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Tutte le persone sono state sottoposte al raffinamento tramite le parole di Dio. Se non fosse stato per il Dio incarnato, l’umanità non sarebbe affatto benedetta in tale sofferenza. Questo concetto può anche essere espresso come segue: coloro che sono in grado di accettare le prove delle parole di Dio sono persone benedette. Sulla base del calibro originale delle persone, del loro comportamento e dei loro atteggiamenti verso Dio, non sono degne di ricevere questo tipo di raffinamento. Hanno goduto di tale benedizione perché sono state innalzate da Dio. Dicevano che non erano degne di vedere il volto di Dio o di ascoltare le Sue parole. Oggi, è interamente grazie all’elevazione di Dio e alla Sua misericordia che le persone hanno ricevuto il raffinamento delle Sue parole. Questa è la benedizione di ogni singola persona che vive negli ultimi giorni, lo avete sperimentato personalmente? In quali aspetti gli individui debbano soffrire e avere delle battute d’arresto dipende da Dio, e non dalle esigenze delle persone. Questo è assolutamente vero. Ogni credente deve possedere la capacità di subire le prove delle parole di Dio e di soffrire nell’ambito delle Sue parole. Riuscite a capirlo con chiarezza? Pertanto, la sofferenza che hai subito è stata scambiata con le benedizioni odierne; se non soffri per Dio, non puoi ottenere la Sua lode. Forse ti sei lamentato in passato, ma per quanto tu ti sia lamentato, Dio non se ne ricorderà. Oggi è un altro giorno e non vi è motivo di soffermarsi sui problemi di ieri.

Alcune persone dichiarano che cercano di amare Dio ma non ci riescono, e quando sentono dire che Dio sta per allontanarsi, allora provano amore per Lui. In generale, alcune persone non mettono in pratica la verità, e quando sentono dire che Dio sta per allontanarsi adirato, si presentano al Suo cospetto e pregano: “Oh, Dio, Ti prego, non andarTene. Dammi una possibilità! Dio! Non Ti ho soddisfatto in passato; Sono stato Tuo debitore e Ti ho resistito. Oggi sono disposto a offrire pienamente il mio corpo e il mio cuore per poter finalmente soddisfarTi e amarTi. Non avrò più questa opportunità”. Hai mai pregato così? Quando qualcuno prega in questo modo è perché la sua coscienza è stata risvegliata dalle parole di Dio. Gli esseri umani sono tutti intorpiditi e annebbiati mentalmente. Sono soggetti al castigo e al raffinamento ma non sanno ciò che Dio sta realizzando. Se Dio non operasse così, le persone sarebbero ancora confuse e nessuno potrebbe ispirare sentimenti spirituali nei loro cuori. Solo le parole di Dio che esprimono giudizio e rivelano le persone possono portare tale frutto. Pertanto, tutto si ottiene e si adempie tramite le parole di Dio, ed è solo attraverso le Sue parole che è stato suscitato l’amore dell’umanità per Dio. Se le persone amassero Dio basandosi solo sulla propria coscienza, non vedrebbero alcun risultato. Non avveniva forse già in passato che le persone fondassero il loro amore per Dio sulla coscienza? È mai esistita una sola persona che abbia preso l’iniziativa di amare Dio? È solo attraverso l’incoraggiamento delle parole di Dio che Lo hanno amato. Alcune persone dicono: “Seguo Dio da tanti anni e ho ricevuto grandi manifestazioni della Sua grazia, e una moltitudine di benedizioni. Sono stato raffinato e giudicato dalle Sue parole. Tramite ciò sono riuscito a comprendere molte cose e ho visto l’amore di Dio. Devo ringraziarLo, devo ripagare la Sua grazia. Io soddisferò Dio con la morte e baserò il mio amore per Lui sulla mia coscienza”. Basandosi unicamente sui sentimenti della coscienza, le persone non riescono a sentire l’amabilità di Dio; basandosi unicamente sulla coscienza, l’amore per Dio sarà debole. Se parli solo di ripagare la grazia e l’amore di Dio, non avrai alcun impulso nell’amore per Lui; amarLo in base ai sentimenti della coscienza è un approccio passivo. Perché dico che è un approccio passivo? Si tratta di un problema pratico. Che tipo di amore è questo? Non è come cercare di ingannare Dio e agire solo meccanicamente per Lui? La maggior parte delle persone crede che non ci sia alcuna ricompensa per il fatto di amare Dio, e che saranno condannate ugualmente per il fatto di non amarLo, per cui basta semplicemente non peccare. Pertanto, amare Dio e ripagare il Suo amore sulla base dei sentimenti della propria coscienza è un approccio passivo, che non corrisponde all’amore per Dio che sgorga spontaneo dal cuore. L’amore per Dio dovrebbe essere un sentimento autentico che procede dal profondo del cuore di una persona. Alcuni dicono: “Sono disposto a perseguire Dio e a seguirLo. Ora Dio vuole abbandonarmi ma io desidero ancora seguirLo. Che Lui mi voglia o meno, io Lo amerò comunque e alla fine Lo conquisterò. Offro il mio cuore a Dio, e qualunque cosa Egli faccia, Lo seguirò per tutta la vita. Nonostante tutto, devo amare Dio e devo conquistarLo; non avrò pace finché non Lo avrò conquistato”. Possiedi tale volontà?

