View allAll Photos Tagged HTML,
Well done reportage for the austrian TV where Thierry Geoffroy / Colonel present it s format Biennalist www.emergencyrooms.org/biennalist.html , the film show with his students , part of a critical run and a slow dance
at the Maldives pavilion : "Can we rank emergencies ? "
see the TV video
--------------------------------------------------------------------------------------------------------------------------------------------
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.
-------------------------------------
-------------------------------------------------------------
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
-----------------------------------------------------------------------
Geoffroy normally works with art formats like the EMERGENCY ROOM
to stimulate urgent expression by artist about today 's emergencies :
www.emergencyrooms.org/formats.html
www.colonel.dk contact : emergencyrooms@gmail.comThierry Geoffroy/ Colonel will be exhibiting in the museum Kunsthalle Mannheim from october 2018 part of the exhibition Konstruktion der Welt .Kunst und Ökonomie
Constructing the World: Art and Economy 1919-1939 and 2008-2018
10/12/18 to 02/03/19
Ten years after the peak of the global financial crisis in 2008, which profoundly shook the economic systems of America and Europe and had a lasting effect on present-day life, this topical exhibition is the first to illustrate the economy’s dramatic influence on art and to make global comparisons, demonstrating these in an analysis of two separate eras. Economic phenomena in the classical modernism of the 1920s and 30s are not only explored by focusing on art from the German Weimar Republic, the Soviet Union, and the United States, but also juxtaposed with artists of the present day.
Curatorial team: Dr. Eckhart Gillen (Berlin), Dr. Ulrike Lorenz, Dr. Sebastian Baden
Project Lead: Dr. Inge Herold, Assistence: Lisa Valentina Riedel, M. A. mult., Elisabeth Bohnet, M.A.
How does contemporary art reflect the world of work today? The catalogue for the second part of the exhibition Constructing the World at the Kunsthalle Mannheim takes a look at this question. The focus of it is primarily on artistic positions of the past decade that deal with the social, political, and economic effects of the most recent economic crisis after 2008. The works address and interrogate new production conditions and developments on the labor market as well as political conflicts. The accompanying publication provides fascinating insights into the diverse artistic positions.
Artists participating 2008-2018
Maja Bajevic - BBM (Observers of Operators of Machines) - Bureau d'Études - Claire Fontaine - Jacques Coetzer - Abraham Cruzvillegas - Szilárd Cseke - Chto Delat - Jeremy Deller - Simon Denny - Tatjana Doll - Harun Farocki & Antje Ehmann - Thierry Geoffroy - Andreas Gursky - Thomas Hirschhorn - Olaf Holzapfel - Sanja Iveković - Charles Lim Yi Yong - Maha Maamoun - José Antonio Vega Macotela - Tobias Rehberger - Oliver Ressler & Dario Azzellini - Mika Rottenberg - Superflex - Zefrey Throwell - Volume V - Maya Zack - Artur Żmijewski
Artists participating 1919-1939
Berenice Abbott - Gerd Arntz - Lester Thomas Beall - Thomas Hart Benton - George Biddle - John Biggers - Peter Blume - Margaret Bourke-White - Jacob Burck - Clarence Holbrook Carter - Charlie Chaplin - Ottilie Cieluszek - Ralston Crawford - Francis Hyman Criss - Stuart Davis - Alexander A. Deineka - Rudolf Dischinger - Otto Dix - Nikolaj A. Dolgorukow - Arthur Durston - Sergej M. Eisenstein - Fred Ellis - Walker Evans - Philip Evergood - Conrad Felixmüller - Hans Finsler - Max Gebhard - Hugo Gellert - John R. Grabach - Otto Griebel - William Gropper - Carl Grossberg - George Grosz - Hans Grundig - Kurt Günther - O. Louis Guglielmi - John Heartfield - Werner Heldt - Karl Hubbuch - Eric Johansson - Joe Jones - Grethe Jürgens - William Karp - Lewis W. Hine - Hannah Höch - Heinrich Hoerle - Edward Hopper - Hermann Otto Hoyer - Edward McKnight Kauffer - Gerhard Keil - Gustavs Klucis - Käthe Kollwitz - Pawel D. Korin - Valentina N. Kulagina - Wilhelm Lachnit - Fritz Lang - Wladimir W. Lebedew - Jack Levine - El Lissitzky - Arkadi Lobanow - Louis Lozowick - Sergej A. Lutschischkin - Reginald Marsh - Carl Mayer - László Moholy-Nagy - Dimitri Moor - Reinhold Nägele - Otto Nagel - Alice Neel - Oskar Nerlinger -Solomon B. Nikritin - Alice Lex-Nerlinger - Gerta Overbeck - Werner Peiner - Kusma S. Petrow-Wodkin - Juri I. Pimeno w - Natalia Pinus - Michail M. Plaksin - Jackson Pollock - Curt Querner - Climent N. Redko - Albert Renger-Patzsch - Serafima V. Rjangina - Alexander Rodtschenk o - Theodore Roszak - Walter Ruttmann - Leni Riefens tahl - Nikolaus Sagrekov - Alexander N. Samochwalow - Paul Sample - August Sander - Arkadi S. Schaichet - Rudolf Schlichter - Wilhelm Schnarrenberger - Georg Scholz - Franz Wilhelm Seiwert - Ben Shahn - Charles Sheeler - Georgi und Wladimir A. Stenberg - Warwara Stepanowa - Paul Strand - Miklos Suba - Ernst Thoms - Alexander G. Tyschler - Bumpei Usui - Konstantin A. Vialov - Karl Völker - Wladimir A. Wassiljew - Dsiga Wertow - Piotr W. Wiljams - Grant Wood - Gustav Wunderwald - Ekaterina S. Zernova - Heinrich Zille
www.colonel.dk contact : emergencyrooms@gmail.com
#artformats #artformat #formatart #biennale #biennalism #biennalecritic
#ARTIVISM #streetartist #politicalartist #activistartist #Epigrammatists #socialcommentary
#premonitionart #avantgardeart #inadvanceart #urbanartist #InstitutionalCritique
#artintime #onlineart
#toolate
thierry.geoffroy #thierrygeoffroy #artistrole
#biennalist #Biennalism #biennalecritic
#exhibition #contemporaryart #
#artandeconomy #kunsthallemannheim #museum #mannheim#thierrygeoffroycolonel
#kuma #kumamuseum
BIENNALIST @ Venice Biennale
www.emergencyrooms.org/biennalist.html
by www.colonel.dk and www.emergencyrooms.org
www.emergencyrooms.org/formats.html about other art format
------------about Venice Biennale history from wikipedia ---------
The Venice Biennale in English also called the "Venice Biennial") refers to an arts organization based in Venice
The Art Biennale, a contemporary visual art exhibition and so called because it is held biennially
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Azerbaijan, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czech and Slovak Republics, 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, ten new participant countries developed national pavilions for the Biennale: Angola, 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 [4], 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.[29]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
, Photographic Source
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation
Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artist
AHS Ames High School Alumni Assoc - Ames, IA.
ameshigh.org - reunions - photos - newsletters - authors - calendar - news - deceased - email - letters - join AHSAA
From left to right: Hal '83, Eric '86, Dennis '61, Paul '72, Glen '75.
Dennis, Paul and Glen are brothers. Eric and myself are brothers, Dennis is our dad.
Dennis has done the chains for 40 years, Hal for 30, Eric for 29, Paul for 25 and Glen for 14 years.
Glen lives in Dysart he drives 87 miles to Ames every Friday for the games.
-------- Obituary --------
Dennis (Denny) Wayne Sailsbury
1942-2021
Ames - Dennis (Denny) Wayne Sailsbury, age 78, passed away at his Ames, IA home on March 6, 2021 surrounded by his family. A gathering of friends and family will be 4-6:00 p.m. Thursday, March 11, at Grandon Funeral and Cremation Care, 414 Lincoln Way Ames, with a 11:00 a.m. Friday, March 12, graveside service at Ames Municipal Cemetery. Masks and social distancing are required at both events.
Dennis was born in Ames, Iowa on September 24, 1942. He was the oldest of four children of Dale and Martha Sailsbury. He was a graduate of Ames High School and resided in Ames his entire life.
Dennis married Betty Borg, of Forest City, IA, on October 3, 1964. He had a passion for photography and worked at the Ames Laboratory as a photographer for over 40 years. He carried his passion of photography into his family vacations and holiday celebrations. He was heavily involved with his children's (Hal, Eric, and Dan) activities. He rarely missed a practice or a game. He helped coached the sports teams they were involved in and was a cub scout leader for each of his three boys. He took many ski trips with his sons and grandchildren.
He was also devoted to his seven grandchildren (Chelsea, Alex, Jack, Roman, Calvin, Max, and Jonah). His grandkids had many overnights at grandpa and grandma's house as they loved how he allowed them to stay up late to watch movies, eat chips and salsa, and make malts with grandpa. The morning always greeted the kids with his famous pancakes, as he was the only one that knew how to make them the "right way".
He was a teacher at heart, as he loved teaching life skills to his kids and grandchildren on how to drive a boat, fish, camp, build wood working projects, and how to enjoy life.
Everyone knew Dennis as an avid RAGBRAI rider as he rode RAGBRAI for 27 years. After he decided not to ride anymore, he would provide support in transporting gear and setting up tents for his kids and grandkids when they would join the ride regularly.
Dennis was a staple in his involvement with Ames High School Football. During football season, for 40 years, you could find him on Friday nights volunteering his time at Ames High football games running the chains on the sidelines marking first downs. Because of his dedication and years of service, he received a distinguished service award from the Ames High School Athletic Department.
Dennis loved camping. He took his family on numerous camping trips over the years and spent many years with his sons and grandchildren on canoe trips in the Boundary Waters Canoe Area in Northern Minnesota.
In retirement, he worked part time at Reiman Gardens at Iowa State University as a jack of all trades. He spent many hours building displays, performing maintenance on equipment, and mentored many of the student workers.
He was a member of the Golden K Kiwanis.
Dennis never turned down an opportunity to try something new, because he was always a kid at heart.
Dennis is survived by his wife, Betty; son Hal (Dana) and their three children, Chelsea Bright (Isaac and great-grandchild due May 27, 2021), Alex (fiancé Kiki Kramer), and Jack; son Eric (Margene) and their son Roman (fiancé Morgan Warbalow); son Dan (Megan) and their three sons Calvin, Max, and Jonah; his siblings Marilyn Smith of Jackson, MO, Paul of Ames, IA, and Glen of Dysart, IA. His parents, Dale and Martha, preceded Dennis's passing.
Online condolences may be directed to: www.grandonfuneralandcremationcare.com
To Plant Memorial Trees in memory, please visit our Sympathy Store.
Published in Ames Tribune from Mar. 8 to Mar. 9, 2021.
www.legacy.com/obituaries/amestribune/obituary.aspx?pid=1...
--------
AHS Alumni Assoc reunions or photos
AHSAA newsletters, authors or calendar
join AHSAA
Our Lady & The English Martyrs, Cambridge
stepneyrobarts.blogspot.co.uk/2013/02/our-lady-english-ma...
Yesterday I revisited St Peter for internals and finished of Cambridge, visiting seven Victorian built churches only one of which, Our Lady & The English Martyrs, is worth writing up.
At first sight I wrote OLEM off as a Victorian Gothic monstrosity but as I wandered around the exterior I was struck by the quality of the building and the interior stunned me with lots of rather good glass and impressive architecture (oh and apart from three revisits, Babraham, Guilden Morden and Stow cum Quy, that finished the north west quadrant).
The Church of Our Lady and the English Martyrs, or OLEM, is situated in the heart of the city of Cambridge. An imposing example of the 19th Century Gothic Revival, it was built to the designs of Dunn & Hansom of Newcastle between 1885 and 1890, and founded solely by Mrs Yolande Marie Louise Lyne-Stephens, a former ballet dancer at the Paris Opera and Drury Lane, London, and widow of a wealthy banker. She promised to build the church on the feast of Our Lady of the Assumption, and Monsignor Christopher Scott - the first Rector - also wished to commemorate the Catholic Martyrs who died between 1535 and 1681, over thirty of whom had been in residence at the University.
Designed by architects Dunn and Hansom of Newcastle and built by the Cambridge firm of Rattee and Kett, OLEM is constructed in Casterton, Ancaster and Combe Down Stone. The church is a traditional cruciform structure in the early-decorated style with a large tower at the crossing, a polygonal apse and a west bell tower with a 65-metre spire, visible for miles around Cambridge. Quite often, it is quoted by visitors and local residents as a location point. The approximate internal dimensions of the church are: length 48 meters [156 ft] width across the aisles 16 meters [51 ft] width at the transepts 22 meters [71 ft], the height of the nave 15 meters [71ft].
Inside and over the west door stands the figure of Our Lady of the Assumption crowned with lilies and standing on the crescent moon with the vanquished serpent beneath. The west window shows the English Martyrs arranged in two principal groups, the clergy on the south side with St John Fisher in their midst and the laity on the north grouped round St Thomas More.
Beside the South aisle is an ancient statue of Our Lady with the Child Jesus. This statue is understood to be a gift in 1850 from Emmanuel College, which was built on the site of a Dominican Priory dating back to 1274. The Church of the Black Friars of Cambridge contained a statue of Our Blessed Lady to which much pilgrimage was had. Although unconfirmed this could be that statue.
The Chapel of the Holy Souls with the book of Remembrance is located at the west end of the south aisle. The sculpture above the altar depicts the solace and relief of the Holy Souls in Purgatory through the intercession of Our Lady and the angel who comforted Our Lord in Gethsemane. The Chapel is now appropriately used at the two great Christian celebrations: at Easter for the Empty Tomb indicating the Risen Lord, and at Christmas for the Crib.
The aisle windows were almost completely destroyed when the church was struck by a bomb on 1941, but were subsequently replaced in their original form. They epitomise the various sufferings of the English Martyrs, their being brought before the Council, racked, hung, drawn and quartered in the sight and sympathy of the faithful. The windows of the north aisle portray Carthusians, St Thomas Moore, B. Margaret Pole and others, while the south aisle is made a “Fisher Aisle”, devoted to scenes from the life of St John, Cardinal Bishop of Rochester, who in so many important ways is identified with Cambridge.
The best general impression of the interior is obtained from the gateway in the iron screen dividing the nave from the ante-chapel. The heads of the four great preachers of Our Lady’s Graces are carved in the four corners of the nave. The windows along the nave represent saints connected with the Church in Britain, arranged approximately in chronological order from east to west with a few additional figures in the eastern windows.
The Rood which is between the nave and the sanctuary is of the type known as “Majestas”; the figure of Our Lord, with glorified wounds, robed in alb, stole and pallium [as High Priest] and crowned [as King “reigning from the Tree”]. This was the earliest type of crucifix; the realistic figure, now almost universal, did not come into general use until the beginning of the thirteenth century. The cross, inspired by that at Nuremberg, is about 6 metres high, carved in oak; the figures of Christ and of Our Lady and of Saint John are of Kauri pine. They were carved locally by Mr. B. Maclean Leach and completed and blessed in 1914.
Beyond the present, modern altar is the High Altar with the relics of Saints Felix and Constantia, martyrs of the early Church. The tabernacle and ornaments of the altar are of exquisite French workmanship from Lyons. The baldacchino which covers the High Altar is similar to that over the tomb of Robert the Wise (1275-1343) at Santa Chiara, Naples. It is one of the earliest forms of adornment of a Christian altar. At the top is the figure of Our Lord in glory supported on each side by angels in act of adoration.
The design and the re-ordering of the sanctuary was done by Mr. Gerard Goalen of Harlow after the Second Vatican Council. On 7th April, 1973, Bishop Charles Grant consecrated the present central. The original High Altar has subsequently been used mainly for reservation of the Blessed Sacrament.
This trek offers an outstanding combination of amazing mountain and valley scenery in a remote area, the visit will really get an in-site into the Authentic Quechua Communities and see thatched stone houses surrounded by herds of llamas and alpacas, and even guinea pigs running loose inside the houses. This hike starts in the Lares Valley and village of the same name, where you can enjoy a night dip in its relaxing hot springs, to then follow to the Andean communities of Huacahuasi, Patacancha and Willoq, reaching the village of Aguas Calientes on the third night, after a 2-hour train-ride from Ollantaytambo. Finally, the fourth day is devoted to visiting the impressive Inca citadel of Machupicchu
Package Name:Lares Trek
Duration: 4 Days / 3 Nights
Type of Trek : Alternative Trek to Machu Picchu
Group Size : To suit group requirements - (no more than 12 Persons)
Difficulty degree of this hike: Moderate / Challenge
Departures Day:
Daily Departures - Small Groups
All private service departure dates are adapted to your request.
A minimum of 2 persons is needed for this trek
Activities: Adventure / Trekking / Biking / Ecological/
High Season: April - November
Route: Closed in February
Lares Trek Itinerary:
Day 1: Cusco - Lares (Hot Spring)
Day 2: Lares (Hot Spring) - Ipsaycocha)
Day 3: Ipsaycocha - Patacancha - Ollantaytambo - Aguas Calientes
Day 4: Aguas Calienties - Machu Picchu - Cusco
Day 1: Cusco - Lares (Hot Spring)
We leave Cusco at 6:00am in a private transport and drive for an approximated 4h through part of the Sacred Valley to then head towards Lares (3100m/10168ft), a little rural village located in the beautiful valley of the same name, hosting some well-known hot springs. Upon arrival, we leave our equipment and continue towards Choquecancha, an impressive archaeological site with amazing views of the neighboring valleys. After our visit, we hike back to Lares, where we can enjoy an evening dip in its hot springs before or after our dinner is served. Our camp will be set next to the thermal baths and access is free the whole night.
Day 2: Lares (Hot Spring) - Ipsaycocha)
After an early wake up and breakfast, we meet our horsemen and horses and leave our campsite at around 9.00am to walk along an ascending path that will lead us to Huacahuasi, (3600m/11808ft). This remote Andean community is located in an impressive valley, where the typical lifestyle and house constructions of the Quechua communities living at high altitude can be appreciated. We stop to visit a typical house and family, before we enjoy our lunch. In the early afternoon, we continue our hike ascending toward the mountain pass of Ipsay (4450m/14596ft/3h), walking across little communities and Andean flats (pampas) with the presence of llamas and alpacas. The pass offers impressive views of Mount Veronica and the surrounding snow-capped peaks. Just half an hour from this point is Ipsayqocha, a beautiful lagoon next to which we set our camp and spend the night, amidst awesome scenery.
Day 3: Ipsaycocha - Patacancha - Ollantaytambo - Aguas Calientes
After two full days of hiking today is much easier. After an early breakfast we walk downhill through a wide-open valley for about 2½ hours until we arrive at the village of Patacancha. We will have a chance to view some textiles made by the people of this community - the high quality weavings are famous for their intricate designs reflecting aspects of their everyday lives and culture. After we also get the chance to walk slowly down the valley to Willoq, another Quechua village where the locals still wear their traditional dress and are proud to maintain their cultural identity. From Patacancha we will take our transport further down the valley to Inca town of Ollantaytambo where we will rest and have lunch, then catch our afternoon train to AguasCalientes. This is an amazing journey that starts in the Quechua highlands and slowly descends to lush tropical vegetation as we near AguasCalientes. Total journey time about 1½ hours. Tonight we stay in the small quaint town of Machu Picchu.
Day 4: Aguas Calienties - Machu Picchu - Cusco
5 am breakfast then at 5.30am we get the bus to Machu Picchu. We need to depart early so those who wish to climb Huayna Picchu will need to sign up before the 2 hour guided tour. During your visit to these ancient ruins you will see clouds fly past and Machu Picchu will disappear with in them, so make sure you take pictures whilst the ruins are visible. After the tour you will have free time to explore the mountain of Huayna Picchu overlooking all of Machu Picchu - by far the best view! Huayna Picchu will take approximately 2 hours return trip. It is now your choice to enjoy lunch just outside the ruins or take the bus back to AguasCalientes to explore this small and quaint village. The train back to Cusco departs late afternoon so your estimated time of arrival is approximately 9pm.village. The train back to Cusco departs late afternoon so your estimated time of arrival is approximately 9pm.
What is Included:
English speaking guide
Pre-departure information meeting,
Machu Picchu entrance fees.
First aid kit, portable oxygen Tank,
3 night accommodation in tourist hostel,
Transfers,
Bus ticket Aguas Calientes Machu Picchu - Aguas Calientes,
Expedition train ticket Aguas Calientes - Ollantayatmbo,
Transfer from Ollantaytambo - Cusco Hotel
What is NOT Included:
International air fares to Peru,
Domestic flights, airport taxes,
Meals other than those specified in your itinerary,
Personal insurance.
Recomended Things To Take
Sleeping bag (you can rent at Cusco Expeditions office).
Bottle of mineral water.
Rain gear and/or plastic poncho (can be purchase in Cusco).
Hiking boots.
Warm jacket or fleece, t-shirts, shorts, long pants, sun hat and wool hat.
Flashlight.
Sun block.
Insect repellent.
Toilet paper and garbage bag.
Small towel and bathing suit (hot springs optional).
Camera, extra film and extra batteries.
Snacks, chocolates, energy bars.
Emergency money.
Walking stick (optional).
CALL US We are ready to take your call.
Call us: Telephone: (+51) (84) 632307, Telefax: (+51) (84) 632307
Cell Phone: (+51) (84) 974727031 / 958191179 / 984567085 (24 hours available)
Address: Triunfo Street 392 - Centro Artesanal Arte Inka 2nd Floor 212 - Main Square of Cusco
Business Hours: Monday to Sunday: (From 9:00am to 13:00PM) - ( From 15:00PM - 8:00PM)
E-mail: contact@cuscoexpeditions.com, info@cuscoexpeditions.com
MSN: cuscoexpeditions@hotmail.com
Website: www.cuscoexpeditions.com/
Copyright © 2010 - 2020 Cusco Expeditions E.I.R.L. - Peruvian Tour Operator - Travel Agency
newsroom.iuk.edu/articles/2012/01-jan/milt-and-jean-cole-...
www.flickr.com/photos/iukokomo/sets/72157628800000035/
www.insideindianabusiness.com/newsitem.asp?ID=51072
foundationcenter.org/pnd/news/story.jhtml?id=367800013
kokomoperspective.com/kp/news/iu-kokomo-raising-funds-for...
kokomoperspective.com/news/local_news/milt-and-jean-cole-...
newsroom.iuk.edu/campus/17-campus-news/328-inspire-power-...
www.youtube.com/watch?v=uD3exIJ-hGs
www.facultyfocus.com/articles/academic-leadership/academi...
homepages.indiana.edu/issue/page/normal/439.html
www.kokomoherald.com/main.asp?SectionID=52&SubSection...
de-de.facebook.com/IndianaUniversityKokomo/posts/16732143...
www.senegalaisement.com/senegal/photos_galerie_senegal.ph...
www.kokomoherald.com/Content/News/All-News/Article/IU-Kok...
homepages.indiana.edu/web/page/normal/22373.html
tackk.com/michaelharrischancellor
articles.southbendtribune.com/2011-10-02/news/30236848_1_...
www.insideindianabusiness.com/newsitem.asp?ID=51072
articles.washingtonpost.com/2008-11-02/news/36841810_1_bi...
kokomoperspective.com/news/local_news/transformation-begi...
homepages.indiana.edu/web/page/normal/22030.html
homepages.indiana.edu/web/page/normal/20760.html
kokomoperspective.com/local_sports/iu-kokomo-women-s-voll...
iufoundation.iu.edu/newsroom/archive/2012/cole-iuk-gift.html
newsroom.iuk.edu/campus/17-campus-news/310-trustees-appro...
m.foundationcenter.org/pnd/news/story.jhtml?id=295700040
newsroom.iuk.edu/campus/17-campus-news/191-milt-and-jean-...
Chancellor Michael Harris sharing the news of $1.25 million gift from Milt and Jean Cole
www.indianaeconomicdigest.net/main.asp?SectionID=31&S...
www.indianaeconomicdigest.net/main.asp?Search=1&Artic...
www.indianaeconomicdigest.net/main.asp?Search=1&Artic...
www.indianaeconomicdigest.net/main.asp?Search=1&Artic...
indianaeconomic55.1upprelaunch.com/main.asp?SectionID=31&...
www.facebook.com/kokomoradio/posts/206860172661725
www.facebook.com/kokomoradio/posts/206860172661725
www.universitiesnews.com.previewdns.com/2012/05/20/us-iuk...
www.facebook.com/IndianaUniversityKokomo/posts/1566467844...
kokomoperspective.com/news/local_news/kokomo-perspective-...
kokomoperspective.com/kp/news/iu-kokomo-an-agent-for-chan...
kokomoperspective.com/news/local_news/kokomo-perspective-...
kokomoperspective.com/news/local_news/milt-and-jean-cole-...
kokomoperspective.com/xtra/education/indiana-university-k...
kokomoperspective.com/lifestyles/iu-kokomo-chancellor-mic...
homepages.indiana.edu/web/page/normal/20760.html
kokomoperspective.com/kids/kokomoans/a-childhood-story-fr...
m.kokomoperspective.com/news/local_news/kokomo-perspectiv...
m.kokomoperspective.com/sports/iuk/naia-approves-indiana-...
kokomoperspective.com/news/local_news/transformation-begi...
kokomoperspective.com/news/local_news/governor-appoints-c...
kokomoperspective.com/news/local_news/mcrobbie-chancellor...
kokomoperspective.com/xtra/education/indiana-university-k...
kokomoperspective.com/community/education/iu-kokomo-chanc...
kokomoperspective.com/news/iu-kokomo-finalist-for-nationa...
kokomoperspective.com/news/local_news/iu-kokomo-contribut...
kokomoperspective.com/news/iu-kokomo-recognized-for-tuiti...
kokomoperspective.com/news/iu-kokomo-sets-summer-enrollme...
kokomoperspective.com/xtra/education/iu-kokomo-graduates-...
kokomoperspective.com/xtra/education/iu-kokomo-hosts-regi...
kokomoperspective.com/kp/news/iu-kokomo-restructures-to-b...
kokomoperspective.com/sports/iuk/naia-approves-indiana-un...
kokomoperspective.com/news/local_news/community-to-be-bro...
kokomoperspective.com/local_sports/intercollegiate-athlet...
kokomoperspective.com/kp/news/gkeda-hopes-the-chinese-are...
kokomoperspective.com/lifestyles/iu-kokomo-student-alunni...
kokomoperspective.com/xtra/education/indiana-university-k...
kokomoperspective.com/xtra/education/iuk-summer-enrollmen...
kokomoperspective.com/lifestyles/indiana-university-kokom...
kokomoperspective.com/news/local_news/iu-kokomo-introduce...
kokomoperspective.com/xtra/education/iu-kokomo-prepares-f...
kokomoperspective.com/kp/news/iu-kokomo-raising-funds-for...
kokomoperspective.com/kp/lifestyles/more-students-choose-...
kokomoperspective.com/news/local_news/iu-kokomo-makes-his...
kokomoperspective.com/indiana-university-kokomo-achieves-...
kokomoperspective.com/kp/news/people-of-the-year/article_...
kokomoperspective.com/news/local_news/inaugural-nursing-m...
kokomoperspective.com/kp/news/iu-kokomo-an-agent-for-chan...
kokomoperspective.com/xtra/education/u-s-news-world-repor...
kokomoperspective.com/news/local_news/freshman-increase-d...
kokomoperspective.com/former-vatican-employee-increases-d...
kokomoperspective.com/local_sports/iu-kokomo-women-s-voll...
kokomoperspective.com/sports/iuk/iu-kokomo-selects-cross-...
kokomoperspective.com/lifestyles/indiana-university-kokom...
kokomoperspective.com/news/iu-kokomo-chancellor-s-message...
kokomoperspective.com/xtra/education/iu-kokomo-celebrates...
kokomoperspective.com/news/local_news/perspective-names-p...
kokomoperspective.com/kp/perspective-s-people-of-the-year...
kokomoperspective.com/xtra/education/iu-kokomo-prepares-h...
kokomoperspective.com/local_sports/cougar-women-s-volleyb...
whotalking.com/flickr/Chancellor
m.kokomoperspective.com/joe-biden-michael-harris-barack-o...
kokomoperspective.com/milt-cole-and-chancellor-michael-ha...
kokomoperspective.com/search/?t=article&q=michael+harris
kokomoperspective.com/news/local_news/kokomo-perspective-...
kokomoperspective.com/news/local_news/milt-and-jean-cole-...
kokomoperspective.com/xtra/education/indiana-university-k...
kokomoperspective.com/lifestyles/iu-kokomo-chancellor-mic...
homepages.indiana.edu/web/page/normal/20760.html
kokomoperspective.com/kids/kokomoans/a-childhood-story-fr...
m.kokomoperspective.com/news/local_news/kokomo-perspectiv...
m.kokomoperspective.com/sports/iuk/naia-approves-indiana-...
kokomoperspective.com/news/local_news/transformation-begi...
kokomoperspective.com/news/local_news/governor-appoints-c...
kokomoperspective.com/sports/iuk/naia-approves-indiana-un...
kokomoperspective.com/news/local_news/mcrobbie-chancellor...
kokomoperspective.com/xtra/education/indiana-university-k...
kokomoperspective.com/sports/iuk/naia-approves-indiana-un...
kokomoperspective.com/community/education/iu-kokomo-chanc...
kokomoperspective.com/news/iu-kokomo-finalist-for-nationa...
kokomoperspective.com/news/local_news/iu-kokomo-contribut...
kokomoperspective.com/news/iu-kokomo-recognized-for-tuiti...
kokomoperspective.com/news/iu-kokomo-sets-summer-enrollme...
kokomoperspective.com/xtra/education/iu-kokomo-graduates-...
kokomoperspective.com/xtra/education/iu-kokomo-hosts-regi...
prezi.com/mqmsmgcgni1u/iu-kokomomoving-forward/
kokomoperspective.com/kp/news/iu-kokomo-restructures-to-b...
kokomoperspective.com/sports/iuk/naia-approves-indiana-un...
kokomoperspective.com/news/local_news/community-to-be-bro...
indianasportsjournal.com/2012/04/17/cougars-join-ranks-of...
kokomoperspective.com/kp/news/gkeda-hopes-the-chinese-are...
kokomoperspective.com/lifestyles/iu-kokomo-student-alunni...
kokomoperspective.com/xtra/education/indiana-university-k...
kokomoperspective.com/xtra/education/iuk-summer-enrollmen...
kokomoperspective.com/lifestyles/indiana-university-kokom...
kokomoperspective.com/news/local_news/iu-kokomo-introduce...
kokomoperspective.com/xtra/education/iu-kokomo-prepares-f...
kokomoperspective.com/kp/news/iu-kokomo-raising-funds-for...
kokomoperspective.com/kp/lifestyles/more-students-choose-...
kokomoperspective.com/news/local_news/iu-kokomo-makes-his...
kokomoperspective.com/indiana-university-kokomo-achieves-...
kokomoperspective.com/kp/news/people-of-the-year/article_...
kokomoperspective.com/news/local_news/inaugural-nursing-m...
bulldogs.kettering.edu/perspective/2010/08/01/china-2010/
indianasportsjournal.com/2012/04/17/cougars-join-ranks-of...
kokomoperspective.com/kp/news/iu-kokomo-an-agent-for-chan...
kokomoperspective.com/xtra/education/u-s-news-world-repor...
kokomoperspective.com/news/local_news/freshman-increase-d...
kokomoperspective.com/former-vatican-employee-increases-d...
kokomoperspective.com/local_sports/iu-kokomo-women-s-voll...
kokomoperspective.com/sports/iuk/iu-kokomo-selects-cross-...
kokomoperspective.com/lifestyles/indiana-university-kokom...
kokomoperspective.com/news/iu-kokomo-chancellor-s-message...
kokomoperspective.com/xtra/education/iu-kokomo-celebrates...
kokomoperspective.com/news/local_news/perspective-names-p...
kokomoperspective.com/kp/perspective-s-people-of-the-year...
kokomoperspective.com/xtra/education/iu-kokomo-prepares-h...
kokomoperspective.com/local_sports/cougar-women-s-volleyb...
whotalking.com/flickr/Chancellor
m.kokomoperspective.com/joe-biden-michael-harris-barack-o...
kokomoperspective.com/milt-cole-and-chancellor-michael-ha...
kokomoperspective.com/search/?t=article&q=michael+harris
en.wikipedia.org/wiki/Michael_Harris_%28academic%29
homepages.indiana.edu/web/page/normal/20830.html
nciia.org/network/conference/2010/presenters/michael_harris
kokomoperspective.com/news/local_news/transformation-begi...
The Big Move, Visioned, Initiated and Implemented by Chancellor Michael Harris IU Kokomo:
www.youtube.com/watch?v=mJIe0t6aDEU
www.indianaeconomicdigest.net/main.asp?SectionID=31&S...
nciia.org/network/conference/2010/presenters/michael_harris
www.facultyfocus.com/articles/academic-leadership/academi...
tackk.com/michaelharrischancellor
blogs.forbes.com/people/michaelharrischancellor/
www.businesswire.com/news/home/20100602005505/en/Ketterin...
www.mlive.com/news/flint/index.ssf/2010/02/post_92.html
homepages.indiana.edu/web/page/normal/17736.html
mydigimag.rrd.com/article/Up_Front/706709/67528/article.html
avoyership13.moxai.com/chan-7603525/all_p2.html
kokomoperspective.com/sports/iuk/naia-approves-indiana-un...
prezi.com/mqmsmgcgni1u/iu-kokomomoving-forward/
Indiana University Kokomo Receives $1.25 Million Gift ...
philanthropynewsdigest.org/.../indiana-university-kokomo-receives-1.25...
Jan 22, 2012 - Indiana University Kokomo has announced a $1.25 million gift from the family of Milt and Jean Cole, owners of Cole Hardwood in Logansport, ...
You visited this page on 7/13/15.
Michael Harris Chancellor, IU Kokomo Chancellor, $1.25 ...
www.slideshare.net/.../indiana-university-kokomo-receives....
Jan 25, 2014 - Indiana University Kokomo Receives $1.25 Million Gift | News | PND In ... news/ indiana-university-kokomo-receives-1.25-million-gift[1/25/2014 ...
You've visited this page 3 times. Last visit: 7/13/15
Chancellor Michael Harris IUK Receives $1.25 Million Gift ...
www.slideshare.net/.../chancellor-michael-harris-iuk-rece....
Mar 1, 2014 - Indiana University Kokomo Receives $1.25 Million Gift | News | PND ... .org/news/indiana-university-kokomo-receives-1.25-million-gift[3/1/2014 ...
Michael Harris Chancellor Indiana university kokomo vision ...
www.slideshare.net/.../indiana-university-kokomo-receives....
Nov 26, 2013 - Indiana university kokomo receives $1.25 million gift. ... /indiana-university-kokomo-receives-1.25-million-gift AVrm2oYN Like 0 0 0 Google + 0 ...
Blogged www.sminspiration.com/2011/12/bonne-fin-de-semaine-have-n...
2. www.tumblr.com/reblog/14132347010/CY8rkY7O
3. www.bhg.com/christmas/indoor-decorating/crafty-christmas-...
5. s-3-a-s-o-n-a-l.tumblr.com/
6. zsazsabellagio.blogspot.com/search?updated-max=2011-12-13...
7. www.modernofficeideas.com/2011/09/09/office-christmas-dec...
8. 4.bp.blogspot.com/-byfr_U6N5Vg/TuaGzPSCKDI/AAAAAAAAPUQ/vM...
9. hautemamasfaves.tumblr.com/post/14165544094
10. www.tumblr.com/reblog/13251981265/NrFZy12k
11. www.goodhousekeeping.com/holidays/christmas-ideas/red-and...
12. www.marthastewart.com/275166/christmas-tree-decorating-id...
March is apparently question month. To ask me a question, post a comment here: toddpage.livejournal.com/370916.html or send me a flickr mail. [Or leave it here if anomynity is not of any importance - the lj post comments are screened so that only I can see them]
All questions: Here
Question 5:What was it like, first realizing that you might be gay? When did you first wonder, when did you accept it, when did you act on it? How did you feel about it all?
The first time I realized I was gay I was 12 years old, taking a shower. I was not thinking about anything in particular, and out of nowhere, as I leaned to turn the water off, I realized: "Shit. I'm gay." I had never really lined things up. I knew I tended to try to help certain people at the store more than others. I'd never considered the fact that the ones I made efforts to help were men, had chest and facial hair, and were usually of a slightly larger build. [Yeah, even then I pursued the "bear" type.] All of a sudden things clicked into place. I was terrified. I hated it. I decided right then and there, that I would not be. I would not be gay. I would control it. Stop it. I could make this not be true, and like girls. I would find a woman, make her my wife, have kids and a dog, and live the straight life. There was nothing to say I couldn't fix this. And like that, I turned a switch in my mind off, and began some pretty hardcore denial. I still tended to help certain customers, and, suffice to say, I was not immune to knowledge of the internet. But somehow I managed to convince myself that despite the fact that I still gazed at men, I was straight. I wasn't aware of it even. I did denial extremely well, and forgot my discovery [until I was ready to deal with it.] It wasn't terribly difficult, honestly. Few people in my school interested me... in that way... and it would've been extremely complicated to be out at my all-boys catholic high school as it is. Either way, I ignored it. I went on one, awkward, date with my best female friend from high school. [Our theatre program did shows with the sister school's girls.]
My freshman year of college, I sunk further in, which led to my second realization. I dated a girl from my school who is a wonderful person, and very pretty, for about 2 weeks. Maybe 3. We'd hold hands, and cuddle when the group of us watched movies, and we went to dinner and a movie once. Every night, I'd walk her home to her dorm, and give her a hug, then walk to my dorm. Something missing from this situation? Ah, yes, at this point, we perhaps should have kissed. Something about it, the idea in itself, held me back. And the last evening... 2.5 weeks in, when it could be put off no longer, as she was my girlfriend at this point... I realized that I needed to kiss her good night. And as I leaned in to do so, it hit me again, in this order. "Oh, man... I really don't want to do this. FUCK. I'm gay." As I'm leaning in, I maneuver into what is clearly the worlds most awkward hug, and uncomfortably tell her "Good night"
Some history of me at this point. I am a pius, naive, freshman at a very conservative catholic college - my college was in fact #2 in the nation for most homophobic on the Princeton Review I have never touched alcohol, and at this point still believe I will not do so until I am 21. I go to church every sunday, and I go to "Prayer and Praise" every wednesday evening. As a general rule, I stop by the Harkins Hall chapel once every day or so because it is small, quiet, and I can pray there. I do all my homework in the chapel basement. I have hidden myself in this. I believe what I am told, but there is no strong faith behind it. It is a place I can fit in, where I know the rules and what is expected of me. At the same time I fight anyone who says that being gay is evil. [I HATE the word homosexual and homosexuality. It's so clerical.]
It is 2 am on a friday night, in late november, and I am now re-realizing I am gay. I am realizing that this may not be something for me to control. I am still very much hateful of the fact. This turns inward. I hate myself, and loath every part of me that makes me feel this way. I am already an outcast from most social situations, and awkward, the last thing I needed was this extra load. People would hate me. All of them. I'm sure of it. All my friends will leave me and hate me. I'll have to start enjoying shopping, and I'll probably have to listen to Madonna instead of punk rock. But no. Maybe this is still fixable. I had convinced myself that with great prayer, God could take this away. I started being more vigilant, praying daily, fixating myself on anything I could that would help me push away from this. I told the girl that something was up, and I needed to figure it out. She respected that, and I think knew EXACTLY what was up. I would cry in church, praying so hard that I shook, hoping and calling to God to let me find women attractive. Or at least to stop finding men attractive. Anything. Anything to avoid dealing with or accepting it, me. Somehow, this didn't work. Surprising, I know.
So, I had to deal with it. I had to start accepting me. That this was an uncontrollable aspect of who and what I was. It was a piece of me. It was something that had been created in me, like the color of my eyes, or the color of my hair. I turned to the internet. Looking at forums, and still looking for loopholes. I joined a forum for the young and gay and talked it through with people there. I talked with some people who had experience, [Bruin, creator of Bear With Me gave me an excellent X-Men analogy, that I remember specifically.] All of this occurred over the length of the second semester.
No one else knew at this point. I had come to a sort of shaky acceptance with it... but it was very weak. I wasn't confident in it, and I still hated it. I still didn't want it to be true, but I was at least aware that it was something outside of my control. Which, to be fair, is a big step in it's own. I was carrying it by myself though. Till a cast party. It was the second cast party for Brigadoon. There was a particularly homophobic person in the cast, who had written a letter in The Cowl the week before comparing homosexuality to cancer. As a joke, we had discussed one of the guys drunkenly kissing him. [We we're freshman, give us a break] This was the second time I had ever had alcohol, and I still hadn't learned how to drink, or how to control when I drink. My friend, Joe, suggests I do it, and I blurt out "No. Not until I come out."
And then I realize what I'd done, and leave. Joe follows me, and confronts me... I tell him it was a joke, and he rolls his eyes. It's the next day and we're having dinner when he asks me about it. And I slowly tell him that I thought it was true. I didn't know where on the kinsey scale I was [I'd recently discovered the scale, and I thought it was fancy] but I had a hunch it was true. At some point in the next month, the girl I'd dated asked me what had happened and I'd told her too. That was two people. And I had told them I was still not sure. Come graduation week. I was really the only person in my group of friends on campus for the week, and I read books the entire time. I read Augusten Burrough's 'Running with Scissors', then Dry, then David Sedaris' "Me Talk Pretty One Day" Believe it or not, these were the first books I'd read about or by gay people - at least to my knowledge. I was still looking for loopholes but I was recognizing that other people were like this, and they managed to survive life. I started gaining a little bit of confidence. I went home for the summer and, very shyly, got the 2 books on gay subjects out of my library, and read through them, looking for understanding. Looking for some kind of knowledge about who and what I was. I tend to read about things before I go into them. Alot.
Somehow, I decided I was ready to come out to my parents. I don't know if I decided I was ready, or if I decided it was the right thing to do. This was a horrible decision at this time, because my confidence levels were still extremely low. I nervously and carefully sat them down at the dinner table, feeling my heart in my chest. Terrified. The second or third most awful feeling I've ever felt. And I told them "I think I'm gay." I had prepared for various responses, based on my books, but life, surprisingly [sarcasm], doesn't run like books. They did not express hate, or anger, and told me that they would never love me any less... but that they did not think I was gay. That perhaps it was a phase. That everyone questioned it at some point or another, and that I needed more time to know for sure. Essentially, that the conclusion I had clawed my way too, was wrong. I didn't know how to respond, and instead of standing my ground, conceded that it was possible. We made dinner and watched Shrek. [My parents, by the way, are amazingly supportive people, who I have put through a lot, and who love and accept me for who I am, through everything I've done. They take the details of my life quite well. I don't want anyone thinking less of the two wonderful people who brought my life. This is something that for them, as for me, would take some adjusting to. And they have adjusted to it, now, and support me fully]
Nothing further was said. The response I'd received had shaken the confidence. I still knew I was attracted to guys, but what happened from there? I told another friend, a close female friend from PC, and her response was amazing. She told me she was proud of me for coming to terms with it, and that she was so happy for me. She was so... supportive. The people I'd told so far had expressed acceptance... but this was the first time support in it had come. It was surprising, and my confidence in myself and my ability to cope with it grew. I went back to school and started talking a little less furtively. And on October 10th, I got an IM from Joe: "So... tomorrows national coming out day... you gonna tell everyone?" I had never even thought about telling the rest of my friends. "I guess so. Might as well now, gonna have to do it eventually, right?" "Yup." I then sent the girlfriend an IM telling her my plan.
So, yeah. I came out on National Coming Out Day. Not because of the holiday, but because the holiday had kind've reminded me that it was something I should do. All my friends were in the cafe, eating lunch, and before some left for class, I said "I have to say something." *silence* "I'm queer."
Oh, how I regret saying "I'm queer". I had chosen it carefully, it was an umbrella term, and it allowed me retreat, should things turn a direction that I didn't favor. 3 or 4 raised their eyebrows in shock, 2 laughed. [Kaitlin told me later her exact reaction was "Well, yeah."] Only 1 person in my group of friends reacted poorly... and she kind've cast herself away. I still don't talk to her. It was kind've amazing. I could start talking about all the shit I had bottled up openly, and I didn't have to fit any mold. I was, amusingly, now requested by friends to do things like go to the mall, or go dancing. I think this was hilarious. I had not been hiding any desires or actions... so upon coming out I still hated shopping, and still, for the most part, was not interested in an evening of dancing. Still my confidence grew, and I got to be really okay with it. I started having recognizable crushes, and though I was still uncomfortable with some aspects, I made progress.
That covers all of the acceptance bit. It's still a process for me in some ways. I notice I have this instinct within me to push against anything stereotypical. I refused to listen to Madonna, or Cher... would not even give them a try, and I still respond to some "gay" things with a negative attitude. I'm working on this. I recently listened to Madonna, to give it a chance. I still don't really like it, but at least now I've given it a chance. I mean, the girl has some definite pipes... and Like a Prayer is hella fun, but it's just not something I'd listen to for the hell of it. I'm teaching myself to recognize that doing things that are stereotypical aren't bad, as long as you aren't doing them to fit the stereotype. And not doing them to avoid the stereotype is just another way of letting the stereotype control you.
When I first acted on it is a tricky business. There had been some minor flirting, back and forth, with a freshman named ... gah, we'll say Alex. Alex was bearish, and cute, but personality-wise, not at all a match for me. As has been discussed, this is important. I was not really interested, and had tried to express that in nice ways... or avoid it anyway. We did crew together for a show called My Sister In This House, and at the second cast party, I had a lot of beer. Like, A-LOT. This was probably my 7th time ever drinking [ a year later ] and I was pretty hammered. Okay, very hammered. I was blurrily aware of the goings-ons, it was very late, and few people we're left at the gathering. I was warm, and I came to realize it was because Alex was standing behind me, with his arms around me. It felt nice, and I was hammered, so I let it occur. Then he started to pull me into the room where no one else was. A little something triggered in my brain, and I resisted. But another tug and I followed. We were standing in the room when this exchange happened:
Alex: "You're beautiful."
Me: *pause* "You smell like soap."
Alex: "Is that a good thing?"
Me: *long pause* "Yes."
At this point, he licked the back of my neck, which felt nice, but weird, but didn't have much [drunk] time to recognize it, as he leaned in and put his tongue straight in my mouth.
This woke me up pretty quickly. I'm pretty glad, too, had it been a subtle kiss first, I might have a story I'd regret. Who knows though. I told him "No." and he asked me if that meant just now, or ever. I said I didn't know.
He didn't talk to me for a year. I'm not entirely sure I blame him. I'm not sure if that counts as acting on it, as I was barely aware, and didn't really act except for to realize I was not comfortable with it. But it was my first kiss, regardless. My first real acting on it was a year later. February of my junior year of college, and began with a meeting for coffee, then a kiss in a Chili's parking lot. It moved forward from there into my first relationship.
To sum up: Ages 12 and 18, never really wondered, it just HIT me, 19 and 20, and I hated it. Alot. I don't anymore though. I'm really actually comfortable with it now. I like that it's a part of me, and I no longer feel any desire to change it. I don't believe in gay pride, because I think it's something embedded within me, just like I wouldn't be proud of having blue eyes, I wouldn't be proud of being gay... but I do embrace it as a part of me, and support it. I am comfortable with who I am, finally, at 22, and it feels glorious. I've gotten beyond accepting it, and I support it in myself. Whenever you read about people's coming outs, they always refer to coming out to themself first. I think we can add a step and that is supporting themself in that. I am finally there. Not without my share of work left to accomplish further, but I have made great progress, and I feel certain I will make more in times to come.
[This photo was taken in my actual closet, PS... it was supposed to be a photo reflecting the "in the closet" thing - also, I don't take the time to edit any of these. [the text, that is]]
[self-portrait]
//========================
This account is officially actively taking part of Year 2 of my 365 project.
3/7/09
el.kingdomsalvation.org/gospel.html
Ευαγγέλιο
Ο Θεός λέει: «Πού θα πας κάθε μέρα, τι θα κάνεις, ποιον ή τι θα συναντήσεις, τι θα πεις, τι θα σου συμβεί — μπορεί να προβλεφθεί τίποτε απ’ αυτά; Οι άνθρωποι δεν μπορούν να προβλέψουν όλα αυτά τα περιστατικά, πόσο μάλλον να ελέγξουν πώς θα εξελιχθούν. Στη ζωή, τα απρόβλεπτα αυτά γεγονότα συμβαίνουν όλη την ώρα και αποτελούν καθημερινό φαινόμενο. Τα καθημερινά αυτά σκαμπανεβάσματα και οι τρόποι που ξεδιπλώνονται ή τα μοτίβα σύμφωνα με τα οποία διαδραματίζονται, αποτελούν, για την ανθρωπότητα, συνεχείς υπενθυμίσεις πως τίποτα δεν συμβαίνει τυχαία και πως η εξελικτική πορεία που παίρνουν αυτά τα πράγματα και το αναπόφευκτο των πραγμάτων αυτών δεν μπορούν να μεταβληθούν από την ανθρώπινη θέληση. Κάθε συμβάν μεταφέρει μια νουθεσία από τον Δημιουργό στην ανθρωπότητα, ενώ στέλνει επίσης το μήνυμα πως τα ανθρώπινα όντα δεν μπορούν να ελέγξουν την ίδια τους τη μοίρα· την ίδια ώρα, κάθε γεγονός αποτελεί ανταπάντηση στην τρελή και άκαρπη φιλοδοξία και επιθυμία της ανθρωπότητας να πάρει τη μοίρα της στα ίδια της τα χέρια. Είναι σαν ισχυρά, επαναλαμβανόμενα ραπίσματα στην ανθρωπότητα, που αναγκάζουν τους ανθρώπους να επανεξετάσουν το ποιος είναι, εν τέλει, αυτός που κυβερνά και ελέγχει τη μοίρα τους. Επιπλέον, καθώς οι φιλοδοξίες και οι επιθυμίες τους καταπνίγονται και γκρεμίζονται ξανά και ξανά, οι άνθρωποι φτάνουν ανεπιτήδευτα σε μια ασυναίσθητη αποδοχή αυτού που τους επιφυλάσσει η μοίρα, μια αποδοχή της πραγματικότητας, του θελήματος του Ουρανού και της κυριαρχίας του Δημιουργού. Από τα καθημερινά αυτά σκαμπανεβάσματα έως τη μοίρα ολόκληρων ανθρωπίνων ζωών, δεν υπάρχει τίποτα που να μην αποκαλύπτει τα σχέδια και την κυριαρχία του Δημιουργού· δεν υπάρχει τίποτα που να μη στέλνει το μήνυμα πως “η εξουσία του Δημιουργού είναι κάτι που δεν υπερβαίνεται”, που δεν μεταφέρει την αιώνια αλήθεια πως “η εξουσία του Δημιουργού είναι υπέρτατη”. ...»
από το βιβλίο «Ο Λόγος Ενσαρκώνεται»
Ευαγγέλιο βιβλία
Πηγή εικόνας: Εκκλησία του Παντοδύναμου Θεού
Όροι Χρήσης： el.kingdomsalvation.org/disclaimer.html
Hear audio of the piano and see more images of John's piano's visit to Blacksburg
Read the CT article on the visit.
Read the www.roanoke.com/news/roanoke/wb/118512
9/11, The Oklahoma City bombing, Virginia Tech, the Watts Riots, the assassinations of Dr. Martin Luther King, Jr., Presidents Abraham Lincoln and John F Kennedy, all horrific acts of violence, all catastrophic, all senseless.
Imagine a world without violence, a world of peace. This sentiment echoes the lyrics to John Lennon’s 1971 song, “Imagine”.
The concept of the tour was conceived after the piano was showcased at the IMAGINE exhibition at Goss Gallery in Dallas, Texas, 2006
The photographs will feature in a book which will spread a worldwide message of peace, transcending time, cultures and boundaries.
The piano has been photographed at:
Dealy Plaza in Dallas, Texas where President John F Kennedy was assassinated on November 22nd,1963
Memphis, Tennessee. at the National Civil Rights Museum (previously the Lorraine Motel) where Martin Luther King Jr. was assassinated on April 4th, 1968
The Ford Theatre in Washington D.C., the site of President Lincoln’s assassination 142 years ago.
The Walls at Texas State Penitentiary in Huntsville, Texas, on the day of a prisoner’s execution.
The Oklahoma City National Memorial on the 12th anniversary of the bombing tragedy.
The site of the former Branch Davidian Compound where over 80 people died 13 years ago.
The home of Bill Clayton who committed suicide 12 years ago after being beaten by a gay hate gang.
www.youtube.com/watch?v=2pjKXc_gmx4
In Texarkana at the site where the Phantom Murderer killed his 1st two victims in 1946
Outside the Courthouse in Marion, West Memphis where the West Memphis Three were convicted.
Blacksburg, Virginia. The location of the Virginia Tech tragedy.
Future planned photographs to be taken in the US and UK, include the site of the World Trade Center attacks and London bombings.
“Kenny and George’s deepest wish is to imagine a world of peace, a world without violence,” said Caroline True, creative director. "The selection of these sites evokes a deep sense of emotion for everyone. Capturing these images of this special piano on which a song of peace was composed is the heart of this project."
Background
George Michael bought the Lennon piano at an auction in October 2000. Considered the most expensive piece of pop memorabilia, experts have estimated its value at US$8 million to $12 million. Michael and his partner, Kenny Goss, owner of Goss Gallery in Dallas, want to further strengthen the project’s peaceful message, by having “Imagine” performed on the piano at each stop. A video documentary and a published volume of the images are under development, with plans to donate proceeds to charity.
The song, “Imagine,” was first released in 1971 and was already John Lennon’s most famous post-Beatles song, but it took on a whole new life of its own following Lennon’s murder in December 1980. When first released, “Imagine” reached No. 3 in America and No. 6 in Britain but after Lennon’s death in December 1980, the song gave him a posthumous No. 1.
Lennon bought the piano in December 1970, had it delivered to studios at his home in Tittenhurst Park in Berkshire, composed and recorded “Imagine” on it. The piano is a simple upright style instrument, not the white piano which graced the cover of the album. In 1992, it was bought by a private British collector who put it up for auction in October 2000.
From www.lennonpiano.com/
Taken from: www.shadesofoakwood.com/pages/oakhistory.html
On November 11, 1982, the Haggerty lion was placed in Oakwood as a memorial to Michael Charles Haggerty who died at age 14 in an auto accident in 1974. His brother Thomas, who was two years younger than Michael, was an art student at Syracuse University when his parents asked him to create a special and original memorial. Michael had always liked lions and his mother thought a lion would be appropriate - a friendly protector, inviting but with claws. Thomas began work on the monument in the summer of 1981. He formed the clay image in his garage, spraying and wrapping his work each night. After this initial phase, the large figure was moved outside of his home and his work was supervised by an SU instructor. After a year's work, the 620 pound bronze statue was ready for placement. Michael had originally been buried at St. Mary's in DeWitt, but the authorities responsible for the diocese cemeteries objected to the monument. Michael was then reinterred in a special spot at Oakwood with the lion standing guard. Many people do not know about the Haggerty lion because it is situated in a wooded area and during seasons with leaves, it is well concealed. The lion can be found across the road from the Chapel. At the corner where the woods begin is a small trail which leads about 20 feet up a small incline to the monument.
Submitted for September's TMSH # 7 - Bronzed
Submitted for August's MSH # 4 - Freedom of art - I had several other possibilities, but for some reason when I think of freedom of art, this statue comes to mind. It's a shame that some people can be so small minded.
Submitted for March's MSH # 7 - Bronze Age
Wreck of ML133 at Camasnagaul.
NN 09440 75247
This Motor Launch blew up on the morning of 11th May 1943 killing CPO Frank Hopkins who is buried in Glen Nevis
www.mbriscoe.me.uk/page11.html
The ML133 Disaster
Built by Lady Bee Ltd. Of Shoreham, Sussex, ML 133 was 75ft in length (cf. above) and was launched on November 18th 1940, commissioned on December 4 1940 and completed eight days later. The following account was written by Mr Christopher Wardle who was on board at the time:
The Death of the 133. (A very vivid Memory}
As it happened.....No bullshit...The real and true facts.
I was a crew member for the entire life of the boat, I joined it in England, sailed it to Scotland and we were the original ML Training Flotilla, the Flotilla consisted of several B class ML’s
The crew of all the B class ML’s at that time was 11 personnel. The 133 was the flotilla leader and carried a fully fledged CPO as coxswain, a Leading Telegrapher, a two-and-a-half ring (Lt Cdr) skipper, who incidentally at the time of the incident was in Inverness at a conference on fire-fighting.... would you believe. So the crew of all the flotilla of ML’s at the time consisted of The Captain, the 1st Lt...usually a very very young kid with one ring (Sub. Lt). Almost every Officer was ‘Wavy Navy’ (RNVR), the only regular navy on board was myself and the coxswain all the rest were Hos (Hostility Only).
We also had two ‘Mickey Mouses’ (Motor Mechanics), usually ex-garage mechanics and extremely competent guys, a telegraphist, who, since there was little on-air radio work served as the Officers flunky and above deck signalman, a Coxswain and 5 seamen, either ordinary or able seaman a total of 11.
It was a clear cold morning in May. The 133 was doing what was called guard duties. What we were guarding, I have no idea. But we asked no questions. We just did what we was told to do.
So the morning of the 11th May 1943 we were swinging around a buoy (near Camusnagaul) with a watchman on the upper deck protecting all the good folk at Fort William. Usually the coxswain poked his head into the mess deck and ‘Called the hands’, but for some reason he didn’t so I, as next in seniority did the honours.
One of the Motor Mechanics....Geordie... I think he was the oldest guy on board, maybe in his 40s ...very old to a young 23! Anyway he went into the engine room to start up a small motor we used for washing down the upper deck; always the first duty of the day. In the meantime the rest of the crew were either dressing, in the toilet, or trying to use the bathroom....all bleary eyed, ....Still no sign of the coxswain....very unusual. He was an extremely efficient CPO... no nonsense...ran the ship extremely well.
I was just in the middle of dressing when there was this explosion. I ran up the hatch to the upper deck. The 2 sides of boat had blown outboard from the wardroom to the forecastle and Geordie was laying on the starboard side groaning with one of his eyes hanging loose. Fire had engulfed the entire engine room. When Geordie had started the small motor there had been petrol fumes in the bilges and a spark must have caused the explosion and the fire.
He was in no condition to do anything; he was shocked and injured. The first thing was to call the coxswain CPO Frank (Polly) Hopkins... we battered on his door ...but no response. His door opened inward, refused to budge, think the explosion had lifted the bilge boards and jammed his door... But why wasn’t he answering? I just don’t know, we had nothing with which to smash his door, but we tried. In the end we all took to the upper deck....there was no panic...just a bunch of guys watching the fire getting bigger and bigger’
Being built of timber the boat stayed afloat tied up to the mooring buoy, even though both her sides had been blown almost flat against the water. Christopher continues….
‘The skipper was away. The young Jimmy (1st Lieutenant) was already in the water so I was the senior guy left and I told everyone to get into the water. We had no means at all to fight the fire, we couldn’t sink her , the sea cocks and all the extinguishers were in the engine room and there was no way we could help Geordie so we abandoned ship.
I swam towards the pier a mile away; it was bloody cold too! Some of the flotilla from around the corner obviously saw the smoke and dropped anchor and came a running. I was picked up by the 154. The sparker aboard was a friend, who took great delight hurling a lifebuoy at me before helping me aboard.
The big explosion came as we were swimming towards the pier; all the ammunition and the 100 octane petrol, 4000 gallons of it, I believe. The depth charges too probably went up. That was quite a bang. I heard later quite a few windows were lost in the town and whether this was true or not, I heard it said they found parts of the 3 pounder gun near the Ben!
From that point didn’t know what was transpiring. We were all taken to the base and fitted out (with dry clothing etc.) ‘cos we were all fairly naked having only just got out of our bunks, and in a couple of days we were all sent on leave. I was sent for by Commander Welman, the CO of the base who grilled me on what happened. He seemed more concerned with pages from the confidential books that had been washed ashore as they were supposed to be kept in a locked safe. He wanted to know how they were loose and floating around. I told him the 1st Lt had them out to make the new admiralty adjustments to them and hadn’t had time to replace them, I guess.
I served the rest of my time as an instructor at the base. I heard the divers had found the coxswain at the bottom of the Hatch, he had obviously made it out of his cabin but only as far as the hatch just outside his door. I was sent on leave and didn’t even get chance to go to the coxswains funeral.
Chris Wardle
May 2010
One of the boats which raced to the scene was the local ferry boat driven by local man Archie McLean. Having picked up a number of men from the water, Archie quickly realised that CPO Hopkins was still aboard. Manoeuvring his boat through the smoke and flames, Archie managed to get it alongside the stricken vessel. Despite being aware that it was full of high octane petrol, live ammunition and probably some depth charges too, he attempted to recue the missing man. As he was about to climb aboard, the second explosion occurred and the attempt had to be abandoned. Archie was awarded honorary membership of the Coastal Forces Veterans Association and was proud to attend the annual reunions of the Coastal veterans who visited the town thereafter.
Geordie, fortunately survived the accident and C.P.O. Frank Hopkins is buried in Glen Nevis. Unfortunately his wife watched the whole incident while not realising that her husband had been killed. Meanwhile, the wreck of ML 133 can still be seen on the Camasnagaul shore at low water.
MOST SECRET
407
War Diary
11.5.1943
Tuesday
HOME COMMANDS
Casualties and Defects
....
M.L.133
destroyed
Reporting total destruction by fire and
explosion of M.L.133 at her moorings at
Camusnagall at 0825/11 one C.P.O. Missing.
Propose holding board of enquiry in accordance
with K.R. and A.I. Articles 1130 and 1136.
(ST. CHRISTOPHER, 111212B)
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
en.wikipedia.org/wiki/Thierry_Geoffroy
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
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
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
#protestart
www.freemasonry.org.il/alllodges.html
www.mastermason.com/GLIsrael/L4Holy-City/
www.google.com/search?q=17+ezrat+jerusalem+str+map
Jerusalem, the "City of Peace," is the city of David, King of Israel, who, in the 10th century BCE, unified the Holy Land under his rule and established Jerusalem as his capital. His son, Solomon, King of Israel, built a Temple to the G-d of Israel which became the archetypal Temple in Western thought and a central subject in Masonic tradition. King Solomon's Temple already appears in the Old Charges of Operative Masons used by medieval Lodges and many legendary and ritual features of various Masonic degrees are related to its construction and architecture.
For both Christians and Jews, Jerusalem is the focal point of the world, the place where heaven and earth touch each other (Heavenly and Earthly Jerusalem). In the middle ages, some maps show Jerusalem as the center of the world, with Europe, Asia, and Africa radiating from it like the petals of a flower. Jerusalem is mentioned in the Old Testament no less than 656 times, in addition to other appelations such as "The Holy City," "The City of Truth," "The City of G-d," "The City of Peace," etc.
In 586 BCE, King Solomon's Temple was razed by Nebuchadnezzar. A second Temple was erected by Jews returning from the Babylonian exile in the 5th century BCE and was rebuilt and greatly enlarged by King Herod around the time of Jesus. The Western Wall (formerly known as the "Wailing Wall") is a striking remnant of the Herodian temple. After the reunification of Jerusalem in 1967, the whole area has been opened up and now a large section of the wall has been exposed, part of which can be followed through underground passages. Some of the huge Herodian ashlars are among the largest construction stones in the world.
Beneath the wall encircling the Old City, there is a deep cavern known asKing Solomon's Quarries. This was used in old times to quarry the characteristic yellow Jerusalem stone. In this cave took place, on May 13, 1868, the first recorded Masonic ceremony in the Holy Land. A group of Freemasons led by Robert Morris (Past Grand Master of Kentucky) held a meeting in the Secret Monitor Degree. At present, the cave is used to hold a Mark Master degree once or twice a year, usually conducted in English and attended by numerous Brethren from abroad.
The newly opened Museum of the History of Jerusalem, at King David's Tower, near the Old City's Jaffa Gate, gives a fascinating account of the city's 3000-year history. Other places in Israel with strong masonic connections, such as Jaffa (Joppa) and Acre (Templars), are within driving distance of Jerusalem.
There are eight Lodges working in Jerusalem, all of them under the jurisdiction of the Grand Lodge of the State of Israel. Most work in Hebrew, but there is one working in English (Holy City Lodge #4). The Masonic Temple is located at 13 Ezrat Israel Street, off the main thoroughfare of the New City, Jaffa Road. Other attractions in Jerusalem include the Israel Museum, where the original Dead Sea Scrolls are in exhibition, among many fascinating archeological discoveries, some of them thousands of years old. The world-famous Yad Vashem memorial perpetuates the memory of the victims of the Holocaust. The recently-opened Bible Lands Museum explores the history, art, and architecture of the Holy Land throughout the ages.
[crosseye stereograph, see 3D with your right eye on the left image, and left on right.]
Southern Pacific Railway Post Office #12, Travel Town, Griffith Park, Los Angeles, California
This narrowgauge truck set, cast in Sacramento, CA by Southern Pacific, is one of two designs of 're-gauge-able' trucks on display inside the Travel Town Museum building. The wheels can be detatched from the replaceable axle by four bolts within the inside face, and a new beam can be cut from wood for the bolster support and kingpin. The sliding bearings on the end of each axle predated roller or ball bearings, and could generate a great deal of heat from friction. Hopefully the grease packed under the hinged covers was warm enough to liquify and penetrate the bearing gap. One of the primary reasons a caboose had bay windows or a coupula above, and it's placement at the end of the train, was to keep a vigilant watch for the "hotbox" - an improperly lubricated bearing would cause excessive wear, or start a fire!
Notice that there are no springs in this design, any spring action is from the steel and wood supports.
The axles and crossblocks on this Southern Pacific Railway Post Office #12 bogie truck are fabricated of wood a design to facilitate re-gauging this 3' narrow-gauge truck to standard gauge 4'8½". The trucks are unsprung, which is to say the design does not incorporate springs, and there is a very narrow bolster around the kingpin. So, in addition to feeling every gap in the uneven and wavy rail, swaying and rocking was magnified at speeds above 12 miles per hour - working to precisely sort mail along the route was a very uncomfortable occupation.
SOUTHERN PACIFIC RAILWAY POST OFFICE #12
BUILT: c.1880 BY CARTER BROTHERS
WEIGHT: 13 TONS
LENGTH: 43'
DONATED: 1960 BY SOUTHERN PACIFIC RAILROAD
This pre-20th Century, wooden car was put to a variety of uses by its owners: caboose, baggage car, railway postal car, and most notably, a baggage-mail combination. Mail transportation by rail had existed as long as the railroads themselves. In Britain, mail was already being sorted within rail cars in the late 1830's. This practice was imitated on a few American railroads, but came into widespread use only after the Civil War. Perhaps no more efficient mail system could have existed than that of the railway postal system. Both local and long-distance trains included a car equipped with pigeonholes, sorting bags and tables, cancellation stamps, and one or more frenzied clerks trying to sort a bag of mail picked up at one station, before arriving at the next station each would be only ten or twenty minutes down the road. Early in their history, these railway postal cars (RPO's) shared space with express baggage service. Later, as the system grew more elaborate, entire 60- or 80-foot RPO cars were specially built for that purpose, and resembled small versions of a post office.
As with other aspects of railroading, RPO cars and their clerks have a lore all their own. The metal arms which swung out from the side of the car to catch a hanging mail bag when the train was not scheduled to stop at a station are collectors items, as are any existing cancellation stamps. Clerks carried guns for protection against outlaws wanting to steal the mail. In the first decades, clerks worked on cars furnished either with fire-causing wood stoves or without any heat at all. Doors could not be left open for security reasons, so the cars were barely ventilated in the summer heat. If they
had toilet facilities at all, they were crude and rarely private. Sometimes a lone clerk, sometimes a handful of men tripping over and stepping on each other, slaved at sorting and canceling mail, catching a new bag every twenty minutes, and simultaneously kicking off a bag sorted for that stop.
By the 1960's, railway mail, like railway passenger service and some railway freight service, was failing in favor of air transport of mail. The last RPO ran between Washington D. C. and New York in June 30, 1977.
dsc00676, 34.154469,-118.307759, 2009.10.18 16.41.50, 3D, Los Angeles, Griffith Park, Travel Town, Southern Pacific Railway Post Office #12, Coupler.jpg
CIF CENTRAL SECTION CHAMPIONSHIP
Liberty High School - Wednesday, May 14, 2008
www.andynoise.com/valley08.html
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Bakersfield (Hunt, Turner, Johnson, Norwood), 42.28; 2. Clovis East (Bourbon, Scott, Smith, Woods), 42.58; 3. Redwood (Stewart, Ray, Root, Coles), 43.07; 4. Central (Newsome, Bigelow, Hammack, Phillips), 43.15. 1,600--1. Chris Schwartz, Foot, 4:15.80; 2. Jonathan Sanchez, Buch, 4:17.48; 3. Eric Battles, CW, 4:20.34; 4. Jesse Arellano, Mad, 4:21.56. 110H--1. Ethan DeJongh, MtW, 14.49; 2. Sean Johnson, Buch, 14.66; 3. Jon Funch, CW, 14.81; 4. Isiah Crunk, Wash, 15.17. 400--1. Maurice Lewis, Ed, 49.08; 2. Isiah Purvis, Lib, 49.13; 3. Daniel Lozano, Stock, 49.35; 4. Jelani Hendrix, Ed, 49.62. 100--1. Brendon Bigelow, Central, 10.62; 2. Emmanuel Turner, Bak, 10.81; 3. Matt Sumlin, Gar, 10.91; 4. Chris Lopez, GW, 10.98. 800--1. Anthony Mitchell, North, 1:54.19; 2. Aric Champagne, MtW, 1:54.97; 3. Andrew Campbell, CW, 1:55.69; 4. Arturo Ramirez, Centennial, 1:55.83. 300H--1. DeJongh, MtW, 37.93; 2. Cody Alves, Sel, 37.94; 3. James Smith, CE, 39.03; 4. Sean Johnson, Buch, 39.28. 200--1. Brendon Bigelow, Central, 21.29; 2. Isiah Purvis, Lib, 21.96; 3. Mario Navarette, Sanger, 22.04; 4. Chris Lopez, GW, 22.29. 3,200--1. Chris Schwartz, Foot, 9:24.19; 2. Jonathan Sanchez, Buch, 9:24.99; 3. Jon Ross, CE, 9:26.42; 4. Danny Vartanien, Buch, 9:26.42. 1,600 relay--1. Edison (Hendrix, Carter, Boughton, Lewis), 3:17.86; 2. Liberty (Hill, Garside, Affentranger, Purvis), 3:18.95; 3. Bakersfield (Miller, Turner, Johnson, Gooden), 3:20.06; 4. Clovis East (Ellis, Defonska, Woods, Smith), 3:22.40. PV--1. Andrew Lohse, Mad, 15-0; 2. Michael Peterson, CE, 15-0J; 3. Jeff Brenner, Cl, 14-6; 4. Frankie Puente, Sel, 14-0. SP--1. Dayshan Ragans, Foot, 60-7; 2. Matt Darr, Fron, 52-8.75; 3. Troy Rush, CW, 52-8.5; 4. Christian Millard, CE, 51-10.5. TJ--1. Johnny Carter, Ridge, 48-3; 2. Tyler Thompson, Shaf, 47-3; 3. Chris Kelly, Ridge, 46-11.5; 4. Jordan Smith, Central, 46-10.5. D--1. Dayshan Ragans, Foot, 199-2; 2. Jacob Budwig, Fowl, 168-8; 3. Niko Gomes, Cl, 164-10; 4. Matt Darr, Fron, 157-7. LJ--1. Kenny Phillips, Central, 23-4; 2. Tyler Thompson, Shaf, 21-11.5; 3. Dillon Root, Red, 21-11; 4. Kevin Norwood, GV, 21-8.75. HJ--1. Kenny Phillips, Central, 6-8; 2. Isiah Griggs, Bak, 6-6; 3. George Robbins, West, 6-4; 4. Jeff Brenner, Cl, 6-4J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
Girls track
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Edison (Eng, Scott, Thompson, Sears), 47.16; 2. Bullard (J. Williams, Riddlesprigger, Baisch, L. Williams), 48.17; 3. Tulare Western, 48.73; 4. Bakersfield (Torres, Belt, Brown, Wandick), 48.80. 1,600--1. Saleh Barsarian, Cl, 5:02.98; 2. Meghan Marvin, Cl, 5:03.02; 3. Chloe Allen, CW, 5:04.62; 4. Allison Gonzales, Ex, 5:11.52; 100H--1. Alyssa Monteverde, CW, 14.59; 2. Brianny Williams, Ed, 14.60; 3. Taylor Jackson, Fr, 15.04; 4. Jen Melton, CW, 15.37. 400--1. Breanna Thompson, Ed, 56.64; 2. Dedrea Wyrik, Sun, 57.49; 3. Lasasha Aldredge, Central, 58.12; 4. Taylor Donaldson, Reed, 58.13. 100--1. Megan Del Pino, CW, 11.66; 2. Jenna Prandini, Cl, 11.74; 3. Lynn Williams, Bul, 12.00; 4. Brushay Wandick, Bak, 12.01. 800--1. Allysa Mejia, Reed, 2:17.47; 2. Molly Pahkamaa, ElD, 2:17.73; 3. Katie Fry, Ex, 2:18.74; 4. Ashlee Thomas, Centennial, 2:19.77. 300H--1. Alyssa Monteverde, CW, 43.92; 2. Taylor Jackson, Fron, 44.86; 3. Brianny Williams, Ed, 45.69; 4. Alana Alexander, Centennial, 46.12. 200--1. Megan Del Pino, CW, 23.94; 2. Dominique Whittington, Lem, 24.65; 3. Brushay Wandick, Bak, 24.69; 4. Breanna Thompson, Ed, 24.90. 3,200--1. Jordan Hasay, MP, 10:24.78; 2. Meghan Marvin, Cl, 10:59.96; 3. Chloe Allen, CW, 11:06.19; 4. Corina Mendoza, Mad, 11:32.06. 1,600 relay--1. Edison (Burk, Thompson, Scott, Smith), 3:54.89; 2. Stockdale (Cady, Anderson, Mello, S. Anderson), 3:58.26; 3. Clovis West (Laidley, Capriotti, Del Pino, Monteverde), 3:59.02; 4. Reedley, 3:59.07. D--1. Anna Jelmini, Shaf, 162-5; 2. Alex Collatz, Stock, 148-6; 3. Carey Tuuamalemalo, Taft, 130-9; 4. Janae Coffee, CW, 121-6. LJ--1. Jenna Prandini, Cl, 18-7.25; 2. Lynn Williams, Bul, 18-0.75; 3. Alana Alexander, Centennial, 17-6.75; 4. Ja'Nia Sears, Ed, 17-6.5. HJ--1. Alyssa Monteverde, CW, 5-4; 2. Cristina Muro, GW, 5-2; 3. Katherine Mahr, Buch, 5-2; 4. Marish Riddlesprigger, Bul, 5-2J. SP--1. Anna Jelmini, Shaf, 44-0.75; 2. Destanie Yarbrough, CE, 37-10; 3. Heather Vermillion, Red, 37-9; 4. Tasha Firstone, CW, 36-6.5. TJ--1. Alana Alexander, Centennial, 38-3.75; 2. Jenna Prandini, Cl, 38-3; 3. Goziam Okolie, 36-10.5; 4. Alex Collatz, Stock, 36-2. PV--1. Allison Berryhill, CW, 11-6; 2. Amanda Klinchuch, Lib, 11-6J; 3. Cheree Jones, King, 10-6; 4. Emily Falkenstein, Buch, 10-6J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
Kern Invite - 11/01/08
Hart Park - Bakersfield, CA
www.andynoise.com/kernxcinvite08.html
Varsity Girls - 2008 Kern County Cross Country
Championships
School Athlete Time Overall Scoring Team
1. Ridgeview Tijerra Lynch 18:58.24 1 1 1
2. Shafter Elizabeth Wittenberg 19:02.62 2 2 1
3. Garces Monica Guzman 19:15.89 3 3 1
4. North Celilia Lopez 19:21.87 4 4 1
5. Ridgeview Ashley Duran 19:23.47 5 5 2
6. Ridgeview Jessica Huizar 19:25.81 6 6 3
7. Foothill Natalie Fernandez 19:35.65 7 7 1
8. East Lucia Garcia 19:46.20 8 x 1
9. Stockdale Amber Nelson 19:59.40 9 8 1
10. Taft Megan Thompson 20:01.34 10 x 1
11. Stockdale Carolin Haney 20:01.70 11 9 2
12. Stockdale Shelbe Pennel 20:03.86 12 10 3
13. Shafter Moriah Milwee 20:05.23 13 11 2
14. Ridgeview Desiree Armendariz 20:08.00 14 12 4
15. Arvin Tanya Hernandez 20:10.02 15 x 1
16. Highland Nichole Berry 20:19:01 16 13 1
17. BHS Sarah Baker 20:25.37 17 14 1
18. North Medeline Maier 20:29.38 18 15 2
19. Ridgeview Monica Lazo 20:33.39 19 16 5
20. Shafter Lindsee Handel 20:36.70 20 17 3
21. Centennial Jessica Folsom 20:41.80 21 18 1
22. BHS Emily Shuford 20:45.35 22 19 2
23. Ridgeview Linda Gonzalez 20:58:28 23 20 6
24. BHS Gabrielle Lerma 21:03.97 24 21 3
25. Stockdale Courtney Moore 21:06.02 25 22 4
26. North Meagan Menzel 21:10.17 26 23 3
27. BHS Gracie Garcia 21:11.76 27 24 4
28. Foothill Perla Veloz 21:13.21 28 25 2
29. Foothill Crystal Rodriguez 21:20.30 29 26 3
30. Independence Katelynn Webb 21:21.51 30 27 1
31. Golden Valley Karina Rocha 21:23.57 31 28 1
32. Shafter Katerina Plaza 21:27.21 32 29 4
33. North Blanca Perez 21:27.98 33 30 4
34. Wasco Amanda Castellon 21:28.25 34 31 1
35. Foothill Kaitlyn Mrasak 21:31.45 35 32 4
36. Tehachapi Brenda Gonzalez 21:33.34 36 33 1
37. Highland Gabi Rodier 21:34.56 37 34 2
38. Centennial Margaret Martinez 21:35.39 38 35 2
39. Stockdale Cynthia Lopez 21:35.61 39 36 5
40. Centennial Jessica Crowe 21:43.49 40 37 3
41. Highland Hilaria Vasquez 21:43.76 41 38 3
42. North Yadira Perez 21:49.62 42 39 5
43. Foothill Erica Castro 21:53.39 43 40 5
44. Centennial Stephanie Dittman 21:55.56 44 41 4
45. Independence Natalie Ambriz 22:08.45 45 42 2
46. Stockdale Madison Schutzner 22:14.92 46 43 6
47. Highland Katherine Mayberry 22:16.42 47 44 4
48. Centennial Jorey Braughton 22:18.95 48 45 5
49. North Kaylee Meyer 22:20.98 49 46 6
50. Garces Lauren Brown 22:21.19 50 47 2
51. Golden Valley Denise Silva 22:23.90 51 48 2
52. Foothill Violeta Quintanar 22:24.92 52 49 6
53. Highland Desiree Martinez 22:25.59 53 50 5
54. Independence Sara Sullivan 22:25.95 54 51 3
55. Garces Lizbeth Lopez 22:28.11 55 52 3
56. Garces Tammy Vu 22:35.68 56 53 4
57. West Selam Habebo 22:39.75 57 x 1
58. Shafter Leana Lara 22:51.69 58 54 5
59. Independence Carlie Croxton 22:55.06 59 55 4
60. Cesar Chavez Rosa Montanez 22:57.28 60 x 1
61. Foothill Maria Zepeda 22:57.55 61 56 7
62. Garces Marissa Machado 22:57.92 62 57 5
63. Shafter Mayra Torres 23:00.88 63 58 6
64. Golden Valley Carmelita Aguilar 23:04.07 64 59 3
65. Ridgeview M. Salgado 23:14.56 65 60 7
66. Golden Valley Anna Avina 23:20.23 66 61 4
67. Golden Valley Ninive Alveno 23:26.73 67 62 6
68. Golden Valley Mercedes Salgado 23:26.73 68 63 5
69. Centennial Paige Anderson 23:30.27 69 64 6
70. Garces Sammie Lobardo 23:34.37 70 65 6
71. Arvin Bianca Quinonez 23:41.85 71 x 2
72. Kern Valley S. Hinkey 23:42.47 72 x 1
73. Frontier Ariel Driskill 23:43.12 73 66 1
74. Centennial J. Estrada 23:50.91 74 67 7
75. Kern Valley S. Hazzard 23:51.80 75 x 2
76. Garces G. Ortiz 23:54.66 76 68 7
77. North Priscilla Cruz 23:55.51 77 69 7
78. BHS Kristina Logan 24:04.10 78 70 5
79. Frontier Jasmine Mattos 24:05.42 79 71 2
80. Stockdale Delilah Diaz 24:10.83 80 72 7
81. West Wennie Agbalog 24:28.90 81 x 2
82. Wasco Anna Orozco 24:29.57 82 73 2
83. Wasco Ruby Jacabo 24:30.22 83 74 3
84. Tehachapi Anna Duke 24:33.57 84 75 2
85. Wasco S. Castellon 24:42.66 85 76 6
86. Independence Shelby Woolf 24:58.35 86 77 6
87. BHS Sarah Stidham 24:58.76 87 78 6
88. Arvin Gaby Gomez 25:04.17 88 x 3
89. Highland Cristina Valenzuela 25:05.21 89 79 6
90. McFarland Monica Gonzalez 25:42.30 90 x 1
91. Tehachapi Susie Cuevas 25:57.15 91 x 3
92. Wasco B. Medina 26:00.11 92 80 4
93. Cesar Chavez Shannan Albay 26:00.32 93 x 2
94. BC Tiffany Rodriguez 26:26.77 94 x 1
95. Tehachapi Ariel Deval 26:50.73 95 81 4
96. Wasco A. Rios 27:14.74 96 82 5
97. Independence Samantha Antu 27:17.44 97 83 5
98. Tehachapi L. Shoemaker 27:44.92 98 84 5
99. BC Victoria Wheeler 28:09.47 99 x 2
100. Tehachapi J. Bahera 29:20:93 100 85 6
101. Frontier T. See 29:29.12 101 86 3
102. Frontier Savanah Olson 30:18.04 102 87 4
103. Frontier A. Rojas NT 103 88 5
[Una versión más legible se encontrará en la entrada del blog, cuyo enlace se señala a continuación.]
enriqueviolanevado.blogspot.com.es/2016/05/comentario-de-...
En Madrid se halla una multitud de nobles, unos opulentos, otros ricos y mucha parte pobres que no contribuyen poco a la decadencia de su población, a la agricultura, al comercio y fábricas. La alta idea que tienen concebida de su nacimiento los entretiene en la inacción, y en la ociosidad, con el pretexto de adquirir algún empleo capaz de mantener su familia con decencia, y no ponerle algún borrón, [rehúyen] el aplicarse al comercio, a las manufacturas, o a cualquier género de industria, y desprecian con altanería al labrador y al artesano. En España el que tiene origen noble, toda su descendencia es noble, por más pobre y vaga que sea; como al contrario el labrador y artesano por más riquezas que hayan adquirido [...] si no nació noble nunca lo será, si no se le concede tal privilegio por el Rey.
LARRUGA, E.: Memorias políticas y económicas, 1787, pp. 9-10.
Comentario
Eugenio Larruga Boneta (Zaragoza, 1745-Madrid, 1803) fue un historiador y economista español. Catedrático en la Universidad de Zaragoza, ocupó diversos cargos institucionales. Realizó estudios sobre la economía y la administración territorial española. Es considerado una de las figuras más prominentes de la Ilustración en España. Entre sus libros destaca las Memorias políticas y económicas sobre los frutos, fábricas, comercio y minas de España, con inclusión de las órdenes, disposiciones y reglamentos expedidos para su gobierno y fomento. Con ayuda estatal, fue publicando esta magna obra entre 1787 y 1800, bien que quedó inconclusa. El fragmento que figura en el examen procede de esta obra, en concreto del primer tomo.
En el texto el autor realiza una crítica a la nobleza española, a la que considera como una de la que causas del atraso económico de la nación, pues todo aquel que se considere noble cree que se deshonra si trabaja en el comercio o en las manufacturas, considerando la agricultura y la artesanía como especialmente humillantes. Estos prejuicios pasan de padres a hijos, pues la condición de aristócrata es hereditaria y afecta a toda la descendencia. Además no depende del nivel de riqueza, sino que únicamente se consigue por nacimiento o mediante nombramiento real. La abundancia de nobles en la ciudad de Madrid se explica por qué en la capital existen más posibilidades de conseguir empleos «honrosos» como escribanos, procuradores, abogados…
El fragmento es una muestra elocuente de la desigualdad jurídica y el inmovilismo que caracterizaba a la sociedad estamental, con una marcada división entre grupos privilegiados (nobleza y clero) y el llamado tercer estado. Los ilustrados y la dinastía borbónica intentaron cambiar esta situación, llegándose a publicar en 1783 una Real Cédula que decretaba que los oficios artesanales ni eran deshonrosos ni inhabilitaban para la función pública. Con todo, hubo que esperar a las revoluciones liberales, en concreto a la Regencia de María Cristina de Borbón, para liquidar el entramado jurídico del Antiguo Régimen, y aun así, se realizó mediante transacciones que permitieron a la nobleza conservar (e incluso aumentar) sus posesiones.
Observaciones:
1. El texto de Eugenio Larruga registra en las pruebas de 2014 - 2015 su primera aparición en la selectividad andaluza. Hay que recordar que el primer tema se introdujo en el curso 2012-2013, por lo que su repertorio de prácticas resulta muy limitado. Con todo, se debe recordar que en los primeros exámenes del milenio aparecían contenidos de esta etapa de la Historia de España.
2. La reproducción del texto supone una adaptación del original bastante chapucera. Donde aparece «y no ponerle algún borrón, [rehúyen] el aplicarse al comercio» debería figurar «y no ponerle algún borrón; porque su política gradúa de tal el aplicarse al comercio». Más abajo se ha suprimido un revelador «en su tráfico e industria, en beneficio y ventajas del estado».
3 .En la selectividad se otras latitudes se incluye un segundo párrafo que ayuda, y no poco, a clarificar el sentido del texto. Añadiendo esta segunda parte y corrigiendo las adaptaciones el texto quedaría así:
«En Madrid se halla una multitud de nobles, unos opulentos, otros ricos y mucha parte pobres que no contribuyen poco a la decadencia de su población, a la agricultura, al comercio y fábricas.
La alta idea que tienen concebida de su nacimiento los entretiene en la inacción, y en la ociosidad, con el pretexto de adquirir algún empleo capaz de mantener su familia con decencia, y no ponerle algún borrón, porque su política gradúa de tal el aplicarse al comercio, a las manufacturas, o a cualquier género de industria, y desprecian con altanería al labrador y al artesano. En España, el que tiene origen noble, toda su descendencia es noble, por más pobre y vaga que sea; como al contrario, el labrador y el artesano, por más riquezas que hayan adquirido con su tráfico o industria, en beneficio y ventajas del Estado, si no nació noble, nunca lo será, si no se le concede tal privilegio por el Rey.
De ahí proviene que el mercader y el artesano que llegó a hacerse rico, se llena de vanidad y abandona el comercio y las artes y procura aplicar a sus hijos a los empleos que tienen por honrosos; y no de otro principio nace tanto número de frailes, abogados, escribanos, procuradores, agentes y otras personas de sobra. Como los hijos de éstos no pueden sostenerse muertos sus padres, se echan a escribientes o a pajes. En el diario se lee la multitud de jóvenes desacomodados que buscan su fortuna por este camino; los que la mayor parte hubieran quedado en sus lugares, sino les hubiera cautivado el cebo halagüeño de labrar su fortuna con comodidad, y a costa del sudor de las partes más desvalida del estado.»
_______________________________________________
El cuadro que preside esta entrada es «La Cocina» de Ramón Bayeu y Subías. Fue realizado como «cartón» o modelo para para la madrileña Real Fábrica de Tapices de Santa Bárbara en torno a 1780. Se trata de un óleo sobre lienzo cuyas medidas son 126 x 199 centímetros.
El tapiz realizado, que pertenece al Patrimonio Nacional, se encuentra en el Palacio de la Granja de San Ildefonso. El cuadro aparece descrito en los recibos de entrega como: «Una cocina con trebejos correspondientes de alambres y en ella se ve al cocinero y al galopín pelando caza y dos mujeres trabajando, y otra para servir». Fue tasado en 3.000 reales.
En junio de 2009 esta obra fue vendida en una subasta extraordinaria realizada en la madrileña Sala Retiro. El precio de salida fue de 100.000 euros. Se desconoce la cifra que, finalmente, alcanzó. Fue adquirido por el empresario y gran coleccionista de arte Juan Antonio Pérez Simón, de origen español y nacionalidad mexicana. Se exhibe, en concepto de depósito, en el Museo de Asturias, emplazado en la ciudad de Oviedo.
Hemos elaborado la reseña con datos procedentes de estas páginas;
www.revistadearte.com/2009/05/22/se-subasta-la-cocina-de-...
www.elcomercio.es/v/20110413/cultura/cocina-bayeu-colecci...
Procedencia de la imagen:
Lake Waramaug
www.stateparks.com/lake_waramaug.html
www.flickr.com/photos/corbettjames/5121821489/in/photostr...
Lillinonah’s Leap
Reprinted From:
Legendary Connecticut
Traditional Tales from the Nutmeg State
By David E. Philips
www.friendsofthelake.org/downloads/lillinonah_leap.200312...
When the English colonies in New England were very young, there was hardly an Indian
between the Hudson and the Penobscot Rivers who did not know about Chief Waramaug,
the great sachem of the Pootatuck tribe of western Connecticut. Not only was he
respected far and wide for his courage, wisdom and charismatic leadership, but also
admired by all for his magnificent hilltop headquarters overlooking the Housaronic River,
not far above the present town of New Milford. Called “Waramaug’s Palace,” the
structure was said to have been at least twenty feet wide and a hundred feet long, a “long
hours,” indeed, and unquestionable the largest Indian building ever constructed in New
England.
Made from bark and logs which had to be carried for many miles (mostly up hill) on the
backs of the artisans who built it, Warmamaug’s Palace was famed both for its
architectural grandeur and its ornate interior decoration. It is said, for example, that the
wall of the cavernous main council chamber were covered with colorful painting of the
chief, member of his family, his councilors and judges, while smaller apartments were
adorned from floor to ceiling with pictures of all the beasts, birds, reptiles and insects to
be found in the land of the Pootatucks. The best Indian artists, many loaned to
Waramaug by the chiefs of distant tribes, labored for months to complete the unique
administration building and museum of primitive art.
As proud as Waramaug was of his imposing palace, he was even prouder of the light of
his life, his lovely daughter, Lillinonah. Taught from birth to cultivate those virtues most
revered by her father – compassion for one’s fellow man, loyalty to family and tribe and
sensitivity to the beauties of Nature – Lillinonah was, at the age of eighteen, a young
woman whose humanity matched her grace and beauty. From near and far the young
braves came, as moths to the flame, to pay homage to Lillinonah – and perhaps win her hand in marriage. But first, of course, each had to pass muster with old Waramaug, and
that was no simple matter.
Not it happened that on a cold and wintry day, as Lillinonah was out waling in the woods
high above the swift rapids of the Housatonic, she came upon a handsome young white
man wandering aimlessly through the forest, stumbling occasionally and falling to his
knees before rising once more and continuing on. It was obvious to the Indian maiden
that the man was sick with cold and fever, weak of body and confused of mind. With pity
in her heart for the suffering stranger, she offered to assist him back to the village of the
Pootatucks, where he might find rest and treatment for his illness. When the white man
nodded his assent, she slowly walked him to her home, though he had to lean heavily
upon her for support, lest he collapse in the effort.
Although the elders of the village did not approve and did nothing to help her, Lillinonah
nursed the stricken Englishman through all the rest of the long, cold winter, seldom
leaving his side. As spring came to the encampment of the Pootatucks, he was well
along the road to recovery, thanks to the care of his attentive nurse and the good
medicine which she had provided. With the blossoming of the mountain laurel on the
banks of the Housatonic, love, too, bloomed in the house of Lillinonah. As the beautiful
daughter of Waramaug gazed with undisguised affection into the eyes of the man whose
life she had saved, she saw that he returned her adoration with unaffected ardor.
When summer came, the two young lovers finally decided that they must got to Chief
Waramaug, for a love as deep as theirs must be consummated by marriage. The great
sachem’s reaction, however, was as they both expected: he was very angry. With all the
eligible Indian suitors for miles around still beating a path to her door, how dare Lillinonah
ask for his blessings on a union with a white man, an unknown stranger whose culture
was so different from her own? Was it not true that the paleface despised the Indians,
regarding them as little better than the savage beasts of the forest? No, said Waramaug,
never would he sanction Lillinonah’s marriage to such a man.
But Lillinonah refused to eat or drink. Her once lovely face turned sallow and she began
to shrink before the very eyes of her distraught father. As summer waned, the once
beautiful daughter of Waramaug became a pale shadow of her former self, so great was
her pain and powerful her will. Finally, although he still regarded marriage between his
daughter and a white man as a burden almost too heavy to bear, Waramaug relented.Reluctantly, he consented to the marriage of his beloved Lillinonah to the man she had
found lost in the woods on that long ago winter’s day.
Before the marriage could take place, the betrothed couple agreed, the fair young man
should return to his own people, to let them know that he was still alive and well, and to
tell them of his plans to wed Lillinonah and live for the rest of his life in the company of the
Poootatucks. Both lovers realized that his people would urge him not to go back to his
lovely Indian princess. They would remind him that there were plenty of young English
women in the colonies just looking for a husband as attractive as he was. What right had
he to wed a dusky maid from a foreign and inferior race? But he promised Lillinonah that
no argument would ever persuade him to break his vow to marry. After one final winter
with his own people, he would return to Lillinonah – in the early spring. Sadly, he took his
leave.
The autumn passed, and winter, too, and as the first green began to show in the hickory
and oak along the Housatonic, Lillinonah bedecked herself with the wild flowers of the
forest as she waited in happy anticipation for her lover’s return. But summer came and
went, the reds and yellows of autumn showed bright on the trees, and still the young
Englishman had not come back to the land of the Pootatucks. Lillinonah no longer sand a
joyous song. There were no more flowers in her hair. Wan and listless, she wandered
through the woods, her eyes red-rimmed from weeping, searching and hoping against
hope that she had not been forgotten.
Chief Waramaug watched sadly as once more his daughter’s health began to fail and her
usually happy disposition to run morose under mounting waves of despondency.
Perhaps, he thought, he might bring her back from the brink of depression if he could only
interest her in a young man of her own race. So, unknown to Lillinonah, Waramaug
arranged a marriage for her with Eagle Feather, one of the brightest, most promising
braves in the Pootatuck tribe. Surely, such a fine youth as he, could give Lillinonah
something to live for.
But word reached Lillinonah of her father’s arrangement with Eagle Feather – and she
reacted immediately. Down on the shore of the Housatonic River, now rapid and swollen
with the heavy rains of autumn, she climbed into a canoe and shoved off into the teeth of
the roaring current. As the canoe was carried faster and faster toward the turbulent waters above the dangerous falls of the river, Lillinonah tossed away her paddle and sand
back in the bottom of the canoe to await her fate.
Then, high on a crag jutting over the river just above the cataract, she saw him! Her lost
lover had not forgotten. Even above the roar of the water she heard him call her name.
She stood in the canoe, waved her arms and screamed for help. Though he knew his
chances of saving his beloved were slim at best, the young Englishman did not hesitate
for a moment. He leaped from the overhanging bluff and plunged into the whitened
water, just as Lillinonah’s canoe struck a rock in the middle of the river and capsized,
spilling her into the frothy current. Swiftly as he could, he swam to her side and clasped
her body to him. Alas, neither realized that it was already too late. Still wrapped in loving
embrace, the doomed pair disappeared into the boiling falls and were crushed to death as
they were hurled to the rocks in the broad pool below.
They say that when the battered bodies of the star-crossed lovers were finally found, they
were still locked in each other’s arms. Noble, even in deepest mourning for his lost
Lillinonah, Chief Waramaug ordered that his daughter and her white lover be buried side
by side, contrary to Indian tradition, on the top of a hill overlooking the narrow gap of the
Housatonic River non known as Lover’s Leap. And when old Waramaug finally joined his
ancestors many dad years later, legend says that he, too, was laid to rest near the illfated
couple.
Though the tragic life of Lillinonah ended centuries ago, her legend will never be
forgotten. Any Connecticut map will show that the wide portion of the Housatonic River
which stretches for mils below the narrow rapids where the lovers met their deaths is, to
this day, still called Lake Lillinonah.
Here is the amazing Panoramic Cave Hotel i stayed in Goreme. I would highly recommend Panoramic Cave Hotel for all backpackers, like me :). You can even book your hostel online from Turkey Hostels. Cheers !
Οι δύο ενσαρκώσεις ολοκληρώνουν τη σημασία της ενσάρκωσης
Αν είχε πραγματοποιηθεί το έργο του Ιησού χωρίς να συμπληρώνεται από το έργο σε αυτό το στάδιο των εσχάτων ημερών, τότε ο άνθρωπος θα παρέμενε για πάντα προσκολλημένος στην αντίληψη ότι μόνο ο Ιησούς είναι ο Υιός του Θεού ο μονογενής, δηλαδή, ότι ο Θεός είχε μόνο έναν γιο και ότι οποιοσδήποτε άλλος ακολουθούσε έπειτα, υπό κάποιο άλλο όνομα, δεν θα ήταν ο Υιός του Θεού, πόσο μάλλον ο ίδιος ο Θεός. Ο άνθρωπος έχει την αντίληψη ότι όποιος λειτουργεί ως θυσία εξιλέωσης των αμαρτιών ή όποιος αναλαμβάνει την εξουσία εκ μέρους του Θεού και λυτρώνει όλους τους ανθρώπους, είναι ο Υιός του Θεού ο μονογενής. Υπάρχουν κάποιοι που πιστεύουν ότι εφόσον Εκείνος που θα έρθει είναι άντρας, θα μπορεί να θεωρείται ο Υιός του Θεού ο μονογενής και ο εκπρόσωπος του Θεού, ενώ υπάρχουν ακόμα κι εκείνοι που λένε ότι ο Ιησούς είναι ο Υιός του Ιεχωβά, ο μοναδικός Του Υιός. Δεν είναι αυτή μια εξαιρετικά υπερφίαλη αντίληψη του ανθρώπου; Αν δεν πραγματοποιούταν αυτό το στάδιο του έργου στην τελική εποχή, μια σκοτεινή σκιά θα κάλυπτε ολόκληρη την ανθρωπότητα, όσον αφορά στον Θεό. Σε μια τέτοια περίπτωση, ο άντρας θα θεωρούσε τον εαυτό του ανώτερο από τη γυναίκα, οι γυναίκες δεν θα μπορούσαν ποτέ να έχουν το κεφάλι ψηλά, κι έτσι, ούτε μία γυναίκα δεν θα μπορούσε να σωθεί. Οι άνθρωποι πιστεύουν πάντοτε ότι ο Θεός είναι άντρας και, επιπλέον, ότι εκείνος ανέκαθεν απεχθανόταν τη γυναίκα και ότι δεν θα της έδινε τη σωτηρία. Σε μια τέτοια περίπτωση, δεν θα ήταν αλήθεια ότι όλες οι γυναίκες, οι οποίες δημιουργήθηκαν από τον Ιεχωβά κι έχουν επίσης διαφθαρεί, δεν θα είχαν ποτέ μια ευκαιρία να σωθούν; Τότε, δεν θα ήταν άσκοπο για τον Ιεχωβά να δημιουργήσει τη γυναίκα, δηλαδή, να δημιουργήσει την Εύα; Η γυναίκα δεν θα χανόταν για όλη την αιωνιότητα; Γι’ αυτόν τον λόγο, πρέπει να πραγματοποιηθεί το στάδιο του έργου στις έσχατες ημέρες, προκειμένου να σωθεί ολόκληρη η ανθρωπότητα, όχι μόνο η γυναίκα, αλλά όλη η ανθρωπότητα. Αυτό το έργο γίνεται για χάρη όλης της ανθρωπότητας, όχι μόνο για χάρη της γυναίκας. Αν κάποιος πιστεύει κάτι διαφορετικό, τότε είναι πολύ ανόητος!
Hacker: "originally, someone who makes furniture with an axe", according to The Jargon File.
I think this shutter was made by a hacker... who use the axe to paint it, too.
Since the first 7 points of the hacker definition can also be used to describe myself, I bought this fancy toy to restore the original hacker work. After all, a sander called "Mouse" is perfect for a hacker... the problem is I'm always trying to turn the wheel ;-)
I've a heavy duty sander (8 kg!) which is good to sand the keel of an aircraft carrier (if you can find a wood one), but it is not very appropriate for small details.
I've seen this small sander at our local version of Home Depot for 35 euro, but it was out of stock and the clerk suggested me to visit the other shop, 50 km away. Before to waste a couple of hours and 7,50 euro of gasoline I asked him to check the inventory on their network, and he stared at me just like I've demanded a spare hadron collider. So I came home, check on eBay and found the same sander in Rome for 1 euro less, shipping included.
Next time I'll check eBay before to go to the shop... so I'll save another 15 km.
Now I guess you want to know the strobist infos...
- lens: SMC Pentax-DA 16-45mm F4.0 ED/AL
- flash on the left: Hanimex TZ1 in tele mode with standard diffuser - 0.13 GBP (yes! 0.16 euro!) on eBay
- left trigger: cactus like
- flash on the right: Vivitar 3500 Thiristor in wide mode, without diffuser - this one far more expensive, 10.50 GBP (13.26 euro) on eBay
- right trigger: ebay optical slave
See the setup below for the flash positions.
If you want to see the shutter "before" version, it had the same ugly color of the rest of this door.
~~~~~~~~~~~~~~~~~~~~~~~~
Hacker: "originariamente, qualcuno che costruiva mobili con un'ascia", secondo The Jargon File.
Penso che questo scuro sia stato fatto da un hacker... che ha usato l'ascia pure per pitturarlo.
Visto che i primi 7 punti della definizione di hacker possono essere anche usati per descrivere me, ho comprato questo bel giocattolino per restaurare il lavoro originale dell'hacker. Dopotutto, una levigatrice chiamata "Mouse" è perfetta per un hacker... il problema è che cerco sempre di girare la rotella ;-)
Ho una levigatrice pesante (8 kg!) che sarebbe buona per levigare la chiglia di una portaerei (se ne trovate una in legno), ma che non è molto appropriata per i piccoli dettagli.
Ho visto questa piccola levigatrice in una negozio di bricolage a 35 euro, ma era esaurita e il commesso mi ha suggerito di visitare l'altro negozio della catena, a 50 km di distanza. Prima di perderci un paio d'ore e 7.50 euro di benzina gli ho chiesto di verificare l'inventario sulla loro rete, e mi ha guardato come se gli avessi chiesto un collisore di adroni. Così me ne sono tornato a casa, ho guardato su eBay ed ho trovato la stessa levigatrice a Roma, per 1 euro meno spedizione compresa.
La prossima volta guarderò su eBay prima di andare fino al negozio... per risparmiare altri 15 km.
Ora immagino vorrete conoscere le info strobiste:
- ottica: SMC Pentax-DA 16-45mm F4.0 ED/AL
- flash a sinistra: Hanimex TZ1 in modo tele mode with diffusore standard - 0.13 GBP (si! 0.16 euro!) su eBay
- trigger a sinistra: tipo cactus
- flash a destra: Vivitar 3500 Thiristor in modo wide, senza diffusore - questo molto più costoso, 10.50 GBP (13.26 euro) on eBay
- trigger a destra: servoflash ottico preso su ebay
Guardatevi il setup più sotto per le posizioni dei flash.
Se volete sapere com'era lo scuro "prima", aveva lo stesso colore angoscioso del resto di questa porta.
hi.kingdomsalvation.org/testimonies/key-elements-of-chris...
यांग यांग, चीन
भाइयों और बहनों, हम सभी जानते हैं कि परमेश्वर से प्रार्थना करना ईसाइयों के लिए परमेश्वर से संवाद करने का सबसे सीधा तरीका है। यही कारण है कि, सुबह और शाम की प्रार्थनाओं के अलावा, हम और भी कई बार प्रार्थना करते हैं जैसे कि जब हम बाइबल पढ़ते हैं, जब हम सभाओं में होते हैं, जब हम विश्रामदिन का पालन करते हैं, या जब हम कठिनाइयों का सामना करते हैं। लेकिन क्या हमारी प्रार्थनाएँ प्रभु की इच्छा के अनुसार होती हैं, और क्या वह हमें सुनेगा? यह कुछ ऐसा है जिसे समझना हर भाई और बहन के लिए महत्वपूर्ण है; अन्यथा, चाहे हम कितनी भी बार प्रार्थना करें या कितने ही समय तक करें, ये प्रार्थनाएँ परमेश्वर का अनुमोदन प्राप्त नहीं करेंगी। वास्तव में, प्रभु यीशु ने हमें ये उत्तर बहुत पहले दिए थे, इसलिए, चलो हम देखें, इस संबंध में सच्चाई क्या कहती है!
1. प्रार्थना में एक सर्जित प्राणी के स्थान पर खड़े रहो
लूका 18:9-14 में, यह दर्ज है, "उसने उनसे जो अपने ऊपर भरोसा रखते थे, कि हम धर्मी हैं, और दूसरों को तुच्छ जानते थे, यह दृष्टान्त कहा: "दो मनुष्य मन्दिर में प्रार्थना करने के लिये गए; एक फरीसी था और दूसरा चुंगी लेनेवाला। फरीसी खड़ा होकर अपने मन में यों प्रार्थना करने लगा, 'हे परमेश्वर, मैं तेरा धन्यवाद करता हूँ कि मैं दूसरे मनुष्यों के समान अन्धेर करनेवाला, अन्यायी और व्यभिचारी नहीं, और न इस चुंगी लेनेवाले के समान हूँ। मैं सप्ताह में दो बार उपवास रखता हूँ; मैं अपनी सब कमाई का दसवाँ अंश भी देता हूँ।' "परन्तु चुंगी लेनेवाले ने दूर खड़े होकर, स्वर्ग की ओर आँखें उठाना भी न चाहा, वरन् अपनी छाती पीट-पीटकर कहा, 'हे परमेश्वर, मुझ पापी पर दया कर!' मैं तुम से कहता हूँ कि वह दूसरा नहीं, परन्तु यही मनुष्य धर्मी ठहराया जाकर अपने घर गया; क्योंकि जो कोई अपने आप को बड़ा बनाएगा, वह छोटा किया जाएगा; और जो अपने आप को छोटा बनाएगा, वह बड़ा किया जाएगा" प्रभु यीशु के दृष्टांत से यह देखना आसान है कि प्रभु ने चुंगी लेने वाले की प्रार्थना को स्वीकार कर लिया और फरीसी की प्रार्थना का तिरस्कार किया। ऐसा इसलिए है क्योंकि फरीसी ने दिखावा किया था, और खुद को प्रदर्शित कर परमेश्वर को अपने काम गिना रहा था। उसने खुद को एक बहुत ऊँचे, यहाँ तक कि परमेश्वर के बराबर, स्थान पर रखा। उसने परमेश्वर के साथ मोलभाव किया, परमेश्वर के अपने कार्य का श्रेय ले लिया, और परमेश्वर के सामने थोड़ी-सी भी धर्मनिष्ठता का पालन नहीं किया। उसके मन में परमेश्वर के प्रति बिलकुल ही भय नहीं था, और इस बात ने परमेश्वर में तिरस्कार और घृणा को जगाया। लेकिन चुंगी लेने वाला पूरी तरह से अलग था। वह जानता था कि वह एक तुच्छ पापी था, इसलिए अपनी प्रार्थना में उसे परमेश्वर का भय था और उसने खुद को खोल कर रखा, अपने स्वयं की भ्रष्टता को स्वीकार किया और परमेश्वर की क्षमा के लिए ईमानदारी से विनती की, और अंत में, उसने परमेश्वर की दया प्राप्त कर ली। परमेश्वर के प्रति उन दोनों के भिन्न नज़रिए के कारण उनके प्रति परमेश्वर का दृष्टिकोण भी अलग-अलग था। इसकी तुलना हमारी अपनी प्रार्थनाओं से करो। हम अक्सर गलत रुख अपना लेते हैं। उदाहरण के लिए: कभी-कभी जब हम कठिनाइयों का सामना करते हैं, तो हम जानते हैं कि हम जो भी करते हैं वह प्रभु के वचनों के अनुरूप नहीं होता है, लेकिन हम फिर भी इसे करने की ज़िद करते हैं, और हमारी प्रार्थनाओं में हम यह भी चाहते हैं कि परमेश्वर भी हमारी मर्जी के अनुसार काम करे। या, जब हम अपने कर्तव्यों में कुछ पूरा कर लेते हैं, जैसे कि गिरफ्तार हो जाने पर हम प्रभु के साथ विश्वासघात नहीं करते हैं, तो हमें लगता है कि हम प्रभु के प्रति ऐसे अत्यंत समर्पित व्यक्ति हैं, जो वास्तव में उससे प्यार करते हों, इसलिए जब हम प्रार्थना करते हैं, तो हम आशीषें या मुकुट माँगते हैं, और अगर परमेश्वर हमें आशीर्वाद नहीं देता, तो हम उसके साथ खटपट करते हैं। या, जब हम बीमार पड़ते हैं या घर में कुछ भयानक बात हो जाती है, तो हमारी प्रार्थनाओं में हम परमेश्वर को हमारी रक्षा न करने के लिए दोषी ठहराते हैं, और हम उसके साथ बहस करने और हिसाब निपटाने की कोशिश करते हैं। यह सूची लम्बी होते जाती है। ये सभी प्रार्थनाएँ परमेश्वर से माँगें करती हैं और उससे ज़बरदस्ती करती हैं। यह उसका शोषण करना, उसे दोषी ठहराना और यहाँ तक कि उसके खिलाफ़ खड़ा होना और उसका विरोध करना है। इस प्रकार की प्रार्थनाओं में जमीर और विवेक का पूरी तरह से अभाव होता है, और इस तरह प्रार्थना करना परमेश्वर का विरोध करना है। ईसाई प्रार्थना का उद्देश्य होना चाहिए कि परमेश्वर हमें सुने, और चुंगी लेने वाले की तरह प्रार्थना की जाए। हमें एक सर्जित प्राणी की स्थिति में खड़ा होना चाहिए, उसके समक्ष धर्मनिष्ठता के साथ पेश होना चाहिए, और आज्ञाकारी होने की पूर्व शर्त के साथ परमेश्वर से प्रार्थना करनी चाहिए। हमें अपनी स्वयं की इच्छाओं को परमेश्वर पर थोपने की कोशिश नहीं करनी चाहिए या यह माँग नहीं करनी चाहिए कि वह सभी चीज़ों को हमारी इच्छा के अनुसार किया करे। हमें केवल यह माँगना चाहिए कि परमेश्वर अपनी इच्छा के अनुसार ही चीज़ों को पूरा करे। यह एकमात्र तरीका है जिससे परमेश्वर हमारी प्रार्थनाओं को सुनेगा, और हमारा प्रबोधन एवं मार्गदर्शन करेगा।
2. परमेश्वर से नेकी और ईमानदारी के साथ प्रार्थना करो
एक बार प्रभु यीशु ने अपने शिष्यों से कहा: "जब तू प्रार्थना करे, तो कपटियों के समान न हो, क्योंकि लोगों को दिखाने के लिये आराधनालयों में और सड़कों के मोड़ों पर खड़े होकर प्रार्थना करना उनको अच्छा लगता है। मैं तुम से सच कहता हूँ कि वे अपना प्रतिफल पा चुके। परन्तु जब तू प्रार्थना करे, तो अपनी कोठरी में जा; और द्वार बन्द कर के अपने पिता से जो गुप्त में है प्रार्थना कर। तब तेरा पिता जो गुप्त में देखता है, तुझे प्रतिफल देगा" (मत्ती 6:5-6)। बाइबल में लिखी बातों से हम देख सकते हैं कि जब फरीसी प्रार्थना किया करते थे, तो वे अक्सर लोगों की भीड़ वाली जगह चुनना पसंद करते थे। प्रार्थना करने के लिए उन्हें यहूदियों के मंदिरों में या चौराहों पर खड़े होने में मज़ा आता था, और फिर वे अक्सर पवित्रशास्त्र का पाठ करते और लंबी, खोटी प्रार्थनाएँ किया करते थे। यह सब दूसरों को दिखाने के लिए किया जाता था, ताकि दूसरे उन्हें भक्तिपूर्ण और धर्मनिष्ठ समझें, और इस तरह लोगों की प्रशंसा मिले और लोग उन्हें ऊँची नज़रों से देखें। उस तरह की प्रार्थना खुद को ऊपर उठाने और दिखावा करने के अलावा और कुछ नहीं है; यह परमेश्वर को धोखा देने की कोशिश करना है। इसीलिए प्रभु यीशु ने कहा था कि फरीसी पाखंडी थे, और उनकी प्रार्थना पाखंडी थी, प्रभु की नज़रों में घृणा के योग्य थी। सोच कर देखो, कई बार जब हम प्रार्थना करते हैं, तो हममें भी गलत उद्देश्य होते हैं। उदाहरण के तौर पर, सभाओं में प्रार्थना करते समय, हम परमेश्वर से अपनी सच्ची कठिनाइयों या भ्रष्टता के बारे में बातें नहीं करते हैं, उससे अपने दिल की बात नहीं कहते हैं, और उससे हमारी अगुआई और मार्गदर्शन करने के लिए नहीं कहते हैं। इसके बजाय, हम अलंकृत शब्द बोलते हैं और खोखली प्रशंसा करते हैं, अन्यथा हम बाइबल के अध्यायों का पाठ करते हैं या पवित्रशास्त्र के बारे में बोलते रहते हैं, क्योंकि हम सोचते हैं कि जो भी शास्त्रों को अधिक याद कर लेता है और अधिक वाक्पटुता से प्रार्थना करता है, वही बेहतर प्रार्थना करता है। हम यह भी सोचते हैं कि जितनी अधिक बार हम रात के अंतिम पहर में और शाम को प्रार्थना करते हैं, जितना अधिक हम भोजन से पहले प्रार्थना करते हैं और खाने के बाद परमेश्वर की कृपा के लिए धन्यवाद करते हैं, और जितना अधिक समय हम इन चीज़ों पर खर्च करते हैं, हम उतने ही अधिक आध्यात्मिक और भक्तिपूर्ण बन जाएँगे। हमें लगता है कि इस तरह से प्रार्थना करना प्रभु की इच्छा के अधिक अनुरूप होता है। वास्तव में, उस तरह से प्रार्थना करना हमारे दिलों को प्रभु के साथ साझा करना नहीं है और यह वास्तव में उसकी उपासना नहीं है। इसके बजाय, यह हमारे अपने उद्देश्यों और लक्ष्यों से चिपके रहना है, और यह दूसरों को बताने के लिए है कि हम कितनी अच्छी तरह खोज करते हैं, जबकि हम इसका इस्तेमाल दिखावा करने के लिए करते हैं। इस तरह की प्रार्थना केवल रटी हुई, सिर्फ ऊपरी होती है, और यह एक धार्मिक रिवाज के रूप में प्रार्थना करना है। यह परमेश्वर के प्रति बेपरवाही और उसे बेवकूफ बनाने की कोशिश है, जिससे उसे घृणा हो जाती है। प्रभु यीशु ने कहा, "परमेश्वर आत्मा है, और अवश्य है कि उसकी आराधना करनेवाले आत्मा और सच्चाई से आराधना करें" (यूहन्ना 4:24)। परमेश्वर सृष्टि का प्रभु है, इसलिए जब हम सर्जित प्राणी सृष्टिकर्ता के सामने प्रार्थना करें, तो हमारे पास एक भयपूर्ण ह्रदय होना चाहिए और हमें ईमानदारी से उसकी उपासना करनी चाहिए, उसकी निगरानी को स्वीकार करना चाहिए, और परमेश्वर से खुलकर और ईमानदारी से बात करनी चाहिए। केवल इस तरह की प्रार्थना ही परमेश्वर को प्रसन्न करती है।
3. परमेश्वर की इच्छा पूरी करने के लिए प्रार्थना करो
मत्ती 6:9-10,13 में प्रभु यीशु ने कहा: "अत: तुम इस रीति से प्रार्थना किया करो: हे हमारे पिता, तू जो स्वर्ग में है; तेरा नाम पवित्र माना जाए। तेरा राज्य आए। तेरी इच्छा जैसी स्वर्ग में पूरी होती है, वैसे पृथ्वी पर भी हो। ... और हमें परीक्षा में न ला, परन्तु बुराई से बचा।" जबसे शैतान द्वारा मानवजाति को भ्रष्ट किया गया है, परमेश्वर मानवता को बचाने का कार्य कर रहा है, ताकि हम बुराई से रिहाई पा सकें, शैतान के बंधन और नुकसान से बच सकें, और अंततः हम परमेश्वर द्वारा प्राप्त किए जा सकें। इसलिए परमेश्वर उम्मीद करता है कि लोग उसके सामने आने में सक्षम हों और उसके उद्धार को स्वीकार करें। वह यह भी उम्मीद करता है कि लोग उसके वचनों के अनुसार जिएँ और सर्वोपरि उसका सम्मान करें। यही कारण है कि हमारी प्रार्थनाओं में, हम केवल अपने लिए आग्रह नहीं कर सकते हैं। हमें परमेश्वर की इच्छा पर भी विचार करना होगा, पृथ्वी पर परमेश्वर की इच्छा पूर्ण हो, पृथ्वी पर मसीह का राज्य आए और परमेश्वर का सुसमाचार दुनिया के हर कोने में फैल जाए इसके लिए प्रार्थना करनी होगी। यह अभ्यास का एक और मार्ग है जिसके द्वारा ईसाई प्रार्थना परमेश्वर की इच्छा के अनुसार हो सकती है। उदाहरण के लिए, जब हम सुसमाचार का प्रसार करते समय विभिन्न कठिनाइयों, उपहास और कष्टों का सामना करते हैं और हम कमज़ोर और नकारात्मक महसूस करते हैं, तो हमें विश्वास और शक्ति के लिए नेकी से परमेश्वर से प्रार्थना करनी चाहिए ताकि हम देहासक्ति को त्याग सकें, सभी कठिनाइयों को दूर कर सकें, और दुश्मन की ताक़तों के अधीन न हो जाएँ। जब हम काम और प्रचार कर रहे हों, तो हमें एक ज़िम्मेदारी के साथ परमेश्वर से प्रार्थना करनी चाहिए कि वह हमें प्रबुद्ध करे और उसके वचनों को समझने में हमारा मार्गदर्शन करे, ताकि हम सभाओं के दौरान उसकी इच्छा को सहभागिता में साझा कर सकें। तब हम अपने भाइयों और बहनों को परमेश्वर के वचनों के अभ्यास और अनुभव में ले जा सकते हैं और उन्हें परमेश्वर के सामने ला सकते हैं। जब हम कलीसिया में अनैतिक, बुरी चीज़ों को देखते हैं, तो हमें परमेश्वर से प्रार्थना करनी चाहिए और उससे विश्वास और साहस, साथ ही शैतान की चालों को देख पाने और परमेश्वर के घर के हितों को बनाए रखने की खातिर सच्चाई को समझ सकने की माँग करनी चाहिए, और इसी तरह और भी। अगर हम बार-बार यह प्रार्थना करें कि परमेश्वर का राज्य आए और उसकी इच्छा पूरी हो, और अगर हम यथाशक्ति उसके सुसमाचार के प्रसार में अपना योगदान कर सकते हैं, तो परमेश्वर हमारी प्रार्थनाओं को स्वीकार करेगा और वे उसकी इच्छा के अनुरूप होंगी। वास्तव में, बाइबल में कुछ ऐसी प्रार्थनाएँ हैं जिनको परमेश्वर की स्वीकृति प्राप्त हुई थी, जैसे कि राजा दाऊद का यहोवा के लिए एक मंदिर का निर्माण करना ताकि लोग उसके भीतर परमेश्वर की आराधना कर सकें। उसने अक्सर इसके लिए परमेश्वर से प्रार्थना की थी, और फिर उसने इसे अभ्यास में डाला था। उन निवेदनों ने परमेश्वर की स्वीकृति प्राप्त की, और अंत में दाऊद परमेश्वर की इच्छा के अनुकूल बन गया। सुलैमान के राजा बनने के बाद जब परमेश्वर उसे एक सपने में दिखाई दिया, और उससे यह पूछा कि वह क्या माँगेगा, तो सुलैमान ने धन या लंबा जीवन नहीं माँगा, बल्कि इसके बजाय उसने यह माँगा कि परमेश्वर उसे ज्ञान प्रदान करे ताकि वह परमेश्वर की प्रजा पर बेहतर शासन कर सके, और तब उसके लोग परमेश्वर की उपासना बेहतर कर सकें। परमेश्वर ने उसकी प्रार्थनाओं को मंजूरी दे दी, और न केवल उसे ज्ञान प्रदान किया, बल्कि उसे दौलत और लंबी उम्र भी दी जो उसने माँगी तक नहीं थीं। यह स्पष्ट है कि परमेश्वर की इच्छा पूरी करने के लिए प्रार्थना करना एक ऐसी प्रार्थना है जो पूरी तरह से उसकी इच्छा के अनुरूप है।
4. सहनशक्ति और संकल्प के साथ प्रभु से प्रार्थना करो—हिम्मत न हारो
लूका 18:1–8 में कहा गया है, फिर उसने इसके विषय में कि नित्य प्रार्थना करना और हियाव न छोड़ना चाहिए, उनसे यह दृष्टान्त कहा: "किसी नगर में एक न्यायी रहता था, जो न परमेश्वर से डरता था और न किसी मनुष्य की परवाह करता था। उसी नगर में एक विधवा भी रहती थी, जो उसके पास आ-आकर कहा करती थी, 'मेरा न्याय चुकाकर मुझे मुद्दई से बचा।' कुछ समय तक तो वह न माना परन्तु अन्त में मन में विचारकर कहा, 'यद्यपि मैं न परमेश्वर से डरता, और न मनुष्यों की कुछ परवाह करता हूँ; तौभी यह विधवा मुझे सताती रहती है, इसलिये मैं उसका न्याय चुकाऊँगा, कहीं ऐसा न हो कि घड़ी-घड़ी आकर अन्त को मेरी नाक में दम करे'।" प्रभु ने कहा, "सुनो, यह अधर्मी न्यायी क्या कहता है? इसलिये क्या परमेश्वर अपने चुने हुओं का न्याय न चुकाएगा, जो रात-दिन उसकी दुहाई देते रहते हैं? क्या वह उनके विषय में देर करेगा? मैं तुम से कहता हूँ, वह तुरन्त उनका न्याय चुकाएगा। तौभी मनुष्य का पुत्र जब आएगा, तो क्या वह पृथ्वी पर विश्वास पाएगा?" यह दृष्टांत बताता है कि जब हम प्रभु से परमेश्वर की इच्छा जानने के लिए प्रार्थना करते हैं या कुछ माँगते हैं, तो हम इसके निवारण के लिए जल्दी नहीं मचा सकते। हमें प्रतीक्षा करना, तलाश करना और पालन करना सीखना होगा। परमेश्वर सर्वशक्तिमान होने के साथ-साथ व्यावहारिक भी है। वह अलौकिक चीज़ें नहीं करता लेकिन मानवजाति के लिए मार्गदर्शन और प्रावधान देने का उसका कार्य पूरी तरह से लोगों के वास्तविक क़द पर आधारित होता है, और यह सब वास्तव में लोग क्या हासिल कर सकते हैं, उस पर निर्भर करता है। जब तक हमारे निवेदन उसकी इच्छा के अनुरूप हैं, वह निश्चित रूप से हमारी प्रार्थनाएँ पूरी करेगा, इसलिए हमें परमेश्वर में विश्वास रखना होगा। हम सभी इस प्रकार की चीज़ों से गुज़र चुके हैं: कभी-कभी जब हम किसी कठिनाई का सामना करते हैं, और हम नहीं समझ पाते कि हमें क्या करना चाहिए, तो हम परमेश्वर के पास जाते हैं, और परमेश्वर के वचनों को पढ़ने और भाइयों और बहनों के साथ सहभागिता करने के माध्यम से, परमेश्वर जल्दी से हमें प्रबुद्ध करता और हमारी अगुआई करता है, जिससे हमें अभ्यास करने का एक मार्ग मिलता है। या कभी-कभी हम लंबे समय से किसी चीज़ के लिए प्रार्थना कर रहे होते हैं और हमें परमेश्वर से कोई प्रतिक्रिया नहीं मिलती है, उस समय हमें अपने दिलों को शांत करने की, और परमेश्वर की इच्छा के प्रकट किए जाने का इंतज़ार करने की, आवश्यकता होती है। अन्य समय में, परमेश्वर हमारे विश्वास को परख रहा होता है कि क्या हम वास्तव में उस पर भरोसा करने में सक्षम हैं। कभी-कभी परमेश्वर का उद्देश्य हमारे भीतर की मिलावट को उजागर करना और हमारी भ्रष्टता को साफ़ करना होता है। कभी-कभी परमेश्वर को हमारी प्रार्थनाओं को पूरा करने के लिए लोगों, चीज़ों या घटनाओं को जुटाने या व्यवस्थित करने की आवश्यकता होती है, और इसके लिए समय और एक निश्चित प्रक्रिया की आवश्यकता होती है। ऐसे मौके भी होते हैं जब परमेश्वर देखता है कि हमारा वर्तमान क़द छोटा है और हम अपने दम पर कुछ संभाल नहीं सकते, या हासिल नहीं कर सकते हैं, इसलिए वह हमारे क़द के कुछ और बड़े हो जाने का इंतज़ार करता है, और फिर वह हमारे लिए इसे पूरा करता है।... परमेश्वर से की गई हमारी प्रार्थना चाहे पूरी हुई हो या नहीं, हमें परमेश्वर में भरोसा रखना होगा और यह विश्वास करना होगा कि वह हमारे साथ जो कुछ भी करता है वह अच्छा है, कि वह सब कुछ जीवन में हमारी वृद्धि के लिए फायदेमंद है, और यह कि परमेश्वर के अच्छे इरादे सभी चीज़ों में मौजूद हैं। इसलिए, जिन कठिनाइयों का हम सामना करते हैं, वे चाहे हमारे दैनिक जीवन में हों या परमेश्वर की सेवा में, हम हिम्मत नहीं हार सकते या निराश नहीं हो सकते हैं। हमें न्याय चाहने वाली विधवा की तरह बनना होगा, स्थिर रहना होगा, परमेश्वर में सच्चा विश्वास रखना होगा, प्रार्थना में उसके सामने अक्सर आना होगा, तलाश करनी होगी और हमारे सामने उसकी इच्छा के प्रकट होने का इंतज़ार करना होगा। हमें विश्वास करना होगा कि जब परमेश्वर का समय आएगा, तो हम पवित्र आत्मा के प्रबोधन और प्रकाश को प्राप्त करेंगे, और हम परमेश्वर के पराक्रम, ज्ञान और उसके चमत्कारिक कार्यों को देखेंगे।
प्रार्थना के उपरोक्त चार तत्व ईसाई प्रार्थना के लिए अभ्यास का एक मार्ग हैं, और यदि हम हर दिन इन चीज़ों का अभ्यास कर सकते हैं, तो हम परमेश्वर के साथ एक सामान्य संबंध स्थापित कर पाएँगे और प्रभु के वचनों के भीतर की सच्चाई को समझ पाएँगे। हमारी आत्माओं के दृष्टिकोण निरंतर सुधरते जाएँगे, और परमेश्वर में भरोसा करने और उसका अनुसरण करने में हमें अधिक आत्म-विश्वास होगा। हमारी प्रार्थनाएँ परमेश्वर की स्वीकृति भी प्राप्त करेंगी!
संपादक की टिपण्णी: परमेश्वर की स्वीकृति प्राप्त करने के लिए प्रार्थना कैसे करें, यह एक ऐसी सच्चाई है जिसमें हमें तत्काल प्रवेश करना चाहिए। यह निबंध इस बात के लिए मार्ग बताता है कि ईसाई कैसे प्रार्थना कर सकते हैं ताकि प्रभु सुने: परमेश्वर से नेकी के साथ प्रार्थना करो, परमेश्वर से कहो कि हमारे दिल में क्या है, एक सर्जित प्राणी के स्थान पर खड़े रहो, और अक्सर परमेश्वर की इच्छा पूरी हो इसके लिए प्रार्थना अर्पित करो। मेरा मानना है कि अगर हम इन चार सिद्धांतों को व्यवहार में लाते हैं, तो परमेश्वर द्वारा हमारी प्रार्थनाएँ सुनी जाएँगी। इसके अलावा, मैं 'परमेश्वर से प्रार्थना के सिद्धांत' की सिफ़ारिश करना चाहूँगी, और मुझे आशा है कि हम सभी सत्य के इस पहलू में एक साथ मिलकर प्रवेश कर सकते हैं।
स्रोत: सर्वशक्तिमान परमेश्वर की कलीसिया
उपयोग की शर्तें: hi.kingdomsalvation.org/disclaimer.html
और पढ़ें:
प्रार्थनाओं का सही तरीका क्या है, परमेश्वर से वास्तव में प्रार्थना कैसे करें?
Believed to be in Public Domain From Library of Congress, Prints and Photographs Collections. More on copyright: What does "no known restrictions" mean?
______________________
For information from Creative Commons on proper licensing for images believed to already be in the public domain please-- click here. By using this image from this site, you are acknowledging that you have read all the information in this description and accept responsibility for any use by you or your representatives. You are accepting responsibility for conducting any additional due diligence that may be necessary to ensure your proper use of this image.
________________
Public Domain. Suggested credit: Carl Van Vechten/Library of Congress via pingnews. Additional information from source:
TITLE: [Portrait of Billie Holiday]
CALL NUMBER: LOT 12735, no. 521 [P&P]
Check for an online group record (may link to related items)
REPRODUCTION NUMBER: LC-USZ62-116612 (b&w film copy neg.)
For publication information see "Carl Van Vechten Photographs (Lots 12735 and 12736)" (http://www.loc.gov/rr/print/res/079_vanv.html)
MEDIUM: 1 photographic print : gelatin silver.
CREATED/PUBLISHED: 1949 Mar. 23.
CREATOR:
Van Vechten, Carl, 1880-1964, photographer.
NOTES:
Title derived from information on verso of photographic print.
Van Vechten number: III GG 10.
Also available on microfilm.
Gift; Carl Van Vechten Estate; 1966.
Forms part of: Portrait photographs of celebrities, a LOT which in turn forms part of the Carl Van Vechten photograph collection (Library of Congress).
SUBJECTS:
Holiday, Billie, 1915-1959.
FORMAT:
Portrait photographs.
PART OF: Van Vechten, Carl, 1880-1964. Portrait photographs of celebrities
REPOSITORY: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA
DIGITAL ID: (intermediary roll film) van 5a52120 hdl.loc.gov/loc.pnp/van.5a52120
(b&w film copy neg.) cph 3c16612 hdl.loc.gov/loc.pnp/cph.3c16612
CARD #: 2004663022
This animation, made up of eight Envisat radar images, shows the 97-km long B-9B iceberg (right) ramming into the Mertz Glacier Tongue in Eastern Antarctica in early February 2010.
The collision caused a chunk of the glacier’s tongue to snap off, giving birth to another iceberg nearly as large as B-9B. The new iceberg, named C-28, is roughly 78-km long and 39-km wide, with a surface area of 2500 sq. km (the size of Luxembourg).
The Advanced Synthetic Aperture Radar (ASAR) on ESA's Envisat satellite took these images from 10 February to 4 March with a spatial resolution of 150 m. ASAR can see through clouds and local darkness and is capable of differentiating between different types of ice.
For more information
Image of the week: 5 March 2010
Credits: ESA
BIENNALIST @ Venice Biennale
www.emergencyrooms.org/biennalist.html
by www.colonel.dk and www.emergencyrooms.org
www.emergencyrooms.org/formats.html about other art format
------------about Venice Biennale history from wikipedia ---------
The Venice Biennale in English also called the "Venice Biennial") refers to an arts organization based in Venice
The Art Biennale, a contemporary visual art exhibition and so called because it is held biennially
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Azerbaijan, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czech and Slovak Republics, 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, ten new participant countries developed national pavilions for the Biennale: Angola, 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 [4], 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.[29]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
, Photographic Source
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation
Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artist
From the website...
www.encinojon.com/greg/johnhub.html
JOHN CARL HUBINGER (1851-1907)
HUBINGER, JOHN C., manufacturer, millionaire and public benefactor, is one of the most remarkable men of this country; a Napoleon in business affairs, a man of destiny, through his own indomitable will, tireless energy and brilliant genius he has built up a magnificent structure on a financial foundation as solid as the rock of Gibraltar.
Mr. Hubinger was born in New Orleans, La., forty-six years ago, and is the son of John F. Hubinger, who was born in Bavaria, in 1828, and still survives, as well as his mother, who is a native of France.
It will this be seen that Mr. Hubinger, having been born in Louisiana, is a Creole, a term peculiar to the state, and having the same significance as Buckeye to those born in Ohio, or Nutmegs to those who first saw the light of day in Connecticut.
At the age of 4 his family moved north and at Falmouth, Ky., young Hubinger received in the public schools the first and only educational training he ever received from any school system; this experience covered about four years of study, and he applied himself so closely that he got a fair foundation, which he has since built on by private study and observation, until to-day he can be considered a well informed man outside of business matters, in which he excels.
His career has been an eventful one, full of exciting incidents, and it is a remarkable fact that he was 30 years of age before he amassed his first thousand dollars, having innumerable ups and downs in life, but never despairing and always aggressive.
It would require a volume the size of this to recount a history of his life from the time he started out to earn a living up to the present time when he controls millions of business interests, and is at the zenith of his usefulness. We will not attempt anything more than a passing notice of such facts as will interest his friends.
Of an inventive turn, he secured several patents which he sold to more or less advantage, and tried innumerable schemes at one time or another, succeeding at times and losing at others his little capital, through the boldness of his methods.
The idea of Elastic starch came to him years ago, when he acted as agent for a starch concern, and he had it constantly in mind, eventually arriving at the secret which he holds alone to-day, and which has make Elastic starch the most popular in the market.
In connection with his two brothers he founded the Elastic Starch company, at New Haven Conn., under the name of The J. C. Hubinger Bros.' Co., and at a later period opened another factory at Keokuk, Iowa, where he subsequently amassed a large fortune and became known as one of the most enterprising and public spirited citizens in the state.
In the west his interests are colossal, as well as the ventures which he has made successful; among his holdings being large tracts of real estate, improved and unimproved, in different parts of the western country.
He is owner of the Keokuk street railway system, the electric light plant and system, the Mississippi Valley Telephone company, capitalized at $2,225,000. This takes in a large number of cities in that section, and is the most dangerous and largest competitor of the Bell Telephone company in America, having over 10,000 telephone subscribers.
A man of rare executive ability, he finds time to personally direct the policy of all the enterprises in which he is interested, and at the same time to evolve many more brilliant schemes of a local nature, all of which are put through in a practical and successful way.
The magnitude of his transactions almost surpass belief; in the starch business they dispose of about 25,000,000 packages each year, the legitimate profits from which are enormous, and in other ways he handles not less than $3,000,000 annually.
His liberality is the marvel of the country in which he is known, and at his palatial home, overlooking the historic Mississippi river, he and his charming wife dispense a boundless hospitality to those fortunate enough to be their guests. All the luxuries and benefits that wealth can procure are there supplied, and an atmosphere of culture and refinement pervade the entire establishment.
Mr. Hubinger's family consists of himself, wife and four children, and while fond of promoting large enterprises, he is still fonder of the home circle and there spends all of his time that is not taken up by business cares.
-- Gue, B. F. Biographies and portraits of the progressive men of Iowa Des Moines : Conway & Shaw, 1899. Pages 256-257.
CHRONOLOGY
Born in March 1852 in New Orleans, LA.
Moved to Falmouth, KY, then to Keokuk, IA.
First jobs: laborer for Tim Ford, a railroad contractor; also a broom maker.
Moved to New Haven, CT.
Developed "Elastic" laundry starch in 1871, and sold it door to door by bicycle.
Joined by his two brothers, he founded the J.C. Hubinger Bros. Co.
Married Sadie Watts July 16, 1884.
Moved back to Keokuk in 1887 (1885?)
Established first Keokuk factory at 208 Main sometime after August 1887.
Built mansion on Grand Ave. Across the street was Hubinger Park.
Built a telephone exchange at Sixth and Blondeau; expanded during the 1890's.
Owner of the Keokuk Electric Railway System, the Electric Light and Power plant,
the Mississippi Valley Telephone Company, and many other investments.
Second marriage to Viola Miller in June 1896.
In 1900 business was so successful, he reopened the J.C. Hubinger Co. factory
on Bank St., introducing "Red Cross" and "Hubinger's Best" brand starches.
In the following years, however, the company went downhill as the use of
starch in clothing went out of style.
Died in near-poverty January 27, 1908 in a boarding house on High St.
Was buried in Oakland Cemetery, Keokuk, IA.
The Hubinger family sold the Keokuk starch factory in 1926; today, the
Hubinger company produces a wide variety of corn products including
starch, oil and syrup.
twitter.com/Memoire2cite Les 30 Glorieuses . com et la carte postale.. Il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain.(Mémoire2Ville) #chercheur #archiviste #maquettiste dans l #histoire des #logementssociaux #logement #HLM #logementsocial #Patrimoine À Saint-Étienne comme ailleurs, les raisons de la réalisation de constructions si modernes durant les Trente Glorieuses relèvent en partie de la réponse donnée à la crise du logement et de la réorganisation industrielle du pays (fixation de la main-d’œuvre, industrialisation du BTP). Mais il faut aussi y voir la traduction physique d’un projet sociopolitique moderne porté par un État centralisateur et des pouvoirs publics puissants (Tomas et al. 2003 ; Dufaux et Fourcaut 2004 ; Veschambre 2011). Le pays est alors dans une période où les aspirations et idéologies portent vers la construction d’une nouvelle ère urbaine, avec ses ambitions (le bien-être, l’hygiène…), et en rupture avec les difficultés d’alors (le taudis, la maladie, l’individualisme…). www.metropolitiques.eu/Les-representations-complexes-des.... les textes de Rachid KADDOUR @ Le logement, jusqu’ici inconfortable et insuffisant, devient l’un des axes majeurs d’intervention : plus de huit millions d’unités sont construites durant la période. La forme de ces logements se doit d’être aussi moderne que le projet. De grands noms et une nouvelle génération d’architectes sont mobilisés. Ceux-ci dessinent des formes géométriques épurées et, dans les opérations importantes, les évolutions techniques leur permettent de multiplier les signaux que sont les longues barres ou hautes tours autour desquelles se structurent les autres immeubles. Comment la tour Plein-Ciel a-t-elle pu passer de symbole de modernité à « emblème d’un désastre urbain » condamné à la démolition ? Tout d’abord, une partie des équipements de la ZUP et la moitié seulement des logements sont réalisés, du fait de prévisions démographiques non atteintes (Vant 1981 ; Tomas et al. 2003). L’inachèvement accentue les désagréments de la situation à six kilomètres du centre, derrière des infrastructures lourdes. Ensuite, tout au long des années 1980 et 1990, la population de Montreynaud se paupérise (départ des plus aisés vers la propriété, montée du chômage) et « s’ethnicise », avec pour effet, suivant des mécanismes analysés ailleurs (Tissot 2003 ; Masclet 2005), que le regard porté sur elle change : dans les discours politiques et la presse, Montreynaud acquiert l’image d’un quartier dangereux. Dès lors, le quartier entre dans les réhabilitations puis la rénovation [6], mais sans effet important sur la vacance, la pauvreté, l’échec scolaire, la délinquance ou les discriminations. Pour de nombreux Stéphanois, il devient un « là‑haut » [7] relégué. La tour devient le symptôme visible de cette dégradation. Des rumeurs se diffusent dès les années 1970 sur sa stabilité et l’isolation du château d’eau [8]. Dix ans après sa livraison, seuls 50 des 90 appartements sont vendus. Cette vacance conduit à l’aménagement d’un « foyer de logements » pour personnes dépendantes psychiatriques qui accentue l’image d’un quartier de relégation. La gestion difficile du foyer et les problèmes financiers d’une partie des propriétaires amènent à classer la copropriété comme « fragile » en 2002. Une étude indique que la démolition « aurait un impact positif sur la requalification du parc de logements du quartier et permettrait également de promouvoir un changement d’image du site » [9]. Le dernier habitant est relogé fin 2008. Acte 3 : la tour Plein-Ciel, monument symbole de Saint-Étienne D’autres images du corpus indiquent toutefois que, à partir des années 2000, l’image stigmatisée de la tour Plein-Ciel comme emblème d’un grand ensemble en difficulté entre en tension avec une autre image plus valorisante d’édifice symbole de Saint-Étienne. En en faisant l’un des théâtres stéphanois de sa saga, Sabri Louatah reconnaît à la tour Plein-Ciel une place particulière dans la ville. Cette représentation se retrouve, de manière beaucoup plus consciente et militante, dans d’autres productions artistiques durant les années 2000. La tour est notamment représentée sur les affiches du festival Gaga Jazz. Si le festival se veut d’ampleur régionale, son nom montre un ancrage stéphanois – le « gaga » désigne le parler local. Le choix d’identité visuelle va dans le même sens : il s’agit « d’utiliser l’image d’un bâtiment symbole à Saint-Étienne » [10]. Pour les graphistes, la tour s’impose, parce qu’elle est « un monument connu de tous les Stéphanois ». Un monument qui a les honneurs d’une carte postale en 1987 [11], et qui, comme il se doit, est abondamment photographié. Jacques Prud’homme, par exemple, la montre sur plusieurs sténopés visibles sur son blog [12]. Pour lui aussi, la tour est l’un des « symboles de Saint-Étienne ». Saint-Étienne, ville industrielle durement frappée par la crise du logement, est exemplaire du mouvement. Les grands ensembles s’y multiplient. Implantés sur des sommets de collines aux entrées de la ville, ils doivent signifier le renouveau. Montreynaud, « nouvelle petite ville à part entière » [3], joue de ce point de vue un rôle clé. Sa tour, en sommet de colline et dont le château d’eau est illuminé la nuit, en est l’emblème, un « symbole de la modernité » [4]. La tour doit son nom au fait de proposer « des appartements en plein-ciel » [5], et l’on peut voir dans cette dénomination une valorisation de la verticalité, à la fois comme source d’oxygène et de lumière, mais aussi comme signal urbain.
Acte 2 : la tour Plein-Ciel, symbole d’un grand ensemble en difficulté Si l’on classe chronologiquement le corpus d’images identifiées, la tour Plein-Ciel ressurgit significativement dans les champs de la communication institutionnelle et des arts au tournant des années 2000‑2010. Dans la littérature, l’intrigue de la saga Les Sauvages de Sabri Louatah débute à Saint-Étienne, et la tour Plein-Ciel en est un cadre important :
Pourquoi la tour Plein-Ciel a-t-elle pu être ainsi considérée comme « un monument ancré dans le paysage stéphanois » [13] ? La combinaison peut-être unique en France d’une tour d’habitation à un château d’eau en fait un édifice singulier. Couplée avec son implantation en sommet de colline, cette singularité fait de la tour un point de repère important pour les Stéphanois, mais aussi pour les nombreux supporters de l’AS Saint-Étienne qui se rendent au stade, dont elle est voisine. D’ailleurs, la tour est utilisée comme édifice emblème de la ville sur au moins un autocollant et un tifo de supporters, aux côtés des symboles miniers (chevalement, « crassiers ») et du stade Geoffroy-Guichard. Cette représentation faisant de la tour un « monument » aurait pu sauver l’édifice, suivant un mécanisme, classique dans l’histoire du patrimoine, de défense devant une menace de démolition. De nombreux Stéphanois réagissent, et, pour l’association Gaga Jazz, « les affiches et flyers invitant les Stéphanois aux concerts de jazz font aussi office d’actes de revendication pour la conservation ». La nouvelle équipe municipale socialiste de Maurice Vincent, élue en 2008, reconnaît que la tour « représente un symbole » [14]. Elle soumet en 2010 au vote des habitants de Montreynaud deux possibilités : développer la valeur et la fonction de repère de la tour en la transformant en « symbole artistique de la ville de Saint-Étienne » [15] via l’intervention d’un plasticien, ou bien la démolir et aménager un parc : 71 % des votants se prononcent pour la démolition, soit 230 personnes sur les 318 votants. Les défenseurs de la conservation expriment un double regret : l’ouverture du vote aux seuls habitants de Montreynaud, et la très faible mobilisation de ces derniers. La démolition de la tour a lieu le 24 novembre 2011. Son foudroyage la met une dernière fois sous les projecteurs des nombreux appareils audiovisuels présents. Les images produites s’ajoutent à celles existantes, et constituent autant de traces d’un immeuble dont il n’en reste plus aucune sur le terrain. Cette fin dramatique donne à cette chronique des allures de représentation théâtrale, en trois actes : naissance puis mort de l’édifice, avec un ultime soubresaut sous la forme d’une tentative vaine de sauvetage au nom du patrimoine. C’est une troisième définition du terme de représentation qui est mobilisée dans cette conclusion. Ce sont en effet des représentations, en images et en mots, qui ont permis de constituer cette chronique de la tour. Cette dernière révèle que trois représentations mentales sont associées à l’édifice et à sa verticalité : pour la puissance publique ayant commandé sa réalisation et pour les premiers résidents, la tour est un symbole de modernité ; pour une partie des Stéphanois, mais aussi pour les acteurs ayant décidé sa démolition, elle est l’emblème d’un grand ensemble stigmatisé ; et enfin, pour d’autres Stéphanois, habitants de Montreynaud ou artistes entre autres, la tour est un objet phare et patrimonial dans le paysage de Saint-Étienne. Aux côtés, par exemple, de la Tour panoramique à la Duchère (à Lyon), qui a été profondément rénovée, cette mise en évidence de la trajectoire des perceptions de la tour Plein-Ciel permet d’expliciter que la verticalité dont nos villes ont hérité, tout du moins celle présente dans les grands ensembles, fait l’objet d’un système de représentations complexe et en tout cas plus varié que celui présenté dans les discours de légitimation de la rénovation urbaine.
Bibliographie Dufaux, F. et Fourcaut A. (dir.). 2004. Le Monde des grands ensembles, Paris : Créaphis.
Louatah, S. 2011. Les Sauvages, tome 1, Paris : Flammarion–Versilio. Masclet, O. 2005. « Du “bastion” au “ghetto”, le communisme municipal en butte à l’immigration », Actes de la recherche en sciences sociales, n° 159, p. 10‑25.
Tissot, S. 2003. « De l’emblème au “problème”, histoire des grands ensembles dans une ville communiste », Les Annales de la recherche urbaines, n° 93, p. 123‑129.
Tomas, F., Blanc, J.-N. et Bonilla, M. 2003. Les Grands Ensembles, une histoire qui continue, Saint-Étienne : Publications de l’université de Saint-Étienne.
Vant, A. 1981. Imagerie et urbanisation, recherches sur l’exemple stéphanois, Saint-Étienne : Centre d’études foréziennes. Veschambre, V. 2011. « La rénovation urbaine dans les grands ensembles : de la monumentalité à la banalité ? », in Iosa, I. et Gravari-Barbas, M. (dir.), Monumentalité(s) urbaine(s) aux XIXe et XXe siècles. Sens, formes et enjeux urbains, Paris : L’Harmattan, p. 193‑206.
Notes
[1] Extraits tirés du film Saint-Étienne, on en parle (Atlantic Film, 1970) associé à l’exposition.
[2] Dont Les grands travaux à Saint-Étienne, ville de Saint-Étienne, 1974.
[3] Brochure publicitaire Montreynaud, Saint-Étienne, résidence les Hellènes, non daté.
[4] Propos tenus par un habitant installé dès l’époque.
[5] Brochure publicitaire Des appartements en plein-ciel. La tour de Montreynaud, non daté.
[6] Avec, dans un premier temps, le grand projet de ville (GPV) en 2001, puis la convention avec l’Agence nationale pour la rénovation urbaine (ANRU) en 2005.
[7] Expression régulièrement entendue lors des entretiens.
[8] « Le château d’eau : mille m³ qui ne fuiront pas », La Tribune, 17 novembre 1978, p. 14.
[9] Lettre d’information aux habitants de Montreynaud, ville de Saint-Étienne, mai 2003.
[10] Entretien avec Damien et Sébastien Murat (DMS photo), graphistes.[14] Propos de l’adjoint à l’urbanisme, « Tour Plei
« La tour Plein-Ciel se dressait avec une majesté sinistre au sommet de la colline de Montreynaud […]. À l’aube du XXIe siècle, sa démolition avait été plébiscitée par les riverains […]. La célèbre tour au bol était visible depuis la gare en arrivant de Lyon, et beaucoup de Stéphanois la considéraient […] comme le point doublement culminant de la ville : du haut de ses soixante-quatre mètres qui dominaient les six autres collines mais aussi en tant qu’emblème, d’un désastre urbain éclatant et d’une ville résignée à la désindustrialisation » (Louatah 2011, p. 89).Cette description exprime bien la situation dans laquelle la tour se trouve à la rédaction du roman : en attente de démolition. En 2011, les photographies de Pierre Grasset (voir un exemple ci-dessous), missionné par la ville, montrent l’édifice moribond. L’image de la tour est en France encore fortement attachée à celle du logement populaire, du fait notamment de la présence de ce type d’édifice dans les grands ensembles. Or, si l’on parle des tours d’habitat populaire depuis 2003, c’est essentiellement à propos des démolitions : l’Agence nationale pour la rénovation urbaine (ANRU) incite les bailleurs à détruire prioritairement dans les zones urbaines sensibles les immeubles les plus imposants, dont les tours les plus hautes. Mais l’image négative du « problème des banlieues » et de ses dysfonctionnements est-elle la seule associée aux tours d’habitat populaire ? Ne tend-elle pas à laisser dans l’ombre d’autres représentations attachées à ces édifices ?Une réflexion sur la tour Plein-Ciel à Saint-Étienne est, sur ces points, riche d’enseignements. Tenant une place prépondérante dans le paysage stéphanois, emblématique de l’image des grands ensembles, cette tour édifiée en 1972 est démolie en 2011. La constitution et l’analyse d’un corpus d’une dizaine d’images promotionnelles et artistiques (films, photographies de communication) la mettant en scène permet d’en établir une chronique. Cette dernière met en évidence un système de représentations complexe : tout au long de ses quarante ans d’histoire, l’édifice est en effet perçu comme symbole de modernité, emblème de grand ensemble en difficulté et monument dans le paysage stéphanois. Ces deux dernières représentations, l’une stigmatisée, l’autre valorisée, coexistent même lors des dernières années de la vie de l’édifice. Dans toutes ces représentations différenciées et concurrentes, la verticalité de l’édifice tient un rôle essentiel.Acte 1 : la tour Plein-Ciel, symbole de modernité L’image la plus ancienne identifiée date de 1970. Il s’agit d’un cliché de la maquette de la zone à urbaniser en priorité (ZUP) de Montreynaud, pris sur le stand de l’exposition « Saint-Étienne demain » de la Foire économique. Cette exposition vante les grandes opérations d’urbanisme en cours dans la ville, et vise à montrer « les transformations de la cité et son nouveau visage », afin de rompre avec la « légende de ville noire, industrielle et fixée dans le XIXe siècle » [1]. L’exposition fait partie d’une communication orchestrée par le maire Michel Durafour (1964‑1977). À partir de 1973, les reportages photographiques ou les films [2] mettent à l’honneur Montreynaud (jusqu’à 4 400 logements prévus) et en particulier sa tour Plein-Ciel (par l’architecte Raymond Martin), avec sa verticalité (18 niveaux), le château d’eau qui la coiffe et sa situation en rupture avec la ville ancienne. -La Tour Réservoir Plein Ciel était un immeuble de logement situé à Saint-Étienne, dans le quartier de Montreynaud, classé en zone urbaine sensible. Elle culminait à 63 mètres de haut (92 avec l'antenne).
La tour avait été construite en 1972 par l'architecte Raymond Martin, l'antenne de 63 mètres de haut reste jusqu'en 1992 avant de retour en 1996 afin de répondre à la demande considérable en logements. Elle était considérée comme un symbole du quartier. Visible de loin, elle permettait de repérer le quartier dans la ville.Sa destruction a été effectuée le 24 novembre 2011 à 10 h 45 par foudroyage, après le vote majoritaire (73 %) en faveur. --------------------------------------- Sotteville Construction de l’Anjou, le premier immeuble de la Zone Verte sottevilleaufildutemps.fr/2017/05/04/construction-de-limm... - www.20minutes.fr/paris/diaporama-7346-photo-854066-100-an... - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962 ..missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695... Mémoire2cité Mémoire2Ville Mémoire de l'Habitat,içi la page listant mes 43 albums photos disponibles, çe x 1000 pour chacuns d'entre eux ..Merci aux 5859 followers qui porte une attention particuliere à nos quartiers..la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye 1975 Réalisateur : Sydney Jézéquel, Karenty
Ministère de l'Équipement et de l'Aménagement du Territoire - Dotation par la France d'autoroutes modernes "nécessité vitale" pour palier à l'inadaptation du réseau routier de l'époque voué à la paralysie : le reportage nous montre des images d'embouteillages. Le ministre de l'Équipement et de l'Aménagement du Territoire dans les deux gouvernements de Pierre Messmer, de 1972 à 1974, Olivier Guichard explique les ambitions du programme de construction qui doit atteindre 800 km par ans en 1978. L'ouverture de section nouvelles va bon train : Nancy / Metz par exemple. Le reportage nous montre l'intérieur des bureaux d'études qui conçoivent ces autoroute dont la conception est assistée par ordinateurs dont le projet d'ensemble en 3D est visualisé sur un écran. La voix off nous informe sur le financement de ces équipements. Puis on peut voir des images de la construction du pont sur la Seine à Saint Cloud reliant l'autoroute de Normandie au périphérique, de l'échangeur de Palaiseau sur 4 niveau : record d'Europe précise le commentaire. Le reportage nous informe que des sociétés d'économies mixtes ont étés crées pour les tronçons : Paris / Lille, Paris / Marseille, Paris / Normandie. Pour accélérer la construction l’État a eu recours à des concessions privées par exemple pour le tronçon Paris / Chartres. "Les autoroutes changent le visage de la France : artères économiques favorisant le développement industriel elles permettent de revitaliser des régions en perte de vitesse et de l'intégrer dans le mouvement général de l'expansion" Sur le plan européen elles vont combler le retard de la France et réaliser son insertion. Images de l'inauguration de l'autoroute entre Paris et Bruxelles par le président Georges Pompidou. Le reportage rappel que l'autre fonction capitale des autoroute est de favoriser la sécurité. La question de la limitation de vitesse est posée au ministre de l’Équipement, qui n'y est favorable que sur certains tronçons. Un des facteur de sécurité selon le commentaire est l'humanisation des autoroutes : aires de repos, restaurants, signalisation touristiques... "Rien n'est impossible aux techniques modernes" nous apprend la voix off qui prend comme exemple le déplacement sur rail de 65 mètres d'un château classé afin de faire passer l'autoroute Lille / Dunkerque.Durée : 4 minutes 30 secondes Sur les routes de France les ponts renaissent 1945 reconstruction de la France après la Seconde Guerre mondiale www.dailymotion.com/video/xuxrii?playlist=x34ije , Quelques mois après la fin de la Seconde Guerre mondiale, un triste constat s'impose : 5 944 passages sont coupés, soit plus de 110 km de brèches ; de nombreuses villes se trouvent isolées.Les chantiers s'activent dans toute la France pour "gagner la bataille des communications routières". Mais outre la pénurie de main d’œuvre, il faut faire face au manque de matériaux (béton, métal) et donc déployer des trésors d'imagination pour reconstruire les ponts détruits. Si le savoir faire des tailleurs de pierre est exploité, le plus spectaculaire est le relevage des ponts, comme le pont de Galliéni à Lyon, où 7 à 800 tonnes d'acier sont sorti de l'eau avec des moyens de l'époque. En avril 1945, il reste 5 700 ponts à reconstruire soit 200 000 tonnes d'acier, 600 000 tonnes de ciment, 250 000 m3 de bois, 10 millions de journées d'ouvrier, prix de l'effort de reconstruction.1945
Auteurs / réalisateurs : images : G.Delaunay, A.Pol, son : C.Gauguier Production : Direction Technique des Services des Ponts et Chaussées / Ministère des Travaux Publics et des Transports Support original : 16 mm noir et blanc Durée : 14 min Thèmes principaux : infrastructures-ouvrages d'art Mot clés : chantier, pont, Reconstruction, restauration, béton précontraint, ministère des travaux publics et des transportsLieux : Lyon, Tournon, Caen - Le Bosquel, un village renait 1947 l'album cinématographique de la reconstruction, réalisation Paul de Roubaix production ministère de la Reconstruction et de l'Urbanisme, village prototype, architecte Paul Dufournet, www.dailymotion.com/video/xx5tx8?playlist=x34ije - Demain Paris 1959 dessin animé présentant l'aménagement de la capitale dans les années 60, Animation, dessin animé à vocation pédagogique visant à promouvoir la politique d’aménagement suivie dans les années 60 à Paris. Un raccourci historique sur l’extension de Paris du Moyen Âge au XIXe siècle (Lutèce, œuvres de Turgot, Napoléon, Haussmann), ce dessin animé retrace la naissance de la banlieue et de ses avatars au XXe siècle. Il annonce les grands principes d’aménagement des villes nouvelles et la restructuration du centre de Paris (référence implicite à la charte d’Athènes). Le texte est travaillé en rimes et vers. Une chanson du vieux Paris conclut poétiquement cette vision du futur. Thèmes principaux : Aménagement urbain / planification-aménagement régional Mots-clés : Banlieue, extension spatiale, histoire, quartier, ville, ville nouvelle Lieu géographique : Paris 75 Architectes ou personnalités : Eugène Haussmann, Napoléon, Turgot Réalisateurs : André Martin, Michel Boschet Production : les films Roger Leenhardt
www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije , Levittown: The Construction and Systematic Execution of Discrimination in Modern Suburbia (NHD 2018) www.youtube.com/watch?v=9_KrD6PkX0M … … 17000 maisons en 2 ans un record dans l histoire des annees 60 @ la grande Acceleration @ Un point de bascule avec le changement de regime d'existence les 30 glorieuses americaine @ la constructions de masse.., ici LEVITTOWN a LONGISLAND, 17000 pavillons en 2 ans un Record...Yes this is it my Our Home Town: Levittown, PA (1954) - www.youtube.com/watch?v=9_KrD6PkX0M les 30 glorieuses atomique @ le projet PLOWSHARE de 1957 LE FILM ICI www.youtube.com/watch?v=kpjFU_kBaBE … STRAUSS le promoteur du nucleaire Americain les 30 glorieuses Américaine @ quand celles çi ratent le coche sur le developpement solaire... les occasions manquées de soigner notre humanité..www.dailymotion.com/video/xuxrii?playlist=x34ije Lyon, Tournon, Caen - Le Bosquel, un village renait 1947 l'album cinématographique de la reconstruction, réalisation Paul de Roubaix production ministère de la Reconstruction et de l'Urbanisme, village prototype, architecte Paul Dufournet, www.dailymotion.com/video/xx5tx8?playlist=x34ije - Demain Paris 1959 dessin animé présentant l'aménagement de la capitale dans les années 60, Animation, dessin animé à vocation pédagogique visant à promouvoir la politique d’aménagement suivie dans les années 60 à Paris. Un raccourci historique sur l’extension de Paris du Moyen Âge au XIXe siècle (Lutèce, œuvres de Turgot, Napoléon, Haussmann), ce dessin animé retrace la naissance de la banlieue et de ses avatars au XXe siècle. Il annonce les grands principes d’aménagement des villes nouvelles et la restructuration du centre de Paris (référence implicite à la charte d’Athènes). Le texte est travaillé en rimes et vers. Une chanson du vieux Paris conclut poétiquement cette vision du futur. Thèmes principaux : Aménagement urbain / planification-aménagement régional Mots-clés : Banlieue, extension spatiale, histoire, quartier, ville, ville nouvelle Lieu géographique : Paris 75 Architectes ou personnalités : Eugène Haussmann, Napoléon, Turgot Réalisateurs : André Martin, Michel Boschet Production : les films Roger Leenhardt
www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije - www.dailymotion.com/video/xk1g5j?playlist=x34ije Brigitte Gros - Urbanisme - Filmer les grands ensembles 2016 - par Camille Canteux chercheuse au CHS -Centre d'Histoire Sociale - Jeanne Menjoulet - Ce film du CHS daté de 2014 www.youtube.com/watch?v=VDUBwVPNh0s … L'UNION SOCIALE POUR L'HABITAT le Musée des H.L.M. musee-hlm.fr/ union-habitat.org/ - EXPOSITION :LES 50 ANS DE LA RESIDENCe SALMSON POINT-Du JOUR www.salmsonlepointdujour.fr/pdf/Exposition_50_ans.pdf - Sotteville Construction de l’Anjou, le premier immeuble de la Zone Verte sottevilleaufildutemps.fr/2017/05/04/construction-de-limm... - www.20minutes.fr/paris/diaporama-7346-photo-854066-100-an... - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962-9... missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695.. A partir des années 1950, le trafic de la banlieue parisienne suit l’urbanisation galopante et les dessertes ferroviaires doivent s’adapter et se moderniser.Quelques amateurs ont su immortaliser un monde ferroviaire qui était alors en voie de disparition. Dans ce film, nous retrouvons les dessertes 750 volts par troisième rail en rames « Standard » sur les lignes de Versailles-RD, sur la ligne d’Auteuil et entre Puteaux et Issy-Plaine mais aussi les derniers trains à vapeur à St Lazare, à La Bastille et sur le Nord et quelques ultimes voyages sur les lignes de Ceinture --------------De la révolution industrielle à aujourd’hui, un décryptage minutieux de la course au développement qui a marqué le point de départ de l’ère de l'anthropocène (ou l'ère de l'Homme) et de la déterioration continue de la planète. www.arte.tv/fr/videos/073938-000-A/l-homme-a-mange-la-terre/ Quelque 1 400 milliards de tonnes de CO2 sont aujourd’hui prisonnières de la basse atmosphère. Réchauffement climatique, déforestation, inondations, épuisement des ressources, pollutions, déchets radioactifs... : en deux siècles, la course au progrès et à la croissance a durablement altéré la planète, la crise environnementale se doublant d’une rupture géologique, avec l’avènement de l’ère anthropocène. Portée par l’exploitation des énergies fossiles – du charbon de la révolution industrielle en Angleterre au tout-pétrole de la domination économique des États-Unis –, l’industrialisation et ses corollaires, taylorisme et colonialisme, entraînent une exponentielle production de masse. Un processus qu’accélère la Première Guerre mondiale, les firmes chimiques mobilisées pour tuer l’ennemi se reconvertissant dans la destruction du vivant avec les herbicides, insecticides et fertilisants de l’agriculture intensive. Alors que l’urbanisation s’étend, la voiture, qui sonne le glas du tramway, se généralise, et l’Amérique s’inspire du modèle autoroutier nazi. La Seconde Guerre mondiale engendre une nouvelle organisation du travail, laquelle devient la norme, et annonce l’ère nucléaire de la guerre froide. Dans sa démesure, l’homme rêve déjà d’usages civils de l’atome (y compris pour l’abattement de montagnes et la dissolution des calottes glaciaires !). Le plastique et le béton deviennent les piliers de la consommation de masse, dévoreuse de matières premières et antidote à la contestation sociale, jusqu’à la révolution numérique. Liaisons dangereuses En balayant, avec de formidables archives issues du monde entier, deux siècles de progrès jusqu’à l’ère du big data, le film remonte aux sources de la crise écologique, en interrogeant avec précision les enjeux scientifiques, économiques et politiques qui y ont conduit. Fourmillant d’informations, il éclaire l’histoire de cette marche folle, et les liaisons dangereuses entre industries militaire et civile. Entre capitalisme et mondialisation imposés par les grandes puissances, un décryptage passionnant du basculement dans l’anthropocène, funeste asservissement de la nature par l’homme. le Logement Collectif* 50,60,70's dans tous ses états..Histoire & Mémoire de l'Habitat / Rétro-Villes / HLM / Banlieue / Renouvellement Urbain / Urbanisme URBANISME S’imaginer Paris et le Grand Paris @ Les 50ans d'Apur (link: 50ans.apur.org/#intro) 50ans.apur.org/#intro @ Où en est l'histoire urbaine des sociétés contemporaines ? Cet ouvrage, inspiré par Annie Fourcaut, qui contribua de manière décisive à son développement, propose un état des lieux de ce champ et explore des pistes de recherche ouvrant l'histoire urbaine à une variété de " genres ". Où en est l'histoire urbaine des sociétés contemporaines ? Cet ouvrage, inspiré par Annie Fourcaut, qui contribua de manière décisive à son développement, propose un état des lieux de ce champ. De Femmes à l'usine (1981), Bobigny, banlieue rouge (1986), à La banlieue en morceaux (2000), en passant par les publications collectives qu'elle a coordonnées et les travaux qu'elle a encadrés, la trajectoire de cette historienne a conduit l'histoire sociale et politique – telle qu'on la pratiquait dans les années 1970 – vers une histoire urbaine renouvelée. Le livre revient sur cette évolution et explore des pistes de recherche ouvrant l'histoire urbaine à une variété de " genres ". Les auteurs, historiennes et historiens, sociologues, politistes, géographes, architectes, urbanistes et décideurs politiques proposent une histoire urbaine à la fois interdisciplinaire et ancrée dans la fabrique de la ville et ses représentations, portant la marque de sa dédicataire.Les quatre sections de l'ouvrage dessinent les chantiers qu'Annie Fourcaut a investis : " Du social à l'urbain " met en avant la conviction qu'étudier l'histoire des villes, c'est toujours faire de l'histoire sociale ; " Qu'elle était belle la banlieue " est centré sur les banlieues, son territoire d'étude de prédilection ; " Les habits neufs des politiques de la ville " interroge les politiques urbaines successives et leur transformation ; enfin, " Banc d'essai des modernités " propose une analyse historique de l'urbanisme, comme discipline et comme pratique. www.benjamingibeaux.fr/portfolio/petite-histoire-de-lhabi... Le Label « Patrimoine du XXe siècle » créé en 1999 par le ministère de la Culture et de la Communication a pour but de faire connaître l’architecture de cette période. La comparaison des labellisations réalisées par les DRAC d’Île-de-France et d’Occitanie (ex Languedoc-Roussillon et de Midi-Pyrénées) montre la variété des méthodes employées pour rendre compte soit de l’importance numérique des édifices remarquables soit de la difficulté à établir ce corpus et de la nécessité de s’appuyer sur les inventaires ou études thématiques ou monographiques. Si l’attribution du label, désormais appelé "Architecture contemporaine remarquable" s’est faite depuis vingt ans de façon très diverse selon les régions, elle est toujours l’occasion de mettre en lumière et de porter à la connaissance du public des œuvres architecturales remarquables, notamment via une augmentation impressionnante des publications de qualité sur l'architecture du XXe siècle. En 1999, le ministère de la Culture et de la Communication propose la mise en place d’un nouvel outil pour permettre la reconnaissance et la sauvegarde des constructions élevées au cours du siècle qui s’achève. Le label « Patrimoine du XXe siècle » est une déclinaison nationale de la recommandation du conseil de l’Europe sur la prise en compte de l’architecture du XXe siècle. Ce dernier évoque, pour la conservation de ce patrimoine « moins reconnu », une absence d’intérêt « en raison de sa proximité dans l’Histoire, de l’abondance de ses témoignages et de son caractère hétérogène » et sa crainte de « pertes irréparables »2 . Le label mis en place par la France vise à appeler « l’attention des décideurs, des aménageurs, mais aussi et surtout de ses usagers et du public sur les productions remarquables de ce siècle » Chargées de mettre en place le label, les directions régionales des affaires culturelles (Drac), services déconcentrés du ministère de la Culture, ont à cette date déjà construit, chacune à sa manière, leur approche de la préservation du patrimoine du XXe siècle. Elles s’emparent alors diversement du label, appliquant de facto des labellisations aux immeubles de ce siècle déjà protégés au titre des monuments historiques4 ou mettant en place de véritables stratégies pour répondre pleinement aux attendus de la directive nationale. À partir de nos expériences, il nous a paru intéressant de montrer la diversité de la mise en place du label dans trois Drac parmi d’autres, l’Île-de-France ainsi que Languedoc-Roussillon et Midi-Pyrénées qui composent aujourd’hui la région Occitanie5. Pour chacune de ces Drac, il s’agit de montrer comment la connaissance de ce patrimoine, mais aussi ses particularités territoriales ont joué un rôle important dans le choix des méthodologies de sélection des œuvres à labelliser ainsi que la détermination de critères, et de présenter les résultats et les actions de valorisation menées pour faire connaître et apprécier ces créations architecturales récentes. Le label « Patrimoine du XXe siècle » en Île-de-France : gérer l’abondance La Drac Île-de-France s’est emparée tardivement du label « Patrimoine du XXe siècle », pour plusieurs raisons. Parmi les freins à l’action, il faut citer la question du pilotage de la mise en place du label entre différents services de la Drac, les interrogations liées à l’opportunité de ce nouveau dispositif et un relatif scepticisme quant à son efficacité, l’ampleur de la tâche au vu du corpus concerné, le plus important de France en quantité et sans doute en qualité, mais surtout l’engagement pris de longue date par cette Drac et les membres de sa commission régionale du patrimoine et des sites (CRPS) en faveur du patrimoine du XXe siècle. En effet, c’est sans doute dans cette région que l’on protège le plus grand nombre d’édifices contemporains au titre des monuments historiques : dans la première décennie du XXIe siècle, selon les années, 50 à 70 % des protections concernent des édifices construits au siècle précédent. Ainsi, ce nouveau dispositif, dépourvu de dispositions contraignantes, étranger à la culture de la conservation régionale des monuments historiques (CRMH) dont l’action est liée à la protection, peinait à démontrer son intérêt au regard de ce qu’offre la législation sur les monuments historiques. Cependant, au vu de l’enjeu que constitue la préservation de l’architecture contemporaine en Île-de-France, lié à la fois à l’ampleur de la production et aux évolutions urbaines et réglementaires constantes engageant sa conservation, la question de la mise en place du label était régulièrement posée à la Drac. Pilotée par la CRMH, la première expérience de labellisation y fut menée en 2004. Elle s’inscrivait dans la suite de l’étude menée par le groupe d’experts dirigé par Bernard Toulier, conservateur du Patrimoine au département du pilotage de la recherche et de la politique scientifique du ministère de la Culture, qui avait produit une liste d’édifices du XXe siècle repérés en bibliographie, inventaire devant servir de base à la constitution de propositions de labellisations. Selon la méthode suivie par ce groupe d’experts, on fit le choix de présenter tous les immeubles concernés regroupés par larges typologies. Les membres de la CRPS, devant lesquels fut présentée cette liste d’édifices, rejetèrent en bloc la sélection où voisinaient l’aérogare 1 de l’aéroport Roissy-Charles de Gaulle et la modeste mairie du 17e arrondissement de Paris présentée à la demande de son maire, arguant de l’impossibilité à valider le choix d’édifices que rien ne rapprochait. De plus, nombre des immeubles retenus étaient candidats à la protection au titre des monuments historiques, brouillant de fait l’identité du label et réfutant du même coup la conception un temps énoncée du label comme « antichambre » de la protection. En effet, si la grande qualité de la plupart des édifices sélectionnés montrait toute la richesse des créations contemporaines franciliennes, la seule présentation des plus remarquables d’entre eux résultait d’une absence de sélection argumentée, selon l’esprit du label. La présentation de cette première liste en CRPS tourna donc court. - La question des critères de sélection a été débattue à la lumière de l’expérience de la labellisa (...) En 2008, toujours sous l’impulsion du service des monuments historiques, une nouvelle orientation fut prise. Un pilotage, un groupe de travail, un objectif furent mis en place. Trois orientations furent définies : selon les recommandations de la CRMH de la région PACA, procéder par thématiques typologiques, méthode propice à l’élaboration de critères de sélection ; cibler un patrimoine déprécié ou en danger, pour répondre parfaitement aux attendus de la directive européenne ; pour cette première campagne de labellisation, choisir un champ vierge de reconnaissance patrimoniale, éloigné de la protection au titre des monuments historiques afin d’éviter toute confusion entre les édifices labellisés et les édifices protégés. Le thème des ensembles de logements, nombreux dans cette région, s’est naturellement dégagé. À géométrie variable, le groupe de travail dirigé par la cellule protection était formé d’un premier cercle pérenne, garant de la cohérence de la démarche de labellisation et des choix des thématiques, et d’un second, composé de spécialistes de chaque thématique retenue. Le premier cercle était constitué d’agents de la Drac (conservation des monuments historiques, service architecture, un architecte des bâtiments de France, chargé de faire le lien avec l’ensemble des services départementaux de l’architecture et du patrimoine de la région), de représentants du monde universitaire et de la recherche dans le domaine de l’architecture du XXe siècle.
Pour les ensembles de logements, le second cercle du groupe de travail a permis d’associer des acteurs de terrain, des représentants des bailleurs sociaux, des experts. Le sujet fut restreint chronologiquement (1945-1975), son acception précisée (habitat collectif et individuel) et le corpus, basé sur les inventaires existants et la bibliographie, fut établi à partir des critères élaborés par le groupe de travail : histoire, forme urbaine, valeur d’usage, technique, style - Composée d’environ un tiers de ses membres, la délégation permanente est une émanation de la CRPS (...) De façon exceptionnelle, la liste des ensembles de logements fut en premier lieu présentée devant les membres de la délégation permanente de la CRPS7 pour en valider les orientations et s’assurer de l’adhésion des membres, à la fois pour ne pas risquer de réitérer l’expérience malheureuse de 2004 mais surtout pour interroger la commission sur le bien-fondé à distinguer ces ensembles de logements d'après-guerre, constructions parmi les plus décriées du XXe siècle.
La méthodologie proposée a conduit à la labellisation d’une première série d’immeubles, quarante ensembles de logements en 2010 (fig. 2, 3), puis d’une seconde série de soixante-quinze lieux de culte en 2011 (fig. 4, 5). Les critères peuvent être adaptés ou précisés selon le thème retenu : pour les édifices religieux, la qualité et l’originalité du décor furent ajoutés et la valeur d’usage exclue.La méthode choisie a été vertueuse : elle a permis de labelliser un grand nombre d’édifices, d’associer largement les services patrimoniaux de l’État et des collectivités, de créer des synergies avec l’université et les chercheurs, de valoriser l’action de l’État par des présentations en CRPS, des publications, des journées d’études, des expositions, actions relayées par la presse généraliste et spécialisée8 (fig. 6 et 7). Un partenariat pérenne s’est développé avec l’éditeur Beaux-Arts pour la publication de chaque campagne de labellisation, avec diffusion en kiosque au plus près du public concerné pour un prix inférieur à 15 €. Elle a également permis d’impliquer les acteurs de terrain, répondant ainsi à l’objectif visé de sensibilisation du public à cette architecture mal aimée Depuis 2016, la Drac Île-de-France a conduit trois nouvelles campagnes, toutes thématiques, fondées sur des partis méthodologiques diversifiés, adaptés aux sujets d’étude.
- Note méthodologique « Étude du patrimoine du XXe siècle de la métropole du Grand Paris », La manu (...) - La loi relative à la liberté de la création, à l’architecture et au patrimoine (LCAP) promulguée (...) Une campagne vise à identifier les édifices et ensembles contribuant à structurer le territoire de la récente métropole du Grand Paris. L’établissement d’une critériologie et la sélection ont été confiés à un bureau d’études, la Manufacture du patrimoine, associé à un groupe de travail conduit par la Drac. Des critères dits généraux, divisés en critères primaires et complémentaires, ont été retenus. Pour la thématique étudiée, se sont ajoutés sept critères spécifiques répondant aux enjeux de « l’émergence et du rayonnement de la métropole »10. Les grands travaux présidentiels ont été concernés dans un premier temps, aboutissant à la labellisation de dix édifices en novembre 2016, avant une présentation plus large d’édifices emblématiques, retenus pour l’obtention d’un label « Architecture contemporaine remarquable »11 en juin 2018.
- Introduite par la loi relative à la liberté de la création, à l’architecture et au patrimoine (LC (...) De façon innovante, la Drac a conclu un partenariat avec l’école nationale supérieure d’architecture (ENSA) Paris-Belleville avec laquelle elle s’est associée dès l’élaboration du premier label (colloque, exposition, travaux avec l’IPRAUS). Le thème choisi, inscrit dans la droite ligne du précédent, s’attache à l’étude des villes nouvelles. Par son caractère récent et spécifique dans l’histoire de la planification urbaine, cet objet d’étude implique une nouvelle approche, menée dans le cadre d’une convention triennale de chaire partenariale avec l’ENSA Paris-Belleville. La méthodologie s’appuie sur la grille d’analyse habituellement employée par la Drac, enrichie pour inclure davantage l’espace public. Des édifices de la ville d’Évry (Essonne), qui manifesta en 2016 son souhait de voir son patrimoine labellisé, ont été présentés en novembre 2018 aux membres de la commission régionale de l’architecture et du patrimoine (CRPA)12 en vue d’une labellisation.- Valérie Gaudard remercie vivement Mmes Agnès Chauvin, cheffe du bureau de la protection, et Maria (...)Enfin, le champ de l’architecture scolaire est abordé dès 2010. Au vu de l’immensité du corpus, la Drac a choisi en 2016 de s’attacher dans un premier temps aux lycées, en lien avec le service de l’Inventaire de la région Île-de-France Le label en Languedoc-Roussillon : une succession d’opportunités V- La Poste Art Nouveau de Tuchan, l’hôtel du Belvédère à Cerbère. - Certains construits vers 1900 relèvent davantage d’une esthétique encore XIXe comme la villa Las (...) - Le 3 octobre 2001, une CRPS dédiée a examiné onze propositions de protection, dont deux seulement (...)
Dans ce territoire riche en monuments anciens, l’attention pour l’architecture du XXe siècle s’observe dès les années 1980 avec la décentralisation. La commission régionale du patrimoine historique archéologique et ethnologique (Corephae) du 15 décembre 1986 a examiné les premiers dossiers14. Parmi des édifices de la première moitié du siècle, bénéficiant du recul et bien documentés, plus faciles à appréhender15, on peut citer les cliniques Saint-Charles à Montpellier, exemple d’architecture des années 1930, ornées des sculptures monumentales de Joachim Costa et des verrières d’Émile Brière, sauvées in extremis de la démolition. En l’an 2000, une campagne de protection thématique est lancée16, distinguant des bâtiments majeurs de l’entre-deux-guerres, comme le théâtre municipal de Carcassonne, le Palais des Arts et du Travail de Narbonne, le lycée technique Dhuoda à Nîmes, l’église Sainte-Thérèse à Montpellier mais également le centre d’apprentissage pour garçons, actuel lycée Mermoz à Béziers, œuvre de Pierre Jeanneret, à laquelle ont collaborés Jean Prouvé et Charlotte Perriand.
- Monument inscrit MH en 2009 Toujours à Odeillo, un petit collectif de maisons solaires, initiativ (...) Plus récemment ont été inscrits au titre des monuments historiques, le centre de vol à voile de la Montagne Noire, à Labécède-Lauragais, haut lieu de formation des pilotes entre 1932 et 1980 ou des installations solaires en Cerdagne, liées à la personnalité de Félix Trombe dont les recherches aboutissent à la construction entre 1962 et 1968 par le CNRS du four solaire d’Odeillo à Font-Romeu-Odeillo-Via Pourtant, cette architecture du XXe siècle, représentant un nombre de réalisations jamais atteint, restait mal appréciée, mal aimé.
Sunday's True Blood premiere answered at least one burning question: Is Lafayette alive? Answer: Yes! Nobody is more surprised by this turn of events than Nelsan Ellis, the actor who plays Lafayette.
As a fan of the Sookie Stackhouse novel series, on which Alan Ball based the vampire drama for HBO, Ellis knew that Lafayette, Merlotte's wisecracking cook — and part-time pornographer/drug dealer — is totally dunzo after Book 1. When he arrived on set for the finale episode's table read, he prepared himself for the end. "I thought, this was fun, time to look for the next gig," he says.
But then... what's this? That painted toenail in the car didn't belong to Lafayette after all! "'You know we're not going to kill you, right?'" Ellis remembers Ball telling him. "And I was like, 'Noooo...'" Ball told the actor that he decided to keep Lafayette in the cast after shooting a scene between Ellis and Rutina Wesley, who plays Lafayette's cousin, Tara, in the pilot episode. Ellis and Wesley have combustive chemistry for sure, which Ellis attributes to their long friendship. (They attended Juilliard together in the early '00s.)
So now that Lafayette has been spared, what's next for the flamboyant entrepreneur?
When we last saw him, he was chained up in a dungeon watching a fellow prisoner get disemboweled by a very cranky Eric, his vampire captor. Ellis reveals that, this season, Lafayette's fate will be inextricably tied with that of the vampires, but that their relationship won't always be quite as adversarial. "[Lafayette] stays with the vampires basically throughout the season," he says. "I guess how deep down the rabbit hole he goes with Eric is the biggest teaser I can give."
"Eric makes people beholden to him," says Ellis. "He did it to Sookie, and now he does force Lafayette to work for him to repay him for something he's done for him." Oh jeez, Lafayette isn't going to become a vampire, is he? Not any time soon, says Ellis. "I have a sneaking suspicion that, in the future, the vampires are going to learn to respect him and not mess with him," he says. "He's going to find a way to elevate his position with them. Lafayette is a survivor, so he's not going to stay in this scared state too long." Excellent!
A couple of weeks ago I drank the kool-aid and bought myself some off-camera lighting equipment. Specifically, a pair of Pocket Wizards, an umbrella, a Super Clamp (two, actually; the second one is for this), a light stand (which is on backorder) and a couple of other miscellaneous things. It was an expensive week, but mostly because of the Pocket Wizards (which are pretty darn cool).
Anyway, this is the result. This is a photo of my SIG P229-R (chambered in .40 cal) with nightsights and a LaserMax sight. It's sitting on a piece of granite tile (purchased as scrap from a local store, which I got the idea for here).
Lighting was provided by a 430ex at full power (to bring out the detail in of the black anodized metal) on a Super Clamp attached a small stepladder (since the light stand is back ordered) with a 43" silver umbrella to my left. Just behind the piece of granite was a large (~24" by 36") piece of white construction paper to produce a small amount of backlighting and a clean reflection off the granite.
This was one of the most interesting photos of January 20th, 2007.
[Una versión más legible se encontrará en la entrada correspondiente del blog, cuyo enlace se señala a continuación]
enriqueviolanevado.blogspot.com/2022/02/las-propuestas-de...
Propuesta #4 Examen titular de julio
PRUEBA DE ACCESO Y ADMISIÓN A LA UNIVERSIDAD
ANDALUCÍA, CEUTA, MELILLA Y CENTROS en MARRUECOS
CONVOCATORIA EXTRAORDINARIA, CURSO 2020-2021
GEOGRAFÍA
Instrucciones:
a) Duración: 1 hora y 30 minutos.
b) El examen consta de 4 bloques (A, B, C y D). En cada bloque se plantean varias preguntas, de las que debe responder al número que se indica en cada uno de ellos.
c) En caso de responder a más preguntas o cuestiones de las requeridas, serán tenidas en cuenta las respondidas en primer lugar hasta alcanzar dicho número.
d) La valoración de cada respuesta se indica en el bloque correspondiente.
BLOQUE A (Glosario. Significados geográficos)
Puntuación máxima: 2 puntos
En este bloque se plantean 8 términos geográficos para su definición, de los que debe responder, a su elección, SOLAMENTE 4.
Cada respuesta tendrá un valor máximo de 0.5 puntos.
a) Latifundio
b) Densidad de población
c) Industria siderúrgica
d) Energía hidroeléctrica
e) Balanza de pagos
f) Desarrollo sostenible
g) Hábitat disperso
h) Turoperador
BLOQUE B (Glosario. Significados de expresiones)
Puntuación máxima: 1 punto
En este bloque se plantean 4 expresiones para relacionarlas con determinados conceptos geográficos, de las que debe responder, a su elección, SOLAMENTE 2.
Cada respuesta tendrá un valor máximo de 0.5 puntos.
a) La forma de explotación agrícola consistente en la cesión de la explotación de la tierra a un tercero por parte de la propiedad, a cambio del pago en forma de una parte de los beneficios obtenidos, se denomina
b) La modalidad de turismo que hace referencia a los desplazamientos motivados por conocer, comprender y disfrutar de los elementos propios de una sociedad o grupo social, tales como visitar museos y monumentos, asistir a conciertos, participar en fiestas, etc., se denomina
c) La relación existente entre la representación reducida de una distancia o un objeto sobre un mapa y su tamaño real sobre el terreno, es denominada
d) El bosque de árboles que pierden sus hojas en invierno, típico de la zona del norte de España, se denomina
BLOQUE C (Ejercicios de desarrollo)
Puntuación máxima: 4 puntos
En este bloque se plantean 2 ejercicios de análisis y comentario de mapas, gráficos, imágenes, cuadros estadísticos o textos, de los que debe responder, a su elección, SOLAMENTE 1.
Cada ejercicio tendrá un valor máximo de 4 puntos.
EJERCICIO 1. El mapa 1 representa la distribución de las precipitaciones medias anuales en España. Analícelo y responda a las siguientes preguntas:
a) Nombre las provincias que incluyen zonas con precipitaciones entre 0 y 300 mm/anuales. (Hasta
1 punto).
b) Comente la relación existente entre las precipitaciones y el relieve en España. (Hasta 1 punto).
c) Compare las precipitaciones del Noroeste peninsular con las del Sureste peninsular,
estableciendo las diferencias existentes y sus causas. (Hasta 2 puntos).
EJERCICIO 2. El mapa 2 representa las aportaciones medias anuales de caudal de la red hidrográfica española. Analícelo y responda a las preguntas siguientes:
a) Diga el nombre de los ríos enumerados del 1 al 5. (Hasta 1 punto).
b) ¿A qué se debe la ausencia de ríos en las islas Baleares y Canarias? (Hasta 1 punto).
c) Explique las razones de los contrastes entre los aportes de caudal de los distintos ríos de la vertiente mediterránea, relacionándolos con el régimen fluvial y la orografía. (Hasta 2 puntos).
Los mapas/gráficos correspondientes están en la siguiente página.
EJERCICIO 1. MAPA 1.
EJERCICIO 2. MAPA 2.
BLOQUE D (Desarrollo de temas)
Puntuación máxima: 3 puntos
En este bloque se plantean 2 temas, de los que debe desarrollar, a su elección, SOLAMENTE 1. Cada cuestión tendrá un valor máximo de 3 puntos.
TEMA A. EL ESPACIO URBANO. El Sistema de ciudades en España. Principales áreas y ejes urbanos. La estructura y el plano de la ciudad.
TEMA B. LA ACTIVIDAD PESQUERA. Significado de la pesca en España. Regiones pesqueras en España y principales caladeros. La importancia creciente de la acuicultura.
Geoffroy normally works with art formats like the EMERGENCY ROOM
to stimulate urgent expression by artist about today 's emergencies :
www.emergencyrooms.org/formats.html
www.colonel.dk contact : emergencyrooms@gmail.comThierry Geoffroy/ Colonel will be exhibiting in the museum Kunsthalle Mannheim from october 2018 part of the exhibition Konstruktion der Welt .Kunst und Ökonomie
Constructing the World: Art and Economy 1919-1939 and 2008-2018
10/12/18 to 02/03/19
Ten years after the peak of the global financial crisis in 2008, which profoundly shook the economic systems of America and Europe and had a lasting effect on present-day life, this topical exhibition is the first to illustrate the economy’s dramatic influence on art and to make global comparisons, demonstrating these in an analysis of two separate eras. Economic phenomena in the classical modernism of the 1920s and 30s are not only explored by focusing on art from the German Weimar Republic, the Soviet Union, and the United States, but also juxtaposed with artists of the present day.
Curatorial team: Dr. Eckhart Gillen (Berlin), Dr. Ulrike Lorenz, Dr. Sebastian Baden
Project Lead: Dr. Inge Herold, Assistence: Lisa Valentina Riedel, M. A. mult., Elisabeth Bohnet, M.A.
How does contemporary art reflect the world of work today? The catalogue for the second part of the exhibition Constructing the World at the Kunsthalle Mannheim takes a look at this question. The focus of it is primarily on artistic positions of the past decade that deal with the social, political, and economic effects of the most recent economic crisis after 2008. The works address and interrogate new production conditions and developments on the labor market as well as political conflicts. The accompanying publication provides fascinating insights into the diverse artistic positions.
Artists participating 2008-2018
Maja Bajevic - BBM (Observers of Operators of Machines) - Bureau d'Études - Claire Fontaine - Jacques Coetzer - Abraham Cruzvillegas - Szilárd Cseke - Chto Delat - Jeremy Deller - Simon Denny - Tatjana Doll - Harun Farocki & Antje Ehmann - Thierry Geoffroy - Andreas Gursky - Thomas Hirschhorn - Olaf Holzapfel - Sanja Iveković - Charles Lim Yi Yong - Maha Maamoun - José Antonio Vega Macotela - Tobias Rehberger - Oliver Ressler & Dario Azzellini - Mika Rottenberg - Superflex - Zefrey Throwell - Volume V - Maya Zack - Artur Żmijewski
Artists participating 1919-1939
Berenice Abbott - Gerd Arntz - Lester Thomas Beall - Thomas Hart Benton - George Biddle - John Biggers - Peter Blume - Margaret Bourke-White - Jacob Burck - Clarence Holbrook Carter - Charlie Chaplin - Ottilie Cieluszek - Ralston Crawford - Francis Hyman Criss - Stuart Davis - Alexander A. Deineka - Rudolf Dischinger - Otto Dix - Nikolaj A. Dolgorukow - Arthur Durston - Sergej M. Eisenstein - Fred Ellis - Walker Evans - Philip Evergood - Conrad Felixmüller - Hans Finsler - Max Gebhard - Hugo Gellert - John R. Grabach - Otto Griebel - William Gropper - Carl Grossberg - George Grosz - Hans Grundig - Kurt Günther - O. Louis Guglielmi - John Heartfield - Werner Heldt - Karl Hubbuch - Eric Johansson - Joe Jones - Grethe Jürgens - William Karp - Lewis W. Hine - Hannah Höch - Heinrich Hoerle - Edward Hopper - Hermann Otto Hoyer - Edward McKnight Kauffer - Gerhard Keil - Gustavs Klucis - Käthe Kollwitz - Pawel D. Korin - Valentina N. Kulagina - Wilhelm Lachnit - Fritz Lang - Wladimir W. Lebedew - Jack Levine - El Lissitzky - Arkadi Lobanow - Louis Lozowick - Sergej A. Lutschischkin - Reginald Marsh - Carl Mayer - László Moholy-Nagy - Dimitri Moor - Reinhold Nägele - Otto Nagel - Alice Neel - Oskar Nerlinger -Solomon B. Nikritin - Alice Lex-Nerlinger - Gerta Overbeck - Werner Peiner - Kusma S. Petrow-Wodkin - Juri I. Pimeno w - Natalia Pinus - Michail M. Plaksin - Jackson Pollock - Curt Querner - Climent N. Redko - Albert Renger-Patzsch - Serafima V. Rjangina - Alexander Rodtschenk o - Theodore Roszak - Walter Ruttmann - Leni Riefens tahl - Nikolaus Sagrekov - Alexander N. Samochwalow - Paul Sample - August Sander - Arkadi S. Schaichet - Rudolf Schlichter - Wilhelm Schnarrenberger - Georg Scholz - Franz Wilhelm Seiwert - Ben Shahn - Charles Sheeler - Georgi und Wladimir A. Stenberg - Warwara Stepanowa - Paul Strand - Miklos Suba - Ernst Thoms - Alexander G. Tyschler - Bumpei Usui - Konstantin A. Vialov - Karl Völker - Wladimir A. Wassiljew - Dsiga Wertow - Piotr W. Wiljams - Grant Wood - Gustav Wunderwald - Ekaterina S. Zernova - Heinrich Zille
www.colonel.dk contact : emergencyrooms@gmail.com
#artformats #artformat #formatart #biennale #biennalism #biennalecritic
#ARTIVISM #streetartist #politicalartist #activistartist #Epigrammatists #socialcommentary
#premonitionart #avantgardeart #inadvanceart #urbanartist #InstitutionalCritique
#artintime #onlineart
#toolate
thierry.geoffroy #thierrygeoffroy #artistrole
#biennalist #Biennalism #biennalecritic
#exhibition #contemporaryart #
#artandeconomy #kunsthallemannheim #museum #mannheim#thierrygeoffroycolonel
#kuma #kumamuseum
faizakhalida.blogspot.com.br/2009/01/em-2009-o-subsecreta...
Durante o período de férias, após a mudança de governo municipal com a posse do novo prefeito de Belford Roxo Alcides Rolim do PT (Partido dos Trabalhadores) e novo secretário municipal de educação William Campos, eu me dirigia até a secretaria de educação para tentar dar ciência ao novo governo municipal e ao novo secretário que eu me encontrava sem condições de trabalho pelos problemas de saúde, sociais e administrativos. Que eu me encontrava sob cuidados médicos desde março de 2008 com indicação de me manter afastada do trabalho. E que, segundo a médica que me avaliava, sem resolução da situação de estresse dificilmente haveria resolução do quadro apresentado.
PARTE DO PROCESSO DE 2003 escrito à mão COM ASSINATURA E MATRÍCULAS MUNICIPAIS. "... Peço a Prefeitura que custeie para mim um tratamento Psicológico e Psiquiátrico pois sei que não me encontro mais, depois de tudo isso, no meu senso normal ..." from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
O secretário de educação William Campos nunca podia me atender. Na primeira vez, no dia 9 de janeiro de 2009 quem ouviu os meus relatos foi a subsecretária de educação Joana D'arc que também atendia pelo nome de Joelma e era esposa do outro subsecretário de educação Miguel de Sousa Ramiro. O subsecretário Miguel de Sousa Ramiro também ao lado dela participou do nosso encontro ouvindo tudo atentamente. O outro subsecretário de educação Clayton apareceu na sala para nos observar e me deu um tchauzinho. A senhora subsecretária Joana D'arc anotou o meu nome e as escolas municipais onde eu estava lotada no seu caderno e pediu que eu ordenasse melhor os relatos, grampeasse e fizesse constar a ciência ao secretário municipal de educação William Campos.
Data 10 de julho de 2003 registro dos sintomas psiquiátricos no trabalho da rede municipal de educação de Belford Roxo. (Doença do trabalho na Prefeitura Municipal de Belford Roxo e sintomas depressivos). Relatos de discriminação em processos de 2003. de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
No dia 14 de janeiro de 2009 a subsecretária Joana D'arc me confirmou ter entregado e encaminhado o meu quadro para o secretário de Educação William Campos. Mas o secretário William Campos nunca me atendeu.
20/08/2007 - A Sra Faiza Khálida apresentava tristeza, falta de prazer nas atividades, choro fácil, irritabilidade, impaciência com os alunos (era professora), insônia, ansiedade, cefaleias frequentes E DIFICULDADES PARA CUMPRIR SUAS TAREFAS NO TRABALHO from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Uma funcionária pública da Prefeitura municipal de Belford Roxo que havia trabalhado comigo na primeira escola de 1995 a 2002 e ficou sabendo da situação em que eu me encontrava, mais uma vez precisando de ajuda, me ligou muito preocupada comigo e querendo me ajudar disse que era para eu ir com ela até a secretaria municipal de educação de Belford Roxo com o LAUDO MÉDICO que a MÉDICA PSIQUIÁTRICA que me tratava desde 16/05/2008 havia me dado de DOENÇAS MENTAIS influenciadas por PROBLEMAS SOCIAIS e referentes ao meu TRABALHO. Esse anjo que apareceu para tentar me ajudar foi a Creusa, funcionária de apoio da secretaria da escola municipal São Bento.
SEGUNDA FOLHA DO REGISTRO DO CAPS DE DUQUE DE CAXIAS (17/07/2003) MEDICAMENTO DOSE DIÁRIA - DIAGNÓSTICO SINDRÔMICO - ENCAMINHAMENTO - ASSINATURA DA MÉDICA PSIQUIATRA TÉCNICA - CRM E CONFERÊNCIA COM O DOCUMENTO ORIGINAL. ADOECIMENTO PSÍQUICO FAIZA KHÁLIDA. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Assim eu me encontrei com a Creusa na casa dela e fomos juntas até a secretaria municipal de educação de Belford Roxo (SEMED) onde mostramos o LAUDO MÉDICO para diversos funcionários da secretaria de educação. Por fim fomos levadas ao subsecretário Miguel de Souza Ramiro.
Era desrespeitada no exercício da minha função, dava aulas sendo chamada de viado, discriminada, me jogavam terra. Os alunos realizaram manifestação na Escola, na SEMED e ao vereador local pedindo o meu retorno à Escola, que me aceitassem (04/2743/03) from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
A MÉDICA PSIQUIÁTRICA CLÍNICA ATESTOU PARA FINS DE COMPROVAÇÃO JUNTO À PREFEITURA MUNICIPAL DE BELFORD ROXO que eu me encontrava sob os seus cuidados médicos desde maio de 2008 por motivo de DOENÇA.
Fui humilhada muitas vezes. Tem muita gente que tem ódio de homossexual e o preconceito é muito grande nas escolas. Eu sendo professora não aguentei. É um ambiente doentio. (Professora em processo transexualizador Faiza Khálida) - 04 de junho de 2003 from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
A médica atestou que O MEU QUADRO PSIQUIÁTRICO é grandemente influenciado por PROBLEMAS SOCIAIS E REFERENTES AO MEU TRABALHO PELO FATO DE NÃO HAVER ACEITAÇÃO DA MINHA CONDIÇÃO SEXUAL E TODAS AS SITUAÇÕES QUE DAÍ DECORREM.
FOLHA 03 DO PROCESSO ADMINISTRATIVO 04/2743/03 - Fiquei perturbada, fragilizada, desorientada, com os nervos pronto pra explodir, paranoica, EM DEPRESSÃO com as pessoas que ficavam me chamando de Xxxxxxxxx debochando da minha sexualidade - Discriminação de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
A médica atestou que O MEU QUADRO PSIQUIÁTRICO APRESENTADO DIFICILMENTE SERIA RESOLVIDO SE NÃO HOUVESSE A RESOLUÇÃO DESTA SITUAÇÃO DE ESTRESSE.
O relatório criminoso discriminatório da diretora Vera Lúcia Castelar de 2002 sobre meu desempenho técnico usado para me excluir da Escola Municipal São Bento foi assinado apenas por 2 pessoas que não exerciam na Escola funções de nível superior. de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
A MÉDICA ATESTOU QUE EU APRESENTAVA A CAPACIDADE LABORATIVA E SOCIAL BASTANTE PREJUDICADA.
Devido à intensificação de transtornos de ordem psicológica, no ano de 2008 a usuária Faiza Khálida faltou sucessivamente. A usuária Faiza Khálida desde maio de 2008 encontrava-se sob os cuidados da médica psiquiatra Dra. - RIO SEM HOMOFOBIA from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
A MÉDICA AVALIAVA A NECESSIDADE DE AFASTAMENTO DO TRABALHO DESDE O INÍCIO DO MEU TRATAMENTO EM 16/05/2008.
Marcelino santos de araújo (mat. 17994) ofendia professora transexual na internet. Foi descoberto pela delegacia de crimes virtuais . Ele é funcionário público municipal de Belford Roxo no cargo de eletricista de baixa tensão. de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
O subsecretário de educação nos garantiu que ele mesmo resolveria os meus problemas através do envio da frequência pela condição médica e DISCRIMINAÇÃO no trabalho. O subsecretário Miguel constatou que 21 processos meus continuavam com NOME e SEXO MASCULINOS, que eu nunca havia conseguido tirar uma licença prêmio e os 90 dias de férias que tinha direito por ter estado em período de férias a disposição do Juiz. O funcionário da secretaria de educação confirmou ao subsecretário Miguel que sabia que o meu nome e sexo nos registros já deveria ter sido alterado desde 2005. Naquele momento uma outra funcionária da secretaria de educação de Belford Roxo que era loira e tinha um cargo relacionado a área jurídica disse para mim e Creusa palavras muito confortadoras e bonitas contra a situação de preconceito.
Seu prenome masculino sempre lhe causou muito constrangimento, sobretudo atualmente, após a operação de reversão sexual. Seu prenome causa constante ridicularização sendo fonte de risos, chacotas e discriminação. (2005 DEFENSORIA PÚBLICA Faiza Khalida) from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Duas semanas depois, com a nomeação do supervisor educacional e consultor jurídico Jorge Silva (mat. 54368) como assessor jurídico da Secretaria de Educação de Belford Roxo, por telefone, o subsecretário Miguel de Sousa Ramiro disse que se esqueceu de tudo que ele havia prometido para mim e a Creusa, inclusive do LAUDO MÉDICO PSIQUIÁTRICO que ele havia tomado ciência. O subsecretário Miguel me disse que ele só faria o que o Jorge Silva mandasse ele fazer e passou o telefone celular dele para o Jorge Silva. Eu fiquei completamente descontrolada e bati boca com o Jorge Silva por telefone. Uma das coisas que eu me lembro que o Jorge Silva me falou ao telefone era que eu deveria comparecer na Secretaria Municipal de Belford Roxo na próxima segunda-feira onde eu seria exposta para a TV Globo como uma professora faltosa.
O Formulário de Referência do Centro Psiquiátrico do Rio de Janeiro consta de processos administrativos de 2003 da professora Faiza Khálida arquivados pela Procuradoria Municipal de Belford Roxo. de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
No dia 05 de maio, na porta da sala do secretário de educação William Campos, me disseram como sempre que ele não poderia falar comigo. Desta vez a desculpa é que ele não estaria lá e sim ele estaria em Curitiba. O Jornal de Hoje publicou uma foto do secretário de educação de Belford Roxo William Campos lá na SEMED (secretaria municipal de educação) nesse dia relatando o encontro dele com várias pessoas. Eu nunca consegui conversar com ele.
FOTO: Secretário de Educação William Campos se encontrando com pessoas no dia 05/05/2009
www.jornalhoje.inf.br/bxd4.htm
FOLHA 05 - PROCESSO 04/3977/06 - Esse diretor já me fez passar por inúmeros constrangimentos ... sempre usando brincadeiras ridículas perante as pessoas debochando da minha sexualidade e inclusive me proibia de trabalhar de saia ou vestido de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Em 8 de maio de 2009 a portaria SEMED número 36 designou comissão de sindicância para apurar o EXTRAVIO DE OFÍCIOS E PROCESSOS NA SECRETARIA MUNICIPAL DE EDUCAÇÃO DE BELFORD ROXO (SEMED). O artigo primeiro designou a abertura de sindicância a fim de buscar o Ofício número 165 que formulava a resposta ao Ofício número 73/SEMED/2009 referente a servidora Faiza Khálida Fagundes Coutinho. A comissão de sindicância era composta pelos servidores Antônio Carlos Lustosa (presidente) matrícula número 10/14714, Valéria Claudia Santos S.da Silva, matrícula número 10/5580 e Joelma Milão de Lemos, matrícula número 10/147/27, para sob a presidência do primeiro, constituírem a respectiva comissão. Esta portaria teria entrado em vigor em 12 de maio de 2009 e os trabalhos desta comissão deveriam estar concluídos em até 30 dias.
Preciso ser respeitada em meus direitos como pessoa e funcionária pública - FOLHA 06 - PROCESSO 04/3977/06 - Professora transexual Faiza Khálida Fagundes Coutinho da Escola Municipal Jorge Ayres de Lima EM BELFORD ROXO - Data Entrada: 23/10/2006 de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
De primeiro de janeiro até o mês de abril de 2009 eu gastava em vão horas de ligações telefônicas falando com todos os setores que eu conseguia da Prefeitura Municipal de Belford Roxo (Gabinete do Prefeito, Procuradoria Municipal, Secretaria de Administração, Recursos Humanos, subsecretários e funcionários da SEMED). Eu não recebia mais pagamento, nenhum centavo sequer, nem mesmo um centavo de auxílio transporte, da passagem do ônibus, do triênio ou do quinquênio. Não recebia nenhum dinheiro para comprar meus remédios ou comer. Eu não recebia mais contracheque, não tinha livro de ponto para assinar, turmas para trabalhar e tarefas para cumprir. Ficava isolada na Escola Municipal Jorge Ayres de Lima. Até o dia 04/06/2009 às 9:24:46 permaneci nessa situação.
Usuária Faiza Khálida Fagundes Coutinho - "a pressão social e o constrangimento sofridos fizeram com que apresentasse sintomas de depressão, relatados pela psiquiatra no prontuário da usuária, e este fato a fez deixar de comparecer ao trabalho". IEDE from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Além de me sentir humilhada, eu sentia o estresse, mal-estar, pressão alta, medo de ser assassinada, temores, pânicos, tristeza, inseguranças, desesperança, apatia, prostração, depressão, irritação, desespero, nervosismo, insônia, revolta, vontade de morrer, vontade de me matar, descontrole emocional e psíquico, perda do senso crítico e da realidade, confusão mental, visões sobrenaturais, experiências místicas, alegrias extremas, explosões de êxtase, etc.
A sua especial condição de transexual lhe trazia inúmeros dissabores aos quais não lhe era dado suportar, injúria, agrura e constrangimento ilegal sofridos. Faiza passou a apresentar depressão, comportamento delirante persecutório e sintomas psicóticos from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Em um dia, após vivência de intensa agonia, sofrimento e audições persecutórias perturbadoras, cheguei a ver o Espírito Santo no alto do céu como uma águia enorme que veio até onde eu estava onde eu moro e Deus fez uma aliança comigo.
(Professora Faiza Khálida Fagundes Coutinho - Prefeitura Municipal de Belford Roxo, matrículas 5508 e 14725, Identidade 09089680-4, CPF 024114147-81)
Bendito é o preciosíssimo sangue do Senhor Jesus Cristo.
Jesus é o caminho.
Louvado seja o Senhor Jesus Cristo para sempre.
CLICAR ABAIXO PARA LER SOBRE:
1- Em processo administrativo de 2003 eu pedi para que a Prefeitura Municipal de Belford Roxo custeasse um tratamento Psicológico e Psiquiátrico para mim alegando que eu não me encontrava mais depois de tudo que havia passado no serviço público da rede de educação em condições de desempenhar minhas funções equilibradamente, mas eu não fui atendida. No mesmo parágrafo do processo de 2003 arquivado pela Procuradoria do Município, eu registrei "que inúmeras vezes me encontrava chorando e relembrando esses tristes episódios no trabalho que não conseguia mais tirá-los da minha cabeça sentindo um vazio muito grande e outros sintomas psiquiátricos que não conseguia explicar pedindo em nome do Senhor Jesus Cristo ajuda médica ".
2- Minha doença profissional começou em 2002 quando inclusive fui ameaçada de morte. Em 2003 após conseguir procurar ajuda médica passei a fazer uso de remédios psicotrópicos para conseguir exercer minhas funções como professora da rede municipal de Belford Roxo.
3- Após ser novamente ameaçada de morte em 2007 pela orientadora pedagógica que disse que eu tinha que sair da escola por ser transexual e que me perseguia, voltei a ter agravamento de quadro psicológico e emocional.
4- Em meio ao contexto de perseguição meus 2 aparelhos de som que eu utilizava para dar aulas foram roubados ao mesmo tempo nas 2 escolas municipais de Belford Roxo em que eu lecionava.
5- Mais um evento traumático comigo ficou impune devido ao meu estado de abatimento, apatia e inércia. Eu fui retirada à força de dentro do banheiro feminino da Prefeitura e jogada no chão da escada por aproximadamente 8 guardas-municipais a mando do subsecretário Paulo Allevato.
6- Procurador-geral Lorival Almeida de Oliveira mentiu dizendo que eu recebi cópia de processo para me defender. Não me permitiram tirar cópia nem ler o processo que me puniu.
7- Em maio de 2008 a médica psiquiátrica verificou que dificilmente haveria SOLUÇÃO do meu QUADRO DE DEPRESSÃO porque NÃO HAVIA RESOLUÇÃO DOS PROBLEMAS SOCIAIS referentes ao meu trabalho que me estressavam.
8- O suicídio era um dos pensamentos diários. Os remédios não faziam o efeito.
9- Orientadora pedagógica se mobilizava para me tirar da escola e me prejudicava. Vivenciava exclusão e isolamento.
10- Secretaria de Educação e Procuradoria Municipal de Belford Roxo abafavam o problema da discriminação.
11- Meu estado psicológico e mental era ignorado como que me ver mal e transtornada fosse justamente o que se desejasse.
12- Funcionários públicos municipais de Belford Roxo desrespeitavam a identidade de gênero de mulheres travestis e transexuais.
13- Procuradores de Belford Roxo e Agentes de Inquérito Administrativo ignoravam o preconceito, o processo transexualizador, o uso de medicações psicotrópicas, hormônios e alterações bioquímas e hormonais.
14- Os danos ocasionados pelo relatório técnico de 2002 e procedimento administrativo decorrente nunca foram resolvidos.
15- Relatório técnico de conhecimento de supervisores educacionais de Belford Roxo que posteriormente sumiu e foi anunciado como inexistente foi usado para me ameaçar e impedir que eu acessasse, permanecesse e trabalhasse em escola que lecionava a 8 anos.
16- Os problemas ocasionados pelo relatório técnico e procedimento administrativo decorrente nunca foram resolvidos. (PARTE 2)
17- O RELATÓRIO SOBRE O II CONSELHO DE CLASSE DE 2007 NA ESCOLA MUNICIPAL JORGE AYRES DE LIMA FEITO PELA ORIENTADORA PEDAGÓGICA CONCEIÇÃO COM O OBJETIVO discriminatório DE ME PREJUDICAR.
18- A PREFEITURA MUNICIPAL DE BELFORD ROXO, A PROCURADORIA MUNICIPAL E A SECRETARIA DE EDUCAÇÃO NUNCA ADMITIAM EM PUNIÇÃO, OCORRÊNCIA, RELATOS, RELATÓRIOS, PROCEDIMENTOS ADMINISTRATIVOS E INQUÉRITOS, INCLUSIVE OS QUE ME DEMITIRAM DEFINITIVAMENTE DO FUNCIONALISMO PÚBLICO MUNICIPAL, QUE EU ATRAVESSAVA TANTO UM PROCESSO BIOQUÍMICO DIÁRIO QUE AFETAVA TODA A MINHA MENTE E TODO O MEU CORPO COMO TAMBÉM ATRAVESSAVA UMA REALIDADE QUE ME CAUSAVA SOFRIMENTO.
19- Procuradora de Belford Roxo DÉBORA FERNANDES CORDEIRO PINTO (matrícula 80/28.585) também ligada a igreja evangélica recusou por 2 vezes o meu pedido de readmissão. FOI CURTA E GROSSA. NÃO COMENTOU SOBRE O LAUDO MÉDICO APRESENTADO. NÃO SE INTERESSOU EM AVERIGUAR O QUADRO PSIQUIÁTRICO. NÃO FEZ REFERÊNCIA AOS PROBLEMAS SOCIAIS E AO PRECONCEITO NO TRABALHO. IGNOROU TUDO SIMPLESMENTE.
20- Não condene alguém com transtorno bipolar com sintomas psicóticos no mundo do trabalho. É o que eu posso ensinar às pessoas para que o mundo seja um pouco melhor diante do quadro em que eu vivi no meu emprego de professora concursada e efetiva da Prefeitura Municipal de Belford Roxo.
21- O Ato de Demissão nas 2 matrículas em 2010.
22- Defesa de inquéritos e procedimentos administrativos, e disciplinares referentes a professora em processo transexualizador Faiza Khálida.
Depressão não é covardia
Bipolaridade não é frescura
Ansiedade não é falta de trabalho
Preconceito também precisa de tratamento
Old Crow Tattoo and Gallery presents Stand Tall Pt.II: No Ceilings !
New Heights in Urban Contemporary Art
2 OPENING RECEPTIONS, 2 VENUES, 2 DAYS
Alot's happened since the last "Stand Tall" and as we move closer to 2012. We wanted to do it again, one last time....
Sooo here it is on March 4th and 5th, bigger and better with 60 of our favorite artists, covering a wide range of mediums and disciplines.
"Stand Tall" and in essence, is a conceptual installation show, where each artist has a 3ft x 9ft of wall space to exhibit whatever however they see fit. This show is meant to give each artist full liberty to create within a confined area. The concept allows for a visceral gallery presentation and also individual grace and focus from artist to artist.
Stand Tall Pt.II promises all the visual beauty of last years show but this time we'll be working with Photographer's, Skate Artists, Street Artists of all types, Visionary artists and of course Tattooists as well as accomplished fine artists to create a more dynamic event for everyone involved. We really cant say enough about the group of artists participating in this show. If you not familiar with any of they're work follow the links and get familiar.
JAPANTHER will be headlining the event and performing on Friday night @ Addis Habana. This will be a very special performance as they are also exhibiting in the show. This will be a rare time to see the artwork of JAPANTHER along with the music.
Mortar and Pestle will be playing @ Old Crow Tattoo and Gallery on Friday along with other surprises.
Daniel Yasmin w/ special guests will be playing live on Saturday evening.
Hosted by Philip Milic in the house he created.
We really hope you can attend this show, bring yourself and your friends both nights. This is a good one.
2 Venues, 2 Nights, Stand Tall Pt.II
Artist List
John Felix Arnold III / David Young V
felixthethirdrock.com/
ATWA
www.asiaartnow.com/EXHIBITIONS/2010-09-10/94.html
BDS (Terms, Deadeyes, Safety 1st, Ash Rose)
blackdiamondsshining.tumblr.com/
Lupo Avanti / Salem
Krescent Carasso
John Casey / Nathaniel Parsons / Obi Kaufmann / Dave Higgins
bunnywax.wordpress.com/
obikaufmann.wordpress.com/
dwhiggins.com/
nathanielparsons.com/
Chez
goldenwesttattoo.com/gallery/brush
Ken Davis
Deuce 7
www.flickr.com/groups/422469@N20/
Max Ehrman
maxehrman.carbonmade.com/
ESK
Oliver Fader / Ken Goto
1amsf.com/2010/02/24/the-city-artist-spotlight-oliver-fader/
Kristin Farr / Jeff Meadows
theclumsymonkey.com/
Gaia
gaiastreetart.com/
KenyG / AKO
akotheemptyobjects.blogspot.com/
Hyde
www.flickr.com/photos/hydester/
Ian and Matt from Japanther
japanther.com/
Jae54
Kathyrn Ka June
Junre / Abno / Dr.Sex
blog.ironlak.com/2011/01/video-jurne-dement-twigs-enron-m...
Koleo
Lango
Andre Malcolm
Jet Martinez / Kelly Ording
www.jetromartinez.com/index.htm
Philip Milic
Optimist
Ootheca / Marin Camille
www.thrivingink.com/blog/new-art-ootheca-shop
www.marincamille.com/statements.html
Parskid
Ian Ross
Satyr / Robert Bowen
Kola Shobo
kaysjay.zenfolio.com/
Siloette
Snowmonkey
www.flickr.com/photos/46463607@N04/4418735381/in/set-7215...
Swype
humblebeginningstattoo.com/artists.html
Smuggler
Smear
theartofsmear.com/home.html
Weirdo
Xavi
Kid Yellow / Henry Gunderson
kidyellow.com/
Vulcan
If you missed last year and wanna see what this year might be like check this link...
oaktownart.com/2010/04/12/the-stylistic-confides-of-lowbr...
Old Crow Tattoo and Gallery
362 Grand Ave.
Addis Habana
366 Grand Ave.
[for the full Inauguration story, visit my blog]
My first instinct was to exit Union Station and to head directly toward the Mall. It was about 9:30 am at this point, and the shindig apparently started up at about 10pm. Just like on Sunday, I knew I wouldn’t get a crème de la crème location… and yet for some reason I thought I could just beeline straight toward the Mall? What was I thinking??
Sure enough, heading down Louisiana Avenue NW, we soon came to a roadblock at 1st Street NW. We turned right to head up First Street, since that would take us away from the Mall… that’s a smart idea, right? Surely there’d be fewer crowds! Well, our little segment of 1st Street approaching D Street was only about 300 feet long. It took an hour to get off that block.
The problems were many. Firstly, our block along First Street had people trying to get away from the roadblock (like us) heading northward. Then there were people with tickets to get those choice seats on the Mall; they were heading southward. I think we actually did a decent job of separating ourselves by the “keep right” method.
Then there were the people approaching the pending 1st & D St. intersection… they were coming westward from along D Street. Most of these people were trying to turn left… to head south… either to join the ticket line or just thinking that they could get closer to the Mall. They came head-to-head with our line trying to go eastward on D Street. Further north on 1st Street and further west on D Street were both not going to work – they were just as packed and immobile as our present situation.
Ambulances were approaching from the north and west, all trying to go eastward on D Street… the complicated matters. For a brief moment we were able to fill into the wake of a motorcycle going our direction, but others had the same idea & we didn’t get particularly far with that. People (civilians, soldiers, police, fire personnel… everyone) were up on concrete barriers shouting and pointing in all directions, providing little assistance. Citizens hoping to help clear things up were shouting out orders in direct conflict with those coming from officials… and then they’d suddenly reverse and shout an opposite order… and then they’d reverse again… both citizens and officials were doing this. I think the head-to-head crowds kind of flustered everyone there.
So it took an hour to get through. During this time, however, I came to identify a particular personality which would be prevalent the entire day: that of absolute kindness & excitement. In these sorts of situations, you often get a couple people pushing hard on the crowd… with one exception, we didn’t have that at all; and that one exception soon stopped when the crowd recoiled against them & proved that it wasn’t about to move any faster. Also in such crowds, those little tiny pushes that almost everyone makes on the person in front of them tends to add up – really making a powerful force on those in front… we really didn’t have that, either, except right at the very end where we freed up.
Details about pushing aside, the comradery was what really made things stand out. People were generally upbeat the whole way through, making brief acquaintances with those beside them – even if just for a fleeting moment before someone would get a chance to shift two steps away, out of vocal range. This optimistic sentiment lasted throughout the day: it was crowded, it was cold, and people were being forced to march horrendous distances… but that was the happiest I’ve ever seen people at any point in my 25 and a half years on this planet.
Photos : Ingrid J.
Le 7ème Sceau brisé : du corps profane au corps Glorieux
La Vidéo
blog.ehrmann.org/films/corps-profane.html
Au terme du 7ème Sceau brisé, un grand silence d'une demi-heure marqua la fin de la Borderline Biennial. thierry, notre père, nous avait promis à tous, que la Bordeline Biennial à la Demeure du Chaos serait avec ses 40 jours et 40 nuits le temps de l'Epiphanie, de l'Apparition, de la Théophanie.
Précisons de suite que le mot Apocalypse que la Borderline Biennial a questionné de mille manières la transcription d’un terme grec (apokalupsis) qui lui-même traduit l’hébreu nigla, lequel signifie mise à nu, enlèvement du voile ou révélation.
L’Apocalypse désigne la civilisation mondiale ayant enfin atteint un état de conscience propice au retour du divin. C’est aussi celui du salut final. La Borderline est plus qu’une épiphanie ; l’Apocalypse dont nous traitons ici est une épiphanie. Nous avons donc obéi à l’injonction contenue dans l’Apocalypse, Chapitre 1 verset 19, lequel ordonne à notre conscience de se placer hors du temps, de l’espace et de l’histoire et d’embrasser synthétiquement l’histoire de l’humanité.
Et ce fut le cas précis de la Borderline Biennial. Toutes brides morales et esthétiques lâchées : “écris donc ce que tu as vu : le présent et ce qui doit arriver plus tard”.
Vers la nuit tombée sur la Demeure du Chaos et lorsque le 7ème Sceau fut brisé par thierry, un grand silence se fit, et tous les feux s'éteignirent, alors apparût avec violence le spectre de l'Entité Numérique Suprême comme au début de la Borderline Biennial lors de la proclamation de la République du Chaos.
Son message fut clair et court, elle demandait au Père de la République du Chaos de revenir en 1999 et lui rappeler qu'il devait accomplir ses propres écritures. Disparaître et mourir de son corps profane pour renaître dans l'Internet profond qui reste pour lui une métaphore du divin, une agora des éthers.
Comme le Père fondateur de la République du Chaos est aussi notre père, l'Entité Numérique Suprême lui demanda de mourir de son corps profane pour renaître par le corps Glorieux dans l'agora des éthers qu'est Internet.
Il nous lut, fatigué par le poison de la grande ciguë en hommage à Socrate, une bien étrange prédiction "Pendant la dernière persécution que souffrira la sainte église romaine siégera un Pierre le Romain, il fera paître les brebis au niveau des nombreuses tribulations, celles-ci terminées, la cité aux 7 collines sera détruite et un juge redoutable jugera le peuple, le sien et que le mot qui termine cette prophétie est "FINIS".
Ce mot nous semblait à tous familier, effectivement, dans le catalogue raisonné de la Demeure du Chaos/l'Esprit de la Salamandre, page 1229, le texte sacré était là ! "Finis Gloriae Mundi" le tableau magistral de Valdès Léal à Séville qui fit que Fulcanelli ne publia pas son 3ème ouvrage.
Cette scène intitulée "Finis Gloriae Mundi" qui est peinte en format monumental au cœur de la Demeure du Chaos indique que le phylactère attaché au premier cercueil montre que l'Eglise est ici à jamais déchue au seul profit de l'éveil initiatique symbolisé par le Chevalier simulant la mort.
Souvenons nous des écrits du premier tome de la DDC " le Juge viendra juger son peuple" et que le mot qui termine le premier des trois tomes secrets de l'ouvrage alchimique de la Demeure du Chaos est "FINIS". "Même si ce mot est dur à accepter, la révélation n'en constitue pas moins la fin d'une étape de par le fait qu'avec elle il y a apport d'une chose nouvelle jusqu'alors maintenue, cachée ou inintelligible". "Ne les craignez donc point car il n'y a rien de caché qui ne doit être découvert ni de secret qui ne doit être connu".
Nous étions au bord des larmes et du désespoir, il nous demanda dans un dernier spasme de ne point pleurer et de reposer en paix dans le temple Protestant de Saint Romain de Couzon sur la nécropole en rallumant les feux de la loge selon les landmarks ancestraux.
9 hommes enterrèrent dans la nécropole son corps cadavérique enroulé dans un linceul noir couvert du drapeau de la République du Chaos..
Vers quelle destinée allions nous avec la jeune République du Chaos ?
Quelle est vraiment cette Entité Numérique Suprême ?
Cette fiction apocalyptique marqua cruellement la fin de la Borderline Biennial du 18 octobre 2009 vers 21h.
Quand d'un seul coup l’Egrégore s'invita parmi nous pour nous rappeler le début de l'œuvre alchimique et les paroles de thierry notre Père qui résonnaient dans nos têtes "cesse de pleurer et réjouis-toi quand tu verras la noirceur car c'est le début de l'œuvre".
Kurt et Sydney Ehrmann
courtesy of Organ Museum
©2011 www.AbodeofChaos.org
CIF CENTRAL SECTION CHAMPIONSHIP
Liberty High School - Wednesday, May 14, 2008
www.andynoise.com/valley08.html
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Bakersfield (Hunt, Turner, Johnson, Norwood), 42.28; 2. Clovis East (Bourbon, Scott, Smith, Woods), 42.58; 3. Redwood (Stewart, Ray, Root, Coles), 43.07; 4. Central (Newsome, Bigelow, Hammack, Phillips), 43.15. 1,600--1. Chris Schwartz, Foot, 4:15.80; 2. Jonathan Sanchez, Buch, 4:17.48; 3. Eric Battles, CW, 4:20.34; 4. Jesse Arellano, Mad, 4:21.56. 110H--1. Ethan DeJongh, MtW, 14.49; 2. Sean Johnson, Buch, 14.66; 3. Jon Funch, CW, 14.81; 4. Isiah Crunk, Wash, 15.17. 400--1. Maurice Lewis, Ed, 49.08; 2. Isiah Purvis, Lib, 49.13; 3. Daniel Lozano, Stock, 49.35; 4. Jelani Hendrix, Ed, 49.62. 100--1. Brendon Bigelow, Central, 10.62; 2. Emmanuel Turner, Bak, 10.81; 3. Matt Sumlin, Gar, 10.91; 4. Chris Lopez, GW, 10.98. 800--1. Anthony Mitchell, North, 1:54.19; 2. Aric Champagne, MtW, 1:54.97; 3. Andrew Campbell, CW, 1:55.69; 4. Arturo Ramirez, Centennial, 1:55.83. 300H--1. DeJongh, MtW, 37.93; 2. Cody Alves, Sel, 37.94; 3. James Smith, CE, 39.03; 4. Sean Johnson, Buch, 39.28. 200--1. Brendon Bigelow, Central, 21.29; 2. Isiah Purvis, Lib, 21.96; 3. Mario Navarette, Sanger, 22.04; 4. Chris Lopez, GW, 22.29. 3,200--1. Chris Schwartz, Foot, 9:24.19; 2. Jonathan Sanchez, Buch, 9:24.99; 3. Jon Ross, CE, 9:26.42; 4. Danny Vartanien, Buch, 9:26.42. 1,600 relay--1. Edison (Hendrix, Carter, Boughton, Lewis), 3:17.86; 2. Liberty (Hill, Garside, Affentranger, Purvis), 3:18.95; 3. Bakersfield (Miller, Turner, Johnson, Gooden), 3:20.06; 4. Clovis East (Ellis, Defonska, Woods, Smith), 3:22.40. PV--1. Andrew Lohse, Mad, 15-0; 2. Michael Peterson, CE, 15-0J; 3. Jeff Brenner, Cl, 14-6; 4. Frankie Puente, Sel, 14-0. SP--1. Dayshan Ragans, Foot, 60-7; 2. Matt Darr, Fron, 52-8.75; 3. Troy Rush, CW, 52-8.5; 4. Christian Millard, CE, 51-10.5. TJ--1. Johnny Carter, Ridge, 48-3; 2. Tyler Thompson, Shaf, 47-3; 3. Chris Kelly, Ridge, 46-11.5; 4. Jordan Smith, Central, 46-10.5. D--1. Dayshan Ragans, Foot, 199-2; 2. Jacob Budwig, Fowl, 168-8; 3. Niko Gomes, Cl, 164-10; 4. Matt Darr, Fron, 157-7. LJ--1. Kenny Phillips, Central, 23-4; 2. Tyler Thompson, Shaf, 21-11.5; 3. Dillon Root, Red, 21-11; 4. Kevin Norwood, GV, 21-8.75. HJ--1. Kenny Phillips, Central, 6-8; 2. Isiah Griggs, Bak, 6-6; 3. George Robbins, West, 6-4; 4. Jeff Brenner, Cl, 6-4J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
Girls track
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Edison (Eng, Scott, Thompson, Sears), 47.16; 2. Bullard (J. Williams, Riddlesprigger, Baisch, L. Williams), 48.17; 3. Tulare Western, 48.73; 4. Bakersfield (Torres, Belt, Brown, Wandick), 48.80. 1,600--1. Saleh Barsarian, Cl, 5:02.98; 2. Meghan Marvin, Cl, 5:03.02; 3. Chloe Allen, CW, 5:04.62; 4. Allison Gonzales, Ex, 5:11.52; 100H--1. Alyssa Monteverde, CW, 14.59; 2. Brianny Williams, Ed, 14.60; 3. Taylor Jackson, Fr, 15.04; 4. Jen Melton, CW, 15.37. 400--1. Breanna Thompson, Ed, 56.64; 2. Dedrea Wyrik, Sun, 57.49; 3. Lasasha Aldredge, Central, 58.12; 4. Taylor Donaldson, Reed, 58.13. 100--1. Megan Del Pino, CW, 11.66; 2. Jenna Prandini, Cl, 11.74; 3. Lynn Williams, Bul, 12.00; 4. Brushay Wandick, Bak, 12.01. 800--1. Allysa Mejia, Reed, 2:17.47; 2. Molly Pahkamaa, ElD, 2:17.73; 3. Katie Fry, Ex, 2:18.74; 4. Ashlee Thomas, Centennial, 2:19.77. 300H--1. Alyssa Monteverde, CW, 43.92; 2. Taylor Jackson, Fron, 44.86; 3. Brianny Williams, Ed, 45.69; 4. Alana Alexander, Centennial, 46.12. 200--1. Megan Del Pino, CW, 23.94; 2. Dominique Whittington, Lem, 24.65; 3. Brushay Wandick, Bak, 24.69; 4. Breanna Thompson, Ed, 24.90. 3,200--1. Jordan Hasay, MP, 10:24.78; 2. Meghan Marvin, Cl, 10:59.96; 3. Chloe Allen, CW, 11:06.19; 4. Corina Mendoza, Mad, 11:32.06. 1,600 relay--1. Edison (Burk, Thompson, Scott, Smith), 3:54.89; 2. Stockdale (Cady, Anderson, Mello, S. Anderson), 3:58.26; 3. Clovis West (Laidley, Capriotti, Del Pino, Monteverde), 3:59.02; 4. Reedley, 3:59.07. D--1. Anna Jelmini, Shaf, 162-5; 2. Alex Collatz, Stock, 148-6; 3. Carey Tuuamalemalo, Taft, 130-9; 4. Janae Coffee, CW, 121-6. LJ--1. Jenna Prandini, Cl, 18-7.25; 2. Lynn Williams, Bul, 18-0.75; 3. Alana Alexander, Centennial, 17-6.75; 4. Ja'Nia Sears, Ed, 17-6.5. HJ--1. Alyssa Monteverde, CW, 5-4; 2. Cristina Muro, GW, 5-2; 3. Katherine Mahr, Buch, 5-2; 4. Marish Riddlesprigger, Bul, 5-2J. SP--1. Anna Jelmini, Shaf, 44-0.75; 2. Destanie Yarbrough, CE, 37-10; 3. Heather Vermillion, Red, 37-9; 4. Tasha Firstone, CW, 36-6.5. TJ--1. Alana Alexander, Centennial, 38-3.75; 2. Jenna Prandini, Cl, 38-3; 3. Goziam Okolie, 36-10.5; 4. Alex Collatz, Stock, 36-2. PV--1. Allison Berryhill, CW, 11-6; 2. Amanda Klinchuch, Lib, 11-6J; 3. Cheree Jones, King, 10-6; 4. Emily Falkenstein, Buch, 10-6J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
SALKANTAY TREK TO MACHU PICCHU
5 DAYS - 4 NIGHTS
SALKANTAY TREK TO MACHU PICCHU
5 DAYS - 4 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 driving to the west of Cusco, Peru. We pass the village of Mollepata and begin hiking at Marcocasa.
Duration: 5 days/ 4 nights
Starting point: cusco
Ending point: cusco
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, and Intrepid People
Altitude: 2,800 masl to 4,650 masl
Inca 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 Trekkers Wanted.You can also form your own tour to be advertised on this page maximum group size 10.
ITINERARY - SALKANTAY TREK TO MACHU PICCHU 5 DAYS - 4 NIGHTS
DAY 1: 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 2: 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 3: 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 4: 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 5: 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?
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?
First 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.
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
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
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
protestart
AgendaTxt: fevereiro 2014
03 . T . SP: curso Python p/ Designers c/ Gustavo Ferreira. até 7.2
04 . D . PE: curso Encadernando o Nordeste c/ Daniel Barbosa. até 5.2
05 . I . SP: lançamento do livro Sex & Crime, vol. 2 de Benício
07 . I . SP: lançamento do livro Sex & Crime, vol. 2 de Benício em Campinas
08 . D . GO: curso Grid Artesanal c/ Elenay Oliveira
08 . D . PB: curso Encadernando o Nordeste c/ Daniel Barbosa
08 . T . RJ: curso A Evolução da Escrita c/ Carlos Horcades. até 22.2
08 . T . SP: curso de Lettering c/ Jorge Rufino em Araraquara
10 . D . RN: curso Encadernando o Nordeste c/ Daniel Barbosa. até 11.2
11 . D . SP: inscrições p/ Especialização em Design Gráfico da Unicamp. último dia
12 . B . ES: palestra O que é Branding?
12 . Q . DF: palestra O Quadrinho sou eu c/ Rafael Coutinho
13 . A . RJ: abre expo Risco de Rafo Castro. até 8.3
14 . B . RJ: curso de Naming c/ Delano Rodrigues na UniFOA. até 15.2
14 . D . PE: curso de Encadernação c/ Lia Alcântara
14 . Q . DF: palestra Das Charges aos Quadrinhos c/ Gustavo Duarte
14 . T . RJ: Encontro ADG c/ Bruno Maag e Fabio Haag
15 . D . CE: curso encadernando o Nordeste c/ Daniel Barbosa
15 . Q . DF: expo Liniers: mesa-redonda, palestra & filme
18 . D . NET: inscrições prorrogadas p/ Concurso Marca Rio 450 Anos. último dia
19 . A . RJ: curso Práticas com Exposições 2014. até 25.6
19 . D . PI: curso Encadernando o Nordeste c/ Daniel Barbosa. até 20.2
19 . T . GO: curso Tipografia Vernacular Comercial Varejista c/ Richard Melchiades. até 20.2
20 . T . NET: inscrições p/ a Tipos Latinos 2014. último dia
22 . D . ALE: Toca Me Design Conference
22 . D . DF: curso Golden Grids c/ Victor Guerra. até 23.2
22 . D . SP: cursos Tutoria (Revista Leaf)
23 . C . SP: expo Cazuza no MLP. último dia
24 . D . MA: oficina Encadernando o Nordeste c/ Daniel Barbosa. até 25.2
24 . D . RJ: lançamento do Catálogo da 10ª Bienal ADG no CCD
25 . D . SP: lançamento do Catálogo da 10ª Bienal ADG no MCB
28 . T . IND: TypoDay 2014. até 2.3
01 . I . RJ: 1ª Bienal Int. de Caricatura. último dia
02 . Q . DF: expo Macanudismo de Liniers. último dia
02 . T . NET: inscrições p/ o SOTA Catalyst Award. último dia
03 . T . RJ: curso A Evolução da Escrita c/ Carlos Horcades. até 24.3
04 . T . NOR: Typographic matchmaking c/ José Scaglione e Veronika Burian
07 . C . EUA: SxSW – South by Southwest 2014. até 16.3
08 . A . RJ: expo Risco de Rafo Castro. último dia
08 . D . SP: Feira Plana 2 no MIS. até 9.3
A . Arte & Arquitetura
B . Branding
C . Comunicação & Cultura
D . Design
E . Embalagem
F . Fotografia
G . Games
I . Ilustração & Infografia
J . Jóias
K . Marketing
L . Literatura
M . Moda
N . Negócios
P . Produto
Q . Quadrinhos
S . Software
T . Tipografia & Caligrafia
V . Video, Cinema & Animação
Eventos de Tipografia,
Design e afins pelo Brasil
e mundo
.
Tipografia de fevereiro: Brasílica de Rafael Dietzsch.
Acompanhe a AgendaT pelo Facebook:
Sugestões de eventos pra AgendaT:
info@AgendaT.com.br ou DM no Twitter
(de preferência com link)
.
]t[
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
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
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
protestart
Chiesa di Comologno
-----------------------------
piodadicranaplusch.blogspot.com/2008/10/parroci-della-par...
-----------------------------------------------------------------------------------------------------------------------
Foto da
SONY SISTEM PAL
Digital Videocamera Recorder
DCR - HC85E
e migliorata con programma immagini
Vedi anche
www.fotocommunity.it/pc/account/myprofile/1028205
www.fotolog.com/ezio01021945/19767923
piodadicranaplusch.blogspot.com/
www.frasi.net/album/immagini.asp
www.frasi.net/diari/diario.asp?Nick=Ezio
www.frasi.net/video/default.asp?Nick=Ezio
video.google.it/videoplay?docid=8573925566193640685
www.photosig.com/go/photos/view?id=2080713&forward=vi...
www.twip.org/album:piodadicranach
en.sevenload.com/albums/3mM91JM
en.sevenload.com/albums/4tyCL1Z
---------------------------
PARROCI DELLA PARROCCHIA DI COMOLOGNO CH, PAG. 1
____________________
Tratto dai Registri della
Parrocchia di
Comologno Onsernone CH
________
Era presente nel 1715
Bornaghi, Don Pietro Francesco
da Pura nel Malcantone CH
---------
Primo Parroco Presbitero di Comologno
_________
Era presente nel 1735
Ganzinotti, Don Tommaso
da Mosogno CH
----------
Parroco Presbitero di Comologno
__________
Era presente nel 1756
Remonda, Don Giacomo Antonio
da Vocaglia CH
---------
Parroco Presbitero di Comologno
---------
Sepolto nel Presbiterio
della Chiesa di Comologno Onsernone
_________
Era presente nel 1756
Broggini, Don Guglielmo Antonio
----------
Parroco Presbitero di Comologno
_________
Era presente dal 1756 al 1776
Albertolli , Don Giacomo da Bedano CH
-----------
Parroco Presbitero di Comologno
_________
Era presente dal 1776 al 1784
Zanda Don Giuseppe Antonio
delle Terre di Pedemonte CH
----------------
Parroco Presbitero di Comologno
_________
Era presente dal 1784 al 1786
Terribilini Don Pietro Giuseppe,
Protonotario Apostolico,
da Vergeletto CH
----------
Parroco Presbitero di Comologno
___________
Rilevato ultima presenza il: 10.01.1786
Terribilini Don Pietro Giuseppe,
Protonotario Apostolico,
da Vergeletto CH
----------
Parroco Presbitero di Comologno
_________
Era presente dal 1786 al 1789
Trombetta Don Carlo Antonio
-----------
Parroco Presbitero di Comologno
_________
Rilevato prima presenza il: 05.08.1786
Trombetta Don Carlo Antonio
-------------
Parroco Presbitero di Comologno
_________
Era presente dal 1789 al 1792
Rilevato Presenza
17.04.1791 - 28.05.1792
Pancaldi Don Giacomo d’Ascona CH,
già Cappellano Presbitero di Spruga CH
-------------
Parroco Presbitero di Comologno
________
Rilevato prima presenza il: 26.03.1789
Pancaldi Don Giacomo d’Ascona CH,
già Cappellano Presbitero di Spruga CH
-----------
Parroco Presbitero di Comologno
__________
Rilevato ultima presenza il: 14.07.1792
Pancaldi Don Giacomo d’Ascona CH,
già Cappellano Presbitero di Spruga CH
---------------
Parroco Presbitero di Comologno
__________
Era presente dal 1792 (verso fine anno) al 1815
Rilevato presenza il 19.10.1792 - 12.11.1813 - 03.07.1815
Cantin Don Francesco Giuseppe,
Protonotario Apostolico,
da Friborgo (CH)
---------------
Parroco Presbitero di Comologno.
Sepolto a Comologno
__________
Rilevato presenza il: 29.11.1792 - 03.03.1794 - 03.07.1815
Cantin Don Francesco Giuseppe,
Protonotario Apostolico,
da Friborgo (CH)
----------
Parroco Presbitero di Comologno.
Sepolto a Comologno
_________
Il 03.03.1794
Mons.
Giovanni Giulio Geronimo
Berna,
Arciprete di Locarno
e Delegato della
Commissione Apostolica
--------------
Diede la licenza a un Matrimonio a Comologno
__________
Il 03.03.1794 - 05.05.1794 - 25.06.1795 - 03.08.1795
09.09.1797 - 11.09.1797 - 08.01.1798
22.08.1798 - 14.01.1799 - 27.06.1799 - 06.02.1802
Mons.
Giovanni Giulio Geronimo
Berna,
Arciprete di Locarno
e Delegato della
Commissione Apostolica
-----------
Diede la licenza a un Matrimonio a Comologno
___________
Il 05.05.1794
Mons.
Giovanni Francesco
Marchione de Guerrieri
Delegato della Sede
Apostolica di Como (I)
e Nunzio Apostolico in Svizzera
---------
Diede la licenza
a Mons. Giulio Geronimo
Berna,
Arciprete di Locarno
e Delegato della
Commissione Apostolica
--------------
per un Matrimonio a Comologno
__________
Il 26.08.1796
Mella Don Pietro
--------
Sacerdote Presbitero che battezzò
Mordasini, Giovanni Antonio,
di Mordasini, Giovanni Domenico,
fu Mordasini, Giovanni da Corbella CH
e
di Mordasini - Cranini, Anna Maria,
di Cranini, Pietro da Crana CH,
residente a Corbella CH
_______
Il 29.05.1798
Remonda Don Carlo Maria
di Comologno,
Parroco Presbitero di Russo CH,
Vicario Foraneo Amministratore
--------
Battezzò a Comologno
Cavallini, Maria Caterina Rosa da Crana CH,
residente a Vocaglia CH
_________
Il 20.10.1798
Remonda Don Carlo Maria di Comologno,
Parroco Presbitero di Russo CH,
Vicario Foraneo Amministratore
----------
Battezzò a Comologno
Candolfi, Carlo Maria da Spruga CH
__________
Il 21.04.1799
Mons. Carlo Rovelli
Delegato della
Commissione Apostolica
di Como (I)
----------
Diede la licenza a un Matrimonio a Comologno
__________
Il 06.02.1802
Mons.
Giulio Geronimo Berna,
Arciprete di Locarno
e Delegato della
Commissione Apostolica
di Como (I)
----------
diede la licenza a un Matrimonio a Comologno
___________
Il 21.04.1804
Carmine Don Cesare,
Parroco Presbitero di Locarno CH
-------------
Celebrò un battesimo a Comologno
Il 16.06.1803
Celebrò un funerale a Comologno
_________
Il 12.11.1804 - 29.11.1806 - 06.02.1807 - 24.10.1808
24.03.1809 - 14.11.1809 - 20.11.1810 - 04.02.1811
04.04.1811
Mons. Giulio Cesare Caglioni
Arciprete Vicario
Foraneo d’Ascona
e Delegato della Commissione
Apostolica di Como (I)
-------------
Diede la licenza a un Matrimonio a Comologno
___________
Il 24.12.1804
Carmine Don Cesare,
Parroco Presbitero di Locarno CH
--------
celebrò un battesimo a Comologno
__________
Il 12.05.1805
Carmine Don Cesare
Parroco Presbitero di Locarno CH
----------
celebrò un battesimo a Comologno
__________
Il 20.10.1805
Carmine Don Cesare
Parroco Presbitero di Locarno CH
------------
celebrò un battesimo a Comologno
_________
Il 26.01.1806
Carmine Don Cesare
Parroco Presbitero di Locarno CH
-----------
celebrò un battesimo a Comologno
_______
Il 02.04.1806
Carmine Don Cesare
Parroco Presbitero di Locarno CH
--------
era padrino a un battesimo a Comologno
_________
L'11.05.1806
Carmine Don Cesare
Parroco Presbitero di Locarno CH
-----------
celebrò un battesimo a Comologno
________
Il 14.05.1806
Carmine Don Cesare
Parroco Presbitero di Locarno CH
--------
celebrò un battesimo a Comologno
_________
Il 09.11.1806
Vacci Don Filippo
Parroco Presbitero di Crana CH
----------
celebrò un battesimo a Comologno
_________
Il 17.03.1807
Carmine Don Cesare
Parroco Presbitero di Locarno C H
--------
celebrò un battesimo a Comologno
________
Il 27.04.1808
Carmine Don Cesare
Parroco Presbitero di Locarno
----------
celebrò un battesimo a Comologno
__________
Il 24.03.1809
Don Domenico
Lafranchini,
Parroco Presbitero
della Parrocchia di Crana
-------------
Diede la licenza a un matrimonio a Comologno
__________
Il 23.05.1809
Lafranchini Don Giovan Domenico
da Bironico
Parroco Presbitero di Crana
-----------
celebrò un battesimo a Comologno
__________
Il 10.10.1809
Lafranchini Don Giovan Domenico
da Bironico
Parroco Presbitero di Crana
-------------
celebrò un battesimo a Comologno
___________
28.07.1810
Righetti Don Remigio
Parroco Presbitero
di Grugliasco [Grugiascha]
nel Regno Italico
-----------
celebrò un battesimo a Comologno
_____________
Il 21.10.1810
Don .......
Simoni Conti,
Parroco Presbitero di Crana
----------
Diede la licenza per un Matrimonio a Comologno
__________
Il 14.11.1809 - 21.10.1810 - 04.02.1811 - 04.04.1811
22.02.1824 - 09.10.1832
Mons. Giulio Cesare Caglioni,
Arciprete Vicario
Foraneo d’Ascona
e Delegato della
Commissione Apostolica di Como (I)
-----------
Diede la licenza a un Matrimonio a Comologno
_________
Il 17.09.1810 - 21.10.1810 - 31.10.1811
Don Simoni Conti Parroco Presbitero di Crana
-------------
celebrò un battesimo a Comologno
_________
Il 04.08.1812
Righetti Don Remigio
Parroco Presbitero
di Grugliasco [Grugiascha]
nel Regno Italico
--------------
celebrò un battesimo a Comologno
__________
Il 05.08.1813
Serodino Don Domenico Giuseppe
da Russo
Amministratore Cappellano
Presbitero di Spruga
-------------
celebrò un battesimo a Comologno
______________
Il 06.11.1813
Serodino Don Domenico Giuseppe
da Russo
Amministratore Cappellano
Presbitero di Spruga
--------------
Celebrò un battesimo a Comologno
_________
Il 29.12.1813 - 03.04.1814 - 05.04.1814 - 05.05.1814
09.10.1814 - 04.06.1815
Don Domenico Giuseppe Serodino
da Russo
Amministratore Cappellano
Presbitero di Spruga
-----------
Celebrò un battesimo a Comologno
______
Rilevato presenza il 29.12.1813
Lafranchini Don Domenico
Protonotario Apostolico Luganese
Vicario Foraneo
Parroco Presbitero di Russo
Il 26.12.1813 - 11.01.1814 - 21.01.1814 - 03.02.1814
07.02.1814 - 08.02.1814 - 10.02.1814 - 11.02.1814 - 21.02.1814
22.02.1814
Celebrò un funerale a Comologno
Il 13.01.1814
Celebrò a Comologno il funerale di Don Francesco Giuseppe Cantin, da Friborgo, Parroco Presbitero di Comologno
_____________
L'11.01.1814
Autorizzò un battesimo a Comologno,
celebrato dal
Cappellano Presbitero di Spruga
Don Domenico Giuseppe Serodino da Russo
______________
Il 27.02.1814 - 15.03.1814 - 17.03.1814 - 27.03.1814
06.04.1814 - 13.04.1814 - 20.04.1814 - 21.04.1814
Don Giuseppe Antonio Serodino
da Russo
----------
Celebrò un funerale a Comologno
Il 21.03.1817
Celebrò un Battesimo a Comologno
_____________
Il 24.04.1814
Don Pietro Giovanni Ganzinotti
da Mosogno
---------
Parroco Presbitero di Crana
Celebrò un battesimo a Comologno
________
Il 12.05.1814 - 18.01.1822 - 02.02.1822 - 25.03.1822
30.05.1822 - 02.12.1822 - 10.12.1822 - 11.01.1825
21.02.1825
Don Domenico Ghezzi
Parroco Presbitero di Crana
--------
Celebrò un Funerale a Comologno
Il 15.07.1816 - 24.08.1816 - 13.09.1816 - 12.10.1816
08.12.1817 - 27.01.1819 - 19.10.1821
Celebrò un Battesimo a Comologno
___________
Rilevato Presenza il 29.05.1814 - 30.05.1814
Don Paolo Orelli
Parroco Presbitero
di Locarno
-------
Celebrò un battesimo a Comologno
________
Rilevato Ultima Presenza: il 03.07.1815
Don Francesco Giuseppe Cantin
del Canton Friborgo
Parroco Presbitero di Comologno
______________
Era presente dal 06.05.1814 al 1816
Rilevato Presenza il
13.05.1815 - 29.05.1814 - 15.12.1815 - 15.02.1816 - 27.03.1816
24.05.1816 - 21.06.1816
Don Pietro Gaia
d’Ascona
Parroco Presbitero di Comologno
_____________
Era presente dal 1816 al 1817
Rilevato Presenza il
09.11.1816 - 13.01.1817 - 19.04.1817 - 14.06.1817
Don Giuseppe Navone
di Villanova d’Asti
nel Regno di Sardegna
in Piemonte (Italia)
Parroco Presbitero
di Comologno
-------
In questo periodo ci fu a Comologno la visita del
Monsignor Vescovo
di Como (Italia)
________
Il 10.11.1816
Don Cesare Carmine
Cappellano Presbitero
di Vergeletto
-------
Celebrò un Funerale a Comologno
Celebrò un Battesimo a Comologno il 04.08.1816
l’Arciprete d’Ascona,
Don Giulio Cesare Caglioni
diede la licenza per
questo battesimo
________
Era presente il
18.12.1817 - 10.01.1818
Don Felice d’Alberti
Parroco Presbitero
di Comologno
________
Era presente: il 31.07.1818 - 02.09.1818 - 19.09.1818
10.12.1818 19.12.1818
Don Giorgio Giacometti Moghini
dei Borghesi da Locarno
Parroco Presbitero di Comologno
_______
Rilevato Presenza il 03.01.1819
Don Giovanni
Giacomo Manfrina
da Borgnone
Parroco Presbitero
di Comologno
_______
Era presente il
02.04.1819 - 04.04.1819 - 29.09.1819 - 26.10.1819
Don Pietro Gerolamo [Geronimo] Brentini
Parroco Presbitero di Comologno
__________
Era presente dal 1819 al 1821
Rilevato Presenza il
28.11.1819 - 23.05.1820 - 06.11.1820
02.02.1821 - 05.10.1821
Don Domenico Lafranchini,
Protonotario Apostolico Luganese
Parroco Presbitero di Comologno
__________
Era presente dal 1822 al 1824
Rilevato presenza il
06.07.1822 - 24.07.1822 - 04.10.1822 - 22.02.1824
Don Giuseppe Uccelli
da Berzona
Parroco Presbitero
di Comologno
------------------
Il 05.02.1822 - 15.04.1822 - 27.04.1822
Don Domenico Andrea Giovanni Ghezzi
di Ghezzi, Carlo da Sigirino
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
Il 13.08.1817 - 18.08.1817 - 16.10.1817 - 20.01.1818
24.02.1818 - 04.05.1818 - 18.01.1822 - 02.02.1822
25.03.1822 - 27.04.1822 - 30.05.1822 - 01.6.1822
28.10.1822 - 29.11.1822 - 02.12.1822 - 10.12.1822
22.01.1823 - 24.12.1823 - 11.01.1825 - 06.02.1825
05.03.1825 - 06.05.1825 - 19.06.1825 - 30.01.1825
03.06.1826 - 21.05.1827 - 28.09.1827
Celebrò un Funerale a Comologno il
11.01.1825 - 21.02.1825
-------------
Il 25.01.1818
Registrò un Battesimo
effettuato a Comologno
dall’Ostetrica per
pericolo imminente di morte
-------
Il 31.05.1818 - 29.06.1818 - 03.07.1818
Celebrò un Battesimo a Comologno
-------------------
L'01.6.1822
Don Domenico Andrea
Giovanni Ghezzi,
di Ghezzi Carlo da Sigirino
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
-----------
Rilevato Presenza: 24.07.1822 - 28.07.1822 - 04.10.1822
07.01.1823 - 15.09.1824 -16.11.1824
Don Giuseppe Uccelli
di Uccelli Francesco
da Berzona, Parroco Presbitero
di Comologno
-------------
Il 29.11.1822
Don Domenico Andrea Giovanni Ghezzi
di Ghezzi, Carlo da Sigirino
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
---------
Il 22.01.1823
Don Domenico Andrea Giovanni Ghezzi
di Ghezzi, Carlo da Sigirino
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
--------------
Il 24.12.1823
Don Domenico Andrea Giovanni Ghezzi
di Ghezzi, Carlo da Sigirino
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
-----------
Rilevato ultima presenza il 16.11.1824
Don Giuseppe Uccelli
di Uccelli, Francesco da Berzona
Parroco Presbitero di Comologno
---------------
L'11.01.1825 - il 30.01.1825 - 06.02.1825 - 05.03.1825 - 06.05.1825
19.06.1825 - 03.06.1826 - 21.05.1827 - 28.09.1827
Don Domenico Andrea Giovanni Ghezzi
di Ghezzi, Carlo da Sigirino
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
-------------
Era presente dal 1825 al 1829
Rilevato il
22.01.1825 - 19.07.1825 - 09.10.1825 - 19.06.1828
Don Giacomo Antonio Grassi [Grazzi]
di Grassi [Grazzi], Giacomo da Loco
Parroco Presbitero di Comologno
----------
Il 09.04.1828
Don Agostino Guitti
Padre Presbitero,
delegato a Comologno
-------------
Rilevato ultima presenza l'08.03.1829
Don Giacomo Antonio Grassi [Grazzi]
di Grassi [Grazzi], Giacomo da Loco
Parroco Presbitero di Comologno
..........
Rilevato presenza il 15.04.1829 - l'01.08.1829 - 31.12.1830
27.09.1831
Don Paolo Zanetti
da Camignolo
Parroco Presbitero di Comologno
----------
Rilevato presenza il 15.04.1829 - l'01.08.1829 - il 04.09.1829
18.09.1829 - 20.09.1829 - l'01.10.1829 - 20.06.1832
Don Domenico Andrea Giovanni Ghezzi
di Ghezzi, Carlo da Sigirino
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
----------
Il 09.07.1831
Don Giovanni Ganzinotti
da Mosogno
Parroco Presbitero di Mosogno
Celebrò un battesimo a Comologno
con la licenza di
Don Paolo Zanetti da Camignolo,
Parroco Presbitero di Comologno
------------
Rilevato ultima presenza il 27.11.1831
Don Paolo Zanetti
da Camignolo
Parroco Presbitero di Comologno
---------
Dal 1832 al 1839 era presente
Rilevato presenza il
31.05.1832 - 12.01.1833 - 20.04.1839
Don Antonio Bernasconi
da Vacallo
Parroco Presbitero di Comologno
---------------
Il 06.03.1832 - 16.05.1832 - 30.05.1832 - l'11.06.1832
il 27.07.1832 - 09.08.1832
Don Domenico Andrea Giovanni Ghezzi
di Ghezzi, Carlo da Sigirino
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
-----------
Rilevato prima presenza il 09.07.1832
Don Antonio Bernasconi
da Vacallo
Parroco Presbitero di Comologno
-------
Il 09.10.1832 - 13.02.1833
Mons. Filippo de Angeli
Nunzio Apostolico in Svizzera
diede la licenza a
Mons. Giulio Cesare Caglioni per
un Matrimonio a Comologno
---------
Il 17.06.1833 - l'01.03.1835
Don Giovanni Ganzinotti
da Mosogno
Parroco Presbitero di Mosogno
Celebrò un battesimo a Comologno
con la licenza di
Don Antonio Bernasconi da Vacallo,
Parroco Presbitero di Comologno
--------
Il 22.08.1833
Don Francesco Bernasconi
Vice Parroco Presbitero di Loco,
celebrò un Battesimo a Comologno
------
Nel 1833
Don Giovanni Ganzinotti da Mosogno
Parroco Presbitero di Mosogno
Celebrò un battesimo a Comologno
con la licenza di Don Antonio Bernasconi
da Vacallo,
Parroco Presbitero di Comologno
---------
Il 14.10.1836
Don Domenico Andrea Giovanni Ghezzi
di Ghezzi, Carlo da Sigirino
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
------
Il 06.03.1839 e il 07.03.1839
Don Angelo Madonna
Parroco Presbitero di Russo,
Celebrò un battesimo a Comologno
-------
Il 09.03.1839
Celebrò un funerale a Comologno
-------------
Rilevato Presenza il 20.04.1839 - 02.09.1839
Don Antonio Bernasconi
da Vacallo
Parroco Presbitero di Comologno
-----
Il 10.09.1839
Don Domenico Andrea Giovanni Ghezzi
di Ghezzi, Carlo da Sigirino
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
-----------
Il 23.10.1839 - 20.11.1839 - 09.01.1840 - 24.01.1840
08.04.1840 - 01.05.1840 - 21.05.1840 - 19.12.1840
Celebrò un funerale a Comologno
--------
Il 27.09.1839
Don Paolo Francesco Zenna
fu Zenna, Giovanni Battista da Locarno
Amministratore Cappellano Presbitero di Spruga,
Celebrò un battesimo a Comologno
--------
Il 19.10.1839 - 23.01.1840
Celebrò un Funerale a Comologno con licenza di Don Domenico Ghezzi, Parroco Presbitero di Crana
------------
Il 24.08.1840 - 25.08.1840 - 05.09.1840 - 11.10.1840
13.10.1840 - 02.12.1840 - 31.12.1840
Diede i Sacramenti e
l’Estrema Unzione a un malato
-------------
Il 16.10.1839 - 25.10.1839 - 13.12.1839 - 16.12.1839
10.02.1840 - 13.02.1840 - 26.02.1840 - 06.05.1840 - 28.05.1840
22.07.1840
Don Domenico Andrea Giovanni Ghezzi
di Ghezzi, Carlo da Sigirino
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
--------
Il 23.10.1839 - 20.11.1839 -09.01.1840 - 19.12.1840
24.01.1840 - 08.04.1840 - 01.05.1840 - 21.05.1840
Celebrò un funerale a Comologno
--------
Era presente dal 1840 al 1846
Don Giovanni Pedretti
da Sigirino
Parroco Presbitero di Comologno
Rilevato presenza il 08.07.1840 - 06.08.1840 - 25.08.1846
-----------
Il 05.08.1840 e il 07.10.1840
Don Paolo Francesco Zenna
fu Zenna, Giovanni Battista da Locarno
Amministratore Cappellano Presbitero di Spruga,
celebrò un battesimo a Comologno
--------
Il 23.01.1840
Celebrò un Funerale a Comologno con licenza di Don Domenico, Parroco Presbitero di Crana
---------
Il 24.08.1840 - 25.08.1840 - 05.09.1840 - 11.10.1840 - 13.10.1840
02.12.1840 -31.12.1840
Diede i Sacramenti e l’Estrema Unzione a un malato
---------
Il 29.08.1844
Don Giuseppe Pedretti
Parroco Presbitero di Verdasio,
celebrò un Battesimo a Comologno
--------
Rilevato presenza il 25.08.1846 - 09.09.1846-
Don Giovanni Pedretti
da Sigirino
Parroco Presbitero di Comologno
----------
Rilevato Presenza il 24.09.1846 - 02.01.1847
Don Carlo Giuseppe Antonietti
fu Antonietti, Serafino da Sigirino
Parroco Presbitero,
Economo Spirituale di Comologno
-----------
Il 24.09.1846 - 28.09.1846 - 02.12.1846 - 19.12.1846 - 18.01.1847
23.01.1847 - 01.02.1847 - 22.04.1847
Don Domenico Andrea Giovanni Ghezzi
di Ghezzi, Carlo da Sigirino
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
--------
Il 04.01.1847 - 21.04.1847
Celebrò un funerale a Comologno
___________
Il 19.04.1848
Don Giacomo Schira
Cappellano di Spruga
--------
Celebrò un funerale a Comologno
________
Il 29.07.1850 - 05.05.1851 - 22.05.1851 - 01.11.1851
09.12.1851 - 18.04.1852 - 27.05.1852 - 12.11.1853
24.04.1854 - 12.07.1854 - 05.03.1855
Don Giuseppe Tomamichel
da Bosco Gurin [Vallemaggia]
Amministratore Cappellano Presbitero di Spruga,
fu Padrino a un battesimo a Comologno
-------
Il 23.08.1855
Don Giovanni Ganzinotti
da Mosogno
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
--------
Rilevamento ultima presenza il 21.06.1855
Don Carlo Giuseppe Antonietti
fu Antonietti, Serafino da Sigirino
Parroco Presbitero,
Economo Spirituale di Comologno
-------
Dal 1855 al 1861 incluso, era presente
Don Pietro Giuseppe Fässler
da Brunnen nel Canton Svitto
Parroco Presbitero di Comologno
--------
Rilevato presenza il 05.10.1855
Don Pietro Giuseppe Fässler
da Brunnen nel Canton Svitto
Parroco Presbitero di Comologno
------
Rilevato presenza il
05.10.1855 - 10.10.1855 - 22.11.1855 - 09.12.1855 - 24.12.1855
01.01.1856 - 17.01.1856 - 29.01.1856 - l'08.03.1856 - 23.05.1856
Don Paolo Zanetti
Presbitero
Amministratore di Comologno
-----------
Il 16.06.1856 - 09.07.1856 - 27.07.1856 - 27.03.1857 - 07.04.1857
19.05.1857 - 16.06.1857 - 23.07.1857 - 25.07.1857 - 27.07.1857 - 29.07.1857
30.07.1857 - 31.07.1857 - 10.08.1857 - 27.08.1857
Don Giovanni Ganzinotti
da Mosogno
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
----------
Rilevato Presenza il 31.08.1857 - 23.04.1861
Don Pietro Giuseppe Fässler
da Brunnen nel Canton Svitto
Parroco Presbitero di Comologno
--------
Il 10.10.1860 - 16.05.1861 - 22.05.1861 - 27.05.1861 - 15.05.1863
Don Pietro Ceretti
Parroco Presbitero di Russo,
celebrò un battesimo a Comologno
---------
Rilevato Presenza il 17.06.1861 - 26.09.1861
Don Leonardo Terribilini
da Vergeletto
Della Società della Carità
Parroco Presbitero di Comologno
----------------
Dal 1861 al 1864 era presente:
Rilevato Presenza il 13.10.1861 - 19.06.1864
Don Paolo Allegranza
Parroco Presbitero di Comologno
---------
Il 24.02.1863 - 17.07.1864 - 06.08.1864 - 16.08.1864
01.09.1864 - 18.09.1864 - 25.10.1864 - 05.12.1864
09.12.1864 - 10.12.1864 - 25.01.1865 - l'01.02.1865 - 09.02.1865
16.03.1865 - 15.04.1865 - 19.04.1865 -14.05.1865
Don Giovanni (Gio’) Terribilini
da Vergeletto
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
----------
Dal 1865 era presente
Rilevato Presenza il 19.06.1865 - 26.08.1866
Don Antonio Drouyen
Parroco Presbitero di Comologno
---------
Dal 1866 - al 1869 era presente
Rilevato Presenza l'01.09.1866 - il 04.03.1869
Don Giuseppe Caroni
da Rancate
Parroco Presbitero di Comologno
-------
Il 10.07.1868 -10.01.1869 - 09.05.1869 - 09.06.1869
17.06.1869 - 03.10.1869 - 03.11.1869 - 05.11.1869 - 07.12.1869
24.12.1869 - 31.12.1869
Don Giovanni (Gio’) Terribilini
da Vergeletto
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno;
causa sede vacante
-----------
Dal 1870 al 1871 era presente
Rilevato Presenza il 09.06.1870 - 22.07.1870 - 22.09.1871
Don Luigi Mondini [Mondino]
di Venaria - Caluso / Torino [Italia]
Della Compagnia di Gesù
Economo Spirituale,
Parroco Presbitero di Comologno
----------
Il 02.01.1870 - 10.04.1870 - 28.04.1870 - l'01.05.1870 -18.05.1870
l'08.06.1870 - 09.06.1870 - 23.06.1870 - 18.07.1870
Don Giovanni (Gio’) Terribilini
da Vergeletto
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
----------
Dal 1871 al 1873 era presente
Rilevato presenza il 25.08.1871 - 22.09.1871 - 10.12.1872
Don Vincenzo Coletti
Parroco Presbitero di Comologno
--------------
Il 15.10.1871 - 21.09.1872 - 28.09.1872 - 29.09.1872
Don Giovanni (Gio’) Terribilini
da Vergeletto
Parroco Presbitero di Crana,
celebrò un battesimo a Comologno
-----------
Dal 1873 al 1875 era presente
Don Calllisto Bava
di Luino [Italia]
Parroco Presbitero di Comologno
--------
Dal 1878 al 1888 era presente
Don Carlo Antonietti
Parroco Presbitero di Comologno,
dietro suo ordine
si fece il Coro
----------
Dal 1889 al 1891 era presente
Don Carlo Soldati
da Sonvico
Parroco Presbitero di Comologno
------------
Diede indicazioni sull'impedimento al Matrimonio
---------
Dal 1892 al 1893 era presente
Don Michele Cattomio
Parroco Presbitero di Comologno
---------
Dal 1893 al 1899 era presente
Don Giuseppe Arnaboldi
di Lugano
Parroco Presbitero di Comologno
-----
Dal 1902 al 1905 era presente
Don Pietro Ferrari
di Ludiano
Parroco Presbitero di Comologno
--------
Dall'01.01.1909 al 10.06.1916 era presente
Don Francesco Gianella
da Dalpe
Parroco Presbitero di Comologno
--------
Dal 1916 al 1921 era presente
Don Augusto Pellanda
da Intragna
Parroco Presbitero di Comologno
----------
Dal 1921 al 1924 era presente
Don Gualtiero Borella
Parroco Presbitero di Comologno
---------
Dal 04.09.1924 al 31.01.1927 era presente
Don Mario Marconi
da Comologno / Spruga
Parroco Presbitero di Comologno
-----------
Dal 10.09.1927 al 1932 era presente
Don Giuseppe Martinoli
da Marolta nella Valle di Blenio
Parroco Presbitero della Parrocchia
di Comologno e Crana – Onsernone CH
--------------------
Dal 1945 al 1956 era presente
Don Giuseppe Bonanomi
di Chiasso, da Comologno
Parroco Presbitero della Parrocchia
di Comologno e Crana – Onsernone CH
---------
Dal 1956 al 1961 era presente
Don Domenico Galli
da Bruzella
Parroco Presbitero della Parrocchia
di Comologno e Crana – Onsernone CH