absurd and impossible tasks which need not concern us here, and whilst her magically animated wooden doll is wiping away Wassilissa’s tears and solving all her problems, the Baba Yaga has locked the door behind her, climbed into her giant iron mortar, and is now flying out across the woods, rowing along through the air with her pestle, and sweeping away her trail with her kitchen broom. Some say she is off to fight magical battles in the chthonic underworld, but more likely she is off to seek her own wisdom from the woodlands that surround her home – or, given her novel mode of transvection, those farther afield.
Any normal mortal who explores a wood is likely to begin by searching for helleborines, twayblades or wood anemones in the spring and summer, or fungi in the autumn. However, for the Baba Yaga, like many other denizens of the forest, the odyssey starts not on the woodland floor, but in the treetops. Many of the birch trees in her own woodland carry “witches’ brooms” – bunched and twiggy growths which hang from the branches. To the uninitiated, these look like clumps of mistletoe; in fact, they are galls caused by a fungus which persists from year to year, sometimes producing brooms a metre in diameter, and comprising three or four hundred twigs. A single birch tree may carry nearly a hundred such excrescences at the end of its comparatively short life span of a century. Amongst the plethora of galls which afflict the neighbouring, longer-lived oak trees, one of the commonest is the “oak apple”: a rose-pink or yellow spongy ball of abnormal plant tissue which is the tree’s defensive response to the insertion of parthenogenetic eggs into the developing bud by a wingless female cynipid wasp. Every oak apple is pleurilocular, containing around thirty chambers, each a cradle for a developing grub which gorges its bloated body on juices from the tree. In late summer, the imagoes gouge their way out, leaving the oak apples riddled with tiny holes. In Britain after the Restoration of Charles II, these curious plant-tumours were worn by Royalists on May 29th, Oak Apple Day, to commemorate his birthday and return from exile. In school, children who failed to wear the regulation oak-sprig were whipped with nettles. The oak was the ideal tree to symbolise the Royalist cause, given the popular rumour that the king hid himself from his Puritan pursuers inside a hollow oak tree at Boscopel. Although the fashionably sceptical Professor Ronald Hutton has persistently denied that the celebrations might pre-date the Civil War, many have concluded that Oak Apple Day is the remnant of a pagan fertility rite. Certainly, it has gained its own neo-Pagan associations in recent centuries. When Roger Deakin attended Oak Apple Day in the Royal Forest of Grovely in Wiltshire, he found a whole range of contradictions in the involvement of conservative country people in obviously pagan rituals, apparently supported by the church, and despite the Royalist history of the rites, deeply influenced by socialist responses to the Enclosure Acts. Oak Apple Day was an “annual reassertion of rights to collect wood” on common land. In the midst of this controversy, however, no one appears to have asked the obvious question, which is why oak apples specifically should be worn. It seems a strange – or, for those with republican sympathies, oddly appropriate – symbol of monarchy: a sham fruit, a spongy cancer writhing inside with parasitic grubs. As a symbol of fertility, however, it is potent: it reminds me of nothing so much as the ontological eccentricities of the sixteenth century miller Menocchio, resurrected for posterity by that admirable historian Carlo Ginzburg, who maintained that the origin of the universe lay in putrefaction: the world was a piece of cheese from which worms spontaneously arose. In any case, it is doubtful whether the Royalists realised that the wasps responsible for this ambiguous symbol have a curious and cryptic double life-cycle. In July, the winged imagoes mate, and the females penetrate the soil, for the next generation will be infants suckling on subsided sap, parasites not of growing buds, but of hidden roots in the humus. A descent into the underworld indeed.
In late July, the oak leaves are heavily mined by tiny caterpillars which live beneath the epidermis, most of them larvae of micro-moths. The Baba Yaga’s flight through the canopy is the more pleasurable because of the Purple Emperor butterflies, largest of the Lepidoptera in northern climes. The male will choose the tallest oak for his throne, and will only be tempted to the forest floor by things white and glittering, or by rotting carcasses which he can probe with his hungry tongue. Perhaps the Baba Yaga will follow him: he is unlikely to find the carcase of a badger, for they like to intern their dead within their own setts, until their skulls, forever interlocked with their jawbones, are carelessly unearthed when the dwellings require extension. It is too late, too, for the flowers of the early purple orchid, whose tubers were once the source of the invigorating, semen-thick, starchy drink known as salop, a favourite refreshment of Victorian labourers, and a renowned aphrodisiac. It was once said that there were enough purple orchids growing in Cobham Park to pleasure every seaman’s wife in Rochester. Perhaps this was another form of sympathetic magic: the twin tubers of orchids look like bollocks. The Purple Emperor flits on, over those withered stems, and alights instead on the corpse of a roebuck, already rotting. Its juices are rank and leaching into the soil, attended by burying beetles and maggots; the eye sockets are sunken. As the butterfly’s tongue begins to probe, the Baba Yaga surely pays her respects to this horned one of the woods. Modern humans think of deer as the enemies of the forest, for they chew the shoots of newly coppiced trees. Whilst this is certainly true, there ought to be room for gratitude: a deer-filled wood is a bluebell wood, for the deer clear enough foliage for these plants to gain their requisite sunlight. More importantly, in the Middle Ages, when forests were royal preserves, the trees were maintained as cover for the deer; without the deer, the woods would have been felled for pasture, and there would have been nowhere for Robin Hood to hide.
At the edges of the clearings in our wood of oak and birch, the smaller trees flourish. A hazel bends over a stream, waiting to drop its wisdom-filled nuts into the water, where, perhaps, the salmon of knowledge may swallow them. The spindle tree grows here too, and when all is gaunt in winter, her rose-pink, poisonous berries will shrink to reveal orange seeds: joyful punctuations of the prevailing gloom. No doubt the Baba Yaga has cut the spindle to make wands, for its white and lightweight timber is admirably suited. Indeed, it is said that a despairing seamstress who thrusts her spindle (derived from this tree) into the ground, will soon be delighted to perceive it taking root, producing greenish-white flowers and fruit as red as roses. No wonder the archetypal witch is often depicted with distaff and spindle.
These woods are the haunt of mustelids: not just the badger, but also the stoat and weasel. In winter, the stoat becomes the ermine, whose snow-white coat is a long and undulating sentence ending in a black full-stop: the tip of the tail. These tail tips, sewn with alarming profusion into trimmings of royal gowns, are the black wisps in the fluffy whitenesses which adorn the necks of mediaeval kings and queens, but in its natural state, the stoat is a wily creature with whom any witch should identify. Gamekeepers hate them, and cleave their skulls whenever they can find them, for they are crafty of mind and supple of body, and can take down creatures many times their size. The weasel is even smaller: a beady-eyed, ripple-bodied killing machine with teeth like needles. The late twelfth century Breton poet, Marie de France, who was a champion of misunderstood lovers and werewolves alike, has been one of the few authors (even the enlightened Kenneth Grahame fails in this regard) to ascribe noble qualities to the weasel. In her extraordinary lay known as Eliduc, the hero’s lover lies dead, and his longsuffering wife feels for him in his despondency. She sits weeping beside the bier of the woman who has been bedding her husband, when all at once, a weasel runs past, only to be struck dead by a stick-throwing servant standing nearby. Moments later, a second weasel, the first one’s mate, comes and finds her dead. He runs outside and picks a flower with his teeth, and uses it to revive her. In what must qualify as one of the most selfless acts in all romantic literature, Eliduc’s wife retrieves the flower, resurrects her husband’s adulterous lover, and graciously retires to a convent, and the weasels, one hopes, live on to perpetuate their species.
The mixed woodlands of oak, birch and ash lie in the lowlands. The beechwoods of the chalky uplands are quite different, and the Baba Yaga would fly far to find them. Mature beeches allow little sunlight to filter down to the forest floor, and as a result, the vegetation is sparse. One flower, however, has found a niche, and its perspicacity must arouse the admiration of any witch. The bird’s nest orchid contains no chlorophyll, and as a consequence, it is not green, but yellow and fleshy, with a purplish tinge. The flowers are not gaudy, but brown, designed to attract flies, and the plant does not photosynthesise, for it is saprophytic, deriving its nutrients not from the sun but from an underground fungus with which it shares a symbiotic relationship – and the fungus, in turn, is dependent on the humus provided by the rotting foliage of the beeches. Every year, the orchid flowers by the bole of the beech, unless perchance its underground rhizomes encounter a stone. Should they do so, the plant will flower underground. A model of perverse and persevering persistence, it is surprising that the bird’s nest orchid does not play a bigger role in folklore; indeed, the only explanation for this is the fact that it is hardly ever noticed, for without green colouration, plants are nearly always presumed to be dead.
It would be impossible for the Baba Yaga to frequent these woodlands without encountering a fox, and it would be unlikely indeed that she should fail to identify with him. Since the Middle Ages, the French have understood the fox most intimately, immortalising him as Reynard, the trickster who always has the last laugh. Sometimes he disguises himself as a monk, tonsuring the unsuspecting wolf with a cauldron of boiling water. On other occasions, he shams his own death, enticing birds within reach of his snapping jaws. Chaucer lets him sink his teeth into the neck of the narcissistic cockerel Chantecler, and in the mediaeval French romances, he even creates a martyr, Coupée the chicken, whose earthly life was so cruelly cut short. He presides laughingly over the castration of his rival Tybert the cat by a fornicating priest, and personally engineers the trapping of Bruin the Bear inside a cleft oak. Ever victorious, Reynard is the archetypal guiser. If you don’t believe it, seek him out yourself in a summer glade where the rabbits are chewing cowslips: he sidles along, respectfully distant, and all at once he is turning somersaults as though he has gone mad, biting the dirt and threshing at his own tail with his hindlegs. The rabbits are mesmerised by this vision of a predator turned insane; slowly they creep closer. Reynard’s game is an eloquent essay in predatory hypnosis. One rabbit strays too near, and the muscles ripple on the fox’s muzzle, the canines bared. The pupils in the yellow irises congeal into sharp lozenges of dark. Suddenly, the fox-fool is a lethal machine, and the rabbit curls, screaming in agony in the fox’s jaws. The Baba Yaga is not dissimilar in her dealings with her own victims.
When winter comes, the broadleaved woods are bare, and only hollies and the occasional yew can relieve the monotony. At this time, no doubt, the Baba Yaga steers for the coniferous woodlands, eschewing only those of larch, which alone among the cone-bearing trees are deciduous. She seeks a creature every witch should revere. Of course, if we have had any contact whatever with modern environmental movements, we in Britain are immediately sure what creature she is after. It must be the red squirrel – that totemic creature whose imprint ensures fundraising success for every wildlife charity. Ousted from the woodlands of the south of our islands by the American grey – so this myth insists – the red squirrel persists in the Scotch Pines of the Highlands, staunch to the end like some latter-day Dad’s Army. We conveniently forget that it is we who introduced the grey squirrel, so that we can demonise it, and that it is we in our unprecedented population explosions of the twenty-first century who turn our woodlands into minute islands in the sea of homogeneity, dooming the less resilient species to extinction. But the Baba Yaga does not seek the red squirrel. She is after something far more elusive: a lissom-limbed creature whose every movement is sinuous, smearing pungent scents on the bark of the pine bough. His pelt is the warmest brown: dark chocolate laced with white, and had he not been persecuted to near extinction in our country, the grey squirrel would never have extended its range. Should the fresh meat run out, he is resilient enough to resort to caterpillars, or even bilberries. These days, it takes a witch to find him, led onward by the pricking of her thumbs, and even then she must crane her neck, or mount once more to the treetops in her mortar, for this creature scampers where most men scorn to look. Furtive, trembling with the pulse of a hungry metabolism, the pine marten claws the bough. Like the eyes of Wassilissa’s doll, its pupils are aglow.
*
The path beneath my feet is an ancient wickerwork of the roots of elms, and the ivied trunks beside me are columns in a cathedral of green, for Dutch Elm Disease has never ravaged the trees on the Isles of Scilly. Chiff-chaffs and wrens, roof-boss creatures come to life, peer between the leaves with beady eyes, and beside the raised path the little fenland supports a hundred tiny chapels of hemlock water dropwort, twinkling woodbines, and green and fleshy liverworts on gleaming walls of soil. A choir of hoverflies is singing, a tracery of elm twigs arching above them. I am on my way through the shrine to nature known as Holy Vale, heading towards Porth Hellick, a bay gouged into the granite on the eastern side of the island of St. Mary’s. As I emerge from the fenland, where herons and egrets curl their harpoon-headed necks like question-marks, the dromedary-shaped geological feature known as Camel Rock looms in front of me. Shallow sea-water laps over the bladder-wrack as I make my way past it, and out in the deeper water, I glimpse the arched Roman-nose of a grey seal, his nostrils flared to drink in the air. Suddenly, he submerges, and I time the interval before his re-emergence, not daring to hold my own breath. He has exhaled before diving, every pocket of air expelled from shrunken alveoli, his bloodstream constricted, for this reduces his buoyancy. His blood is almost black in colour, for it is packed with haemoglobin in order to carry additional reserves of oxygen during the dive. Three, four, five minutes, and his head is bobbing up ahead, like a stub-nosed buoy with whiskers. Gulls skim the sea’s dark undulations. A cormorant dives, and turnstones cry. The sun turns the sea mercurial, and the shoreline is a mirror with a glazed meniscus. As the old seal breasts the surge, I almost hear the slop of mercury, and then the sun shifts, the sea a green glaze crusted with foam. The boulders beside the path are mounded with unsalvaged disjecta: a winkle, a pebble, a cormorant’s skull.
Beyond Camel Rock, an ancient stairway has been cut into the stone. Ahead of me, the cliff forms a great overhang, known locally as Clapper Rock. One can imagine it rapping like a gargantuan castanet on a windy night, and in the past I have taken children here on bivouacs, and they have scared each other sleepless with tales of the ghosts of suicides. As I mount the stairs, the light intensifies; the stones seem to be vibrating. Spectral figures climb the stairs ahead of me, shawled and murmuring, disappearing behind a curve in the rocky cleft. I know who they are. In 1750, Robert Heath wrote the first ever book about the Isles of Scilly, and in it he described a collective of Healing Aunts whose traditions had been handed down from time immemorial. “They are all good Botanists,” he tells us, “and have added a great many Herbs to their Catalogue… Their Systems and Hypotheses are to help those in Distress for Pity’s sake rather than for Profit.” In 1750, the most senior amongst them was Sarah Jenkins, a wise-woman and midwife of considerable local standing. That she was also a witch seems very likely: in her youth she certainly knew of the fairies which inhabited the chambered cairn of Buzza Hill near Hugh Town, whose “nightly Pranks, aerial Gambols, and Cockel-shell Abodes are now quite unknown.” Supposedly, they were “charm’d” or “conjur’d out of the islands” by cunning-men from Cornwall, but surely I have seen them myself, belted with leather of Laminaria, their menfolk in britches of kelp, their women skirted with Porphyra, with purses of bladder-wrack, stitched with strands of Chorda. I am sure that to this day they dance to tunes of fiddles fashioned out of the skulls of guillemots, and beat on urchin drums.
I think I know where the ghosts of the Healing Aunts are going. They are heading across the heath towards the beach of Pelistry, beyond which lies Toll’s Island, a grassy clump of rock connected to the beach by a sand-bank at low tide. In the eighteenth century, Toll’s Island would have hung under a pall of noisome smoke, for it was covered with kelp-pits tended by wizened old ladies puffing perversely on blackened clay pipes. The kelp was burned to a fine ash and then exported for use in glass-making, a meagre source of revenue for the poverty-stricken island folk. Beyond the kelp-pits stands Pellew’s Redoubt, a relic of the Civil War, from which not even these islands, twenty-eight miles into the Atlantic, were entirely free. At the far end, the sea slops and gurgles against the rocks, and it is here, I am sure, that the Healing Aunts are heading. The rockpools here are a candy-shop of colours: Coralina plants, articulated like puppets and pink as musk, kelps, oar shaped, made of chocolate leather, and edible sea lettuces, pistachio green. I bend down and dip my hands in the water. There is the sideways scuttle of a retreating crab, a frightened goby’s blinkless eye, the urchin’s serried army bristling. There are limpets and pixie cups and slowly moving snails clearing trails in sand. Despite the turmoil and pounding of the sea, delicate anemones spread their tentacles, or lie above the waterline like globules of blind red jelly.
Here the Healing Aunts will find Dillisk, a membrane-thin ribbon of red seaweed known to the Scots as Dulse, Rhodymenia palmata. Shawled in ragged wool, Sarah Jenkins bends hunchbacked over the rocks, plucks with scrabbling fingers the limp Dillisk from the stone, or rolls up her grubby sleeve, and picks it where it swells in swirling ribbons underwater. It clings to her skin as though it has been smeared with bacon grease. Rich in iodine, Dillisk has long been an essential component of the diet of coastal peoples, and during the Irish potato blight, it doubtless saved lives. Hanging in the kitchen, it withers at the edges, grows a powdery crust of salt, and stiffens like red parchment, until wet weather leaves it hanging flaccid: it is, in fact, the world’s first barometer. Combined with sea lettuce and mixed with oatmeal, it is fried to make nutritious cakes. The seaweed known as “Irish moss” grows here too, its fronds rainbowed with bioluminescence under water. Medicinally, it is an anticoagulant, and a treatment for bronchitis, bladder infections and kidney irritation; it is also an effective gelling agent. The seaweeds are used here for fertilisers too, and wrack-cutters were equipped with special scythes for the purpose of harvesting the larger plants. Other seaweeds had folkloric significance: Viking descendents on Iceland were afraid of a hideous child-eating troll-woman named Grýla, whose coat was made of seaweed, and whose fifteen tails were made of the knotted wrack, Ascophyllum nodosum. In addition to her child-devouring cat, she had a string of husbands, none of whom could bear her carnivorous habits for very long, until at last she found a sort of happiness with Leppalúði, who was able to quell his nausea for long enough to father a multitude of offspring upon her, all of whom preyed upon human children. Similarly, Norse burial grounds on the Orkneys were later identified as homes of the Trows, semi-aquatic monsters who preyed on human souls. According to Jo Ben, writing in the early seventeenth century, the Stronsay Trows “very often go with the women there”, and they are clad in red seaweed, with horse-like bodies. A Trow’s penis, too, “is like that of a horse”, and the testicles are particularly large. At the opposite extreme of Britain, Scilly too is covered with cairns and tombs, and it seems reasonable to suppose that in former ages, these also had their fair complement of seaweed-clad monsters. On a windy night on Scilly, it is difficult to believe that they do not exist.
No doubt the Healing Aunts did not confine their ministry to St Mary’s. There are five inhabited islands in Scilly today, but in their day, Samson too was inhabited by two wind-worn families, the Woodcocks and the Webbers, who eked out an existence by fishing and kelp-burning before they were evicted in the nineteenth century by the lord of Tresco, Augustus Smith, who built a deer-park on the island, only to find that the deer scorned the place and swam back to Tresco. It is certain that there were magical traditions – not all of them entirely benevolent – on the other islands too, for the well of St. Warna on St. Agnes was once filled with bent pins, each designed to cause a shipwreck, and St. Agnes herself is represented in paintings with a stang, luring tall ships onto the rocks. However, today I will follow the Healing Aunts back to Hugh Town, and take their spectral boat to Samson. On the way, a sandwich tern is above me, slouch-winged and still in the air as a strained lever. All about the boat now, they hover, their necks cocked like flintlocks, their stretched wings bracketing the wind, the watchspring wound, near to breaking. The flintlock springs, and one bird makes a soundless plunge, harpoon-billed and hollow boned. For a moment, it is a stab of white cleaving the water. A sand-eel writhes, and the tern bursts shimmer-feathered back into the air. Riding this swell in winter, I might meet the Immer Loon, or Great Northern Diver, a bird whose ancestors once swum with ichthyosaurs.
There is no jetty on Samson: the spectral boat beaches on the sand of Bar Point at low tide. The beach is a white hump, with a single line of weed. At the top, there is dune grass bleached by brine, and in the spring, pyramidal orchids bloom in profusion. On Dune Hill, the first of Samson’s two granite humps, there is a string of cairns from the days when Scilly was known as Ennor. There is yellow furze, gnarled ling, and a petering path, lined with thrushes’ anvils, each with its own snail-shell cairn. Always, there are the wind-flayed sternums of gulls, rock-pipits, and once fearless wrens, the bleached wings still attached. I will follow the Aunts down the hill, towards the spume-worn Neck, and enter this empty, roofless home to my right, stooping beneath the rafter that would have been. There is an uncanny, unfathomable silence. I can almost hear the wheeze of a Woodcock, his clay pipe clenched in stained incisors. The air here is thick, and it is hard to breathe, for there is an emptiness, like the orbs of a gull’s skull. Up the slope towards South Hill, another house beckons me, armpit deep in foxgloves and red-campions, and fringed with nettles - nitrogen-loving plants which frequent the past abodes of human beings. The hard-hewn lintel is perched precarious as a bird, and inside, the low hearth is lichen-bearded. There is the same silence, the same thickness, the same constriction of the throat; I know I am breathing ghosts, not air. I half-hear the sigh of a Webber, worn from kelp-burning, aching to rest her legs beside the fire that would have been. And now I am back out into the vacancies of brown bracken, walking by bluebells, grown wild from some garden long-gone.
The silences of Samson, here at the Atlantic end of the British Isles, hold within them the profoundest lesson a witch can learn. We humans are transitory: we are walking ghosts. Our hearths encrust; our lintels fall. Our clay pipes lie crushed in the strand. Our remnants are chipped flints, stone bottle stoppers, plastic flotsam. Our broken boats encrust with goose-barnacles. The Healing Aunts knew this: they have brought me here so I may know it too. The wounds we inflict on nature are skin deep; it will master us in the end. If you don’t believe me, take the tourist-boat to Samson – the modern Scillonians will gladly take your money. Sit up there on South Hill and listen. Hear their yawls and cries. Glance down at their mottled eggs on the peaty pathways. Samson does not belong to human beings. It is owned by gulls, and the ghosts of all that would have been.
This is the Stanley Islander 19 Dual Console. Could it be the perfect Rabbit Island boat? We're currently searching for a boat for summer 2012 and weighing potential options. Built in Canada near Parry Sound it is specifically designed for use on Lake Huron around the rocky islands of eastern Georgian Bay. It is self bailing (it doesn't even have a bilge!), welded aluminum (as opposed to riveted), low maintenance, tough as nails, no-frills, and efficient... but also very expensive. I drove up to Canada to see it at the Toronto International Boat Show a few weeks ago and fell in love. Does anyone know where we could find one used? If so drop a line. Apparently they are very hard to come by because people hold on to them forever and there are very few that have been imported to the States. Other considerations include a used Boston Whaler Outrage 17, Grady White Sportsman 180, or Lund Alaskan 18. These are somewhat easier to find used but do not have the combination of aluminum construction and self-bailing hull (they are either one or the other). Aluminum seems like it would be much easier to maintain than fiberglass and more practical in situations adjacent to a rocky shoreline should it bump against the rocks or get pulled on shore. Which one would you go with? Other ideas? Post them below or on Facebook.