Il percorso della fede in Dio è il percorso dell’amore per Lui. Se credi in Lui devi amarlo; tuttavia, amare Lui non comporta solo ripagare il Suo amore o amarLo in base ai sentimenti della coscienza: si tratta di amore puro per Dio. A volte le persone si basano solo sulla coscienza e non riescono a sentire l’amore di Dio. Perché ho sempre detto: “Possa lo Spirito di Dio muovere il nostro spirito”? Perché non ho parlato di muovere le coscienze affinché amino Dio? Perché le coscienze delle persone non riescono a sentire la bellezza di Dio. Se non ti lasci convincere da queste parole, puoi usare la tua coscienza per sentire il Suo amore, e avrai un po’ di motivazione in quel momento ma poi essa scomparirà. Se usi la tua coscienza solo per percepire l’amabilità di Dio, hai una motivazione quando preghi, ma dopo essa sparisce, si dissolve. Come mai? Se usi soltanto la tua coscienza, dentro di te non sarai in grado di suscitare l’amore per Dio; quando percepisci davvero la Sua amabilità nel cuore, il tuo spirito sarà mosso da Lui, e solo in quel momento la tua coscienza potrà svolgere il suo ruolo originario. Ciò significa che quando le persone sono state mosse da Dio nel loro spirito e quando il loro cuore ha acquisito conoscenza e incoraggiamento, ossia dopo aver acquisito esperienza, solo allora saranno in grado di amare effettivamente Dio con la coscienza. Amare Dio con la coscienza non è sbagliato: si tratta del livello più basso di amore per Dio. Il modo di amare degli esseri umani, che rende a malapena giustizia alla grazia di Dio, non può assolutamente spingere il loro ingresso proattivo in essa. Quando le persone ottengono una parte dell’opera dello Spirito Santo, cioè quando vedono e gustano l’amore di Dio nella loro esperienza pratica, quando hanno qualche conoscenza di Dio e si accorgono veramente che Dio è autenticamente degno dell’amore dell’umanità e che Egli è infinitamente amabile, ebbene solo allora sono in grado di amare veramente Dio.

Quando le persone contattano Dio tramite i loro cuori ed essi sono in grado di volgersi completamente a Lui, compiono il primo passo dell’amore umano per Dio. Se vuoi amare Dio, devi prima essere in grado di volgere il tuo cuore a Lui. Che significa volgere il cuore a Dio? Significa che tutto ciò che persegui nel tuo cuore è volto all’amore e alla conquista di Dio, e ciò indica che hai rivolto completamente il tuo cuore a Dio. A parte Dio e le Sue parole, non esiste quasi nient’altro nel tuo cuore (famiglia, ricchezza, marito, moglie, figli o altre cose). Anche se esiste, tutto ciò non può occupare il tuo cuore, e non pensi alle tue prospettive future, ma ricerchi solo l’amore per Dio. Quando arriverai a fare ciò, avrai completamente rivolto il tuo cuore a Dio. Supponi che tu stia ancora facendo piani per te stesso nel tuo cuore e che stia continuando a perseguire il tuo vantaggio personale, pensando sempre: “Quando posso fare una piccola richiesta a Dio? La mia famiglia, quando diventerà benestante? Come posso procurarmi dei begli abiti? …” Se stai vivendo in tale stato, ciò prova che il tuo cuore non è pienamente rivolto a Dio. Se hai solo le parole di Dio nel tuo cuore e sei in grado di pregare Dio e di avvicinarti a Lui in ogni momento, come se Egli ti fosse molto vicino, come se fosse dentro di te e tu fossi in Lui, se sei in tale stato, significa che il tuo cuore è stato alla presenza di Dio. Se preghi Dio, nutrendoti ogni giorno delle Sue parole, pensando sempre all’opera della Chiesa, dimostrando considerazione per la volontà di Dio, usando il tuo cuore per amarLo veramente e soddisfare il Suo cuore, il tuo cuore apparterrà a Dio. Se il tuo cuore è occupato da tante altre cose, allora è ancora occupato da Satana e non è veramente rivolto a Dio. Quando il cuore di qualcuno è veramente rivolto a Dio, proverà amore genuino e spontaneo per Lui e potrà ponderare l’opera di Dio. Pur essendoci ancora degli stati di stoltezza e irragionevolezza, queste persone saranno comunque in grado di avere considerazione per gli interessi della casa di Dio, per il Suo lavoro, e per un loro cambiamento di indole. Il loro cuore sarà assolutamente nel giusto Alcune persone sventolano sempre la bandiera della Chiesa, qualunque cosa facciano; la verità è che lo fanno solo per il proprio vantaggio. Sono persone che non possiedono la giusta motivazione. Sono disoneste e ingannevoli, e la maggior parte delle cose che fanno è volta a ricercare il loro tornaconto personale. Questo tipo di persona non persegue l’amore di Dio; il suo cuore appartiene ancora a Satana e non può volgersi verso Dio. Dio non ha modo di ottenere questo tipo di persona.

Il primo passo per amare Dio veramente ed essere conquistati da Lui consiste nel volgere completamente il cuore a Dio. In ogni singola cosa che fai, esamina quello che hai dentro e chiediti: “Ciò che sto facendo scaturisce da un cuore pieno di amore per Dio oppure è mosso da qualche intenzione personale? Qual è il mio obiettivo reale?” Se vuoi consegnare il cuore a Dio, devi prima sottometterlo, rinunciando a tutte le tue intenzioni e raggiungendo il punto di esistere totalmente per Dio. Questa è la strada da seguire per dare il cuore a Dio. Che cosa vuol dire sottomettere il cuore? Significa prendere le distanze dai desideri smodati della propria carne, non desiderare le benedizioni di uno stato sociale o le comodità, fare ogni cosa per soddisfare Dio, e dedicare pienamente il cuore a Lui, e non a sé stessi. Ecco cos’è.

Il vero amore per Dio viene dalla profondità del cuore; è un amore che esiste solo sulla base della conoscenza di Dio da parte dell’umanità. Quando il cuore di qualcuno si rivolge completamente a Dio, nutre l’amore per Dio, ma questo amore non è necessariamente puro né necessariamente completo. Ciò avviene perché esiste una certa distanza tra il cuore di una persona che si rivolge completamente a Dio e la possibilità che essa consegua una vera comprensione e adorazione per Lui. Il modo in cui si può ottenere il vero amore di Dio e conoscere l’indole di Dio consiste nel volgere il proprio cuore a Lui. Dopo aver autenticamente consegnato il proprio cuore a Dio, si comincia a entrare nell’esperienza della vita, con conseguente cambiamento di indole, crescita graduale dell’amore per Dio e della conoscenza di Dio. Quindi, volgere il proprio cuore a Dio rappresenta il prerequisito per imboccare la retta via dell’esperienza di vita. Quando si volge il cuore al cospetto di Dio, esso è pieno di desiderio per Lui, ma non di amore per Lui, perché non si possiede la comprensione di Dio. Anche se in questa circostanza si prova un certo amore per Lui, esso non è né spontaneo né sincero. Ciò avviene perché tutto ciò che proviene dalla carne dell’uomo è un prodotto emotivo e non deriva da una comprensione autentica. Si tratta solo di un impulso momentaneo che non riesce a trasformarsi in adorazione a lungo termine. Quando le persone non hanno comprensione di Dio, possono amarlo solo in base alle proprie preferenze e alle loro nozioni individuali; questo tipo di amore non può essere definito né spontaneo né genuino. Quando il cuore di qualcuno si rivolge veramente verso Dio, è in grado di pensare agli interessi di Dio in tutto, ma se non si possiede alcuna comprensione di Dio non si potrà avere un amore veramente spontaneo. Tutto ciò che si potrà fare sarà compiere alcune funzioni per la Chiesa e svolgere qualche dovere, ma senza avere alcun fondamento. Questo tipo di individuo ha un’indole difficile da cambiare; sono tutte persone che non perseguono la verità o non la capiscono. Anche se una persona rivolge completamente il proprio cuore a Dio, non significa che il cuore pieno di amore per Dio sia completamente puro, perché coloro che hanno Dio nel cuore non necessariamente nutrono amore per Lui. Ciò riguarda la distinzione tra chi persegue e chi non persegue la comprensione di Dio. Se una persona ha comprensione di Lui, è chiaro che il suo cuore si è volto completamente a Dio, e che il suo amore sincero per Dio nel cuore è spontaneo. Solo questo tipo di persona ha Dio nel cuore. Rivolgere il proprio cuore verso Dio è un prerequisito per imboccare la strada giusta, per comprendere Dio e per raggiungere l’amore di Dio. Non rappresenta un indicatore di adempimento del dovere di amare Dio, né è un segno di vero amore per Lui. L’unico modo in cui si può ottenere l’amore genuino di Dio consiste nel rivolgere il cuore a Lui, e ciò dovrebbe anche essere la prima cosa che una delle Sue creature dovrebbe fare. Coloro che amano Dio sono tutte persone che cercano la vita, cioè persone che cercano la verità e vogliono veramente Dio; tutte hanno l’illuminazione dello Spirito Santo e sono state sollecitate da Lui. Sono tutte in grado di essere guidate da Dio.

Quando qualcuno riesce a percepire di essere in debito verso Dio, ciò avviene perché è spinto dallo Spirito; in presenza di tale percezione, tenderà anche ad avere un cuore pieno di desiderio e riuscirà a perseguire l’ingresso nella vita. Se tuttavia ti fermi a un certo punto, non sarai in grado di andare più in profondità; correrai ancora il pericolo di restare intrappolato nella rete di Satana, e, raggiunto un certo punto, ne resterai imprigionato. L’illuminazione di Dio permette alle persone di conoscere sé stesse e, in seguito, di percepire il loro debito verso Dio così come la loro volontà di collaborare con Lui, abbandonando le cose che non Lo compiacciono. Questo è il principio dell’opera di Dio. Siete tutti disposti a perseguire la crescita nella vostra vita e ad amare Dio, e vi siete pertanto liberati della vostra superficialità? Se ti sei solo liberato da questo modo di agire e non causi alcun problema, evitando di metterti in mostra, ciò significa che stai davvero cercando di crescere nella tua vita? Se non mostri alcun comportamento superficiale, ma non entri nelle parole di Dio, significa che sei una persona priva di un progresso proattivo. Qual è l’origine dell’adozione di comportamenti superficiali? Agisci con lo scopo di crescere nella vita? Stai cercando di qualificarti per essere una delle persone scelte da Dio? Qualunque sia la cosa su cui ti concentri, essa corrisponde a ciò che vivi; se ti concentri sulla superficialità, il tuo cuore è focalizzato sulle cose esterne, e non riuscirai in alcun modo a perseguire la crescita nella vita. Dio richiede un cambiamento di indole, ma tu continui a perseguire le cose esterne; questo tipo di persona non avrà modo di cambiare la propria indole! Si comportano tutti in un certo modo prima di diventare maturi nella vita, ossia devono accettare il giudizio, il castigo e il perfezionamento delle parole di Dio. Se non hai le parole di Dio, ma ti basi meramente sulla tua fiducia e sulla tua volontà, tutto quello che fai si fonda semplicemente sullo zelo. In altri termini: se vuoi crescere nella vita, devi nutrirti, e comprendere maggiormente le parole di Dio. Tutti coloro che sono perfezionati dalle Sue parole sono in grado di metterle in pratica; coloro che non subiscono il perfezionamento e il giudizio delle Sue parole, non possono essere idonei a essere usati da Lui. Fino a che punto, quindi, vivete in base alle Sue parole? Solo nutrendovi delle parole di Dio e riuscendo a confrontarle con la vostra condizione di vita, trovando un percorso di pratica nella luce in relazione ai problemi che spiego, la vostra pratica sarà corretta e rispecchierà il cuore di Dio. Solo chi possiede questo tipo di questa pratica ha la volontà di amare Dio.

it.godfootsteps.org/genuine-love-for-god-is-spontaneous.html

Star Trek: The Motion Picture (Paramount, 1979). German Lobby Cards by Morbius19

Star Trek: The Motion Picture (Paramount, 1979).

putlocker.bz/watch-star-trek-the-motion-picture-online-fr... Full Feature

Starring William Shatner, Leonard Nimoy, DeForest Kelley, James Doohan, George Takei, Majel Barrett, Walter Koenig, Nichelle Nichols, Persis Khambatta, Stephen Collins, Grace Lee Whitney, Mark Lenard. Directed by Robert Wise.

In Klingon space, three Klingon battle cruisers encounter a huge cloud-like anomaly. On the bridge of one of the ships, the captain (Mark Lenard) orders his crew to fire torpedoes at it, but they have no effect. The ships take evasive action.

Meanwhile, in Federation space, a monitoring station, Epsilon 9, picks up a distress signal from one of the Klingon ships. As the three ships are attempting to escape the cloud, energy beams shoot out and engulf each ship one by one, and they vanish. On Epsilon 9, the crew tracks the course of the cloud and discovers that it is headed for Earth.

On Vulcan, Spock (Leonard Nimoy) has been undergoing the kohlinahr ritual, in which he has been learning how to purge all of his emotions, and is nearly finished with his training. A female Vulcan Master (Edna Glover), surrounded by two men, is about to give him an ornate necklace as a symbol of pure logic, when Spock holds out his hand to stop her. Confused, she mind-melds with him and senses a consciousness calling to him from space that is affecting his human side. She drops the necklace. "You have not yet achieved kohlinahr. You must look elsewhere for your answer," she says as they leave Spock. "You will not find it here."

In San Francisco, Admiral James T. Kirk (William Shatner) arrives at Starfleet Headquarters in a shuttlecraft. He sees Commander Sonak (Jon Rashad Kamal), a Vulcan science officer who is joining the Enterprise crew and recommended for the position by Kirk himself. Kirk is bothered as to why Sonak is not on board yet. Sonak explains that Captain Willard Decker (Stephen Collins), the new captain of the Enterprise, wanted him to complete his science briefing at Headquarters before they left on their mission. The Enterprise has been undergoing a complete "refitting" for the past 18 months and is now under final preparations to leave, which would take at least 20 hours, but Kirk informs him that they only have 12. He tells Sonak to report to him on the Enterprise in one hour; he has a short meeting with Admiral Nogura and is intent on being on the ship.

Kirk transports to an office complex orbiting Earth and meets Montgomery Scott (James Doohan), the Enterprise's chief engineer. Scotty expresses his concern about the tight departure time. The cloud is less than three days away from Earth, and the Enterprise has been ordered to intercept it because they are the only ship in range. Scotty says that the refit can't be finished in 12 hours, and tries to convince him that the ship needs more work done as well as a shakedown cruise. Kirk insists that they are leaving, ready or not. They board a travel pod and begin the journey over to the drydock in orbit that houses the Enterprise.

Scotty tells Kirk that the crew hasn't had enough transition time with all the new equipment and that the engines haven't even been tested at warp power, not to mention that they have an untried captain. Kirk tells Scotty that two and a half years as Chief of Starfleet Operations may have made him a little stale, but that he wouldn't exactly consider himself untried. Kirk then tells a surprised Scotty that Starfleet gave him back his command of the Enterprise. Scotty doubts it, saying that he doesn't think it was that easy with Admiral Nogura, who gave Kirk his orders. They arrive at the Enterprise, and Scotty indulges Kirk with a brief tour of the new exterior of the ship.

Upon docking with the ship, Scotty is summoned to Engineering. Kirk goes up to the bridge, and is informed by Lt. Uhura (Nichelle Nichols) that Starfleet has just transferred command from Captain Decker over to him. Kirk finds Decker in engineering, whom is visibly upset when Kirk breaks the news that he is assuming command, but recognizes it is because Kirk has more experience. Decker will remain on the ship as 2nd officer. As Decker storms off, an alarm sounds. Someone is trying to beam over to the ship, but the transporter is malfunctioning. Kirk and Scotty race to the transporter room. Transporter operator Janice Rand (Grace Lee Whitney) is frantically trying to tell Starfleet to abort the transport, but it is too late. Commander Sonak and an unknown female officer are beaming in, but their bodies aren't re-forming properly in the beam. The female officer screams, and then their bodies disappear. Starfleet signals to them that they have died. Kirk tells Starfleet to express his sympathies to their families.

In the corridor, Kirk sees Decker and tells him they will have to replace Commander Sonak and wants another Vulcan. Decker tells him that no one is available that is familiar with the ship's new design. Kirk tells Decker he will have to double his duties as science officer as well.

In the recreation room, as Kirk briefs the assembled crew on the mission, they receive a transmission from Epsilon 9. Commander Branch (David Gautreaux) tells them they have analyzed the mysterious cloud. It generates an immense amount of energy and measures 2 A.U.s (300 million km) in diameter. There is also a vessel of some kind in the center. They've tried to communicate with it and have performed scans, but the cloud reflects them back. It seems to think of the scans as hostile and attacks them. Like the Klingon ships earlier, Epsilon 9 disappears.

Later on the bridge, Uhura informs Kirk that the transporter is working now. Lt. Ilia, (Persis Khambatta), a bald being from the planet Delta IV, arrives. Decker is happy to see her, as they developed a romantic relationship when he was assigned to her planet several years earlier. Ilia is curious about Decker's reduction in rank and Kirk interrupts and tells her about Decker being the executive and science officer. Decker tells her, with slight sarcasm, that Kirk has the utmost confidence in him. Ilia tells Kirk that her oath of celibacy is on record and asks permission to assume her duties. Uhura tells Kirk that one of the last few crew members to arrive is refusing to beam up. Kirk goes to the transporter room to ensure that "he" beams up.

Kirk tells Starfleet to beam the officer aboard. Dr. Leonard "Bones" McCoy (DeForest Kelley) materializes on the platform. McCoy is angry that his Starfleet commission was reactivated and that it was Kirk's idea for him to be brought along on the mission. His attitude changes, however, when Kirk says he desperately needs him. McCoy leaves to check out the new sickbay.

The crew finishes its repairs and the Enterprise leaves drydock and into the solar system. Dr. McCoy comes up to the bridge and complains that the new sickbay is nothing but a computer center. Kirk is anxious to intercept the cloud intruder, and orders Hikaru Sulu (George Takei) to go to warp speed. Suddenly, the ship enters a wormhole, which was created by an engine imbalance, and is about to collide with an asteroid that has been pulled inside. Kirk orders the phasers to be fired on it, but Decker tells Pavel Chekov (Walter Koenig) to fire photon torpedoes instead. The asteroid and the wormhole are destroyed. Annoyed, Kirk wants to meet with Decker in his quarters. Dr. McCoy decides to go along.

Kirk demands an explanation from Decker. Decker pointed out that the redesigned Enterprise channeled the phasers through the main engines and because they were imbalanced, the phasers were cut off. Kirk acknowledged that he had saved the ship; however, he accuses Decker of competing with him. Decker tells Kirk that, because of his unfamiliarity with the ship's new design, the mission is in jeopardy. Decker tells Kirk that he will gladly help Kirk understand the new design. Kirk then dismisses him from the room. In the corridor, Decker runs into Ilia. Ilia asked if the confrontation was difficult, and he tells her that it was about as difficult as seeing her again, and apologizes. She asked if he was sorry for leaving Delta IV, or for not saying goodbye. He said that if he had seen her again, would she be able to say goodbye? She says "no," and walked around him and entered her quarters nearby.

Back in Kirk's quarters, McCoy accuses Kirk of being the one who was competing, and the fact that it was Kirk who used the emergency to pressure Starfleet into letting him get command of the Enterprise. McCoy thinks that Kirk is obsessed with keeping his command. On Kirk's console viewscreen, Uhura informs Kirk that a shuttlecraft is approaching and that the occupant wishes to dock. Chekov also pipes in and replies that it appears to be a courier vessel. Kirk tells Chekov to handle the situation.

The shuttle approaches the Enterprise from behind, and the top portion of it detaches and docks at an airlock behind the bridge. Chekov is waiting by the airlock doors and is surprised to see Spock come aboard. Moments later, Spock arrives on the bridge, and everyone is shocked and pleased to see him, yet Spock ignores them. He moves over to the science station and tells Kirk that he is aware of the crisis and knows about the ship's engine design difficulties. He offers to step in as the science officer. McCoy and Dr. Christine Chapel (Majel Barret Roddenberry) come to the bridge to greet Spock, but Spock just stares alarmingly at their emotional outburst. Spock leaves to discuss fuel equations with Scotty in engineering.

With Spock's assistance, the engines are now rebalanced for full warp capacity. The ship successfully goes to warp to intercept the cloud. In the officers lounge, Spock meets with Kirk and McCoy. They discuss Spock's kohlinahr training on Vulcan, and how Spock broke off from his training to join them. Spock describes how he sensed the consciousness of the intruder, from a source more powerful that he has ever encountered, with perfect, logical thought patterns. He believes that it holds the answers he seeks. Uhura tells Kirk over the intercom that they have visual contact with the intruder.

The cloud scans the ship, but Kirk orders no return scans. Spock determines that the scans are coming from the center of the cloud. Uhura tries sending "linguacode" messages, but there is no response. Decker suggests raising the shields for protection, but Kirk determines that that might be considered hostile to the cloud. Spock analyzes the clouds composition, and discovers it has a 12-power energy field, the equivalent of power generated by thousands of starships.

Sitting at the science station, Spock awakens from a brief trance. He reveals to Kirk that the alien was communicating with him. The alien is puzzled; it contacted the Enterprise--why has the Enterprise not replied? A red alert sounds, and an energy beam from within the cloud touches the ship, and begins to overload the ship's systems. Bolts of lightning surround the warp core and nearly injure some engineering officers, and Chekov is also hurt--his hand is burned while sitting at the weapons station on the bridge. The energy beam then disappears. A medical team is summoned to the bridge, and Ilia is able to use her telepathic powers to soothe Chekov's pain.

Spock confirms to Kirk that the alien has been attempting to communicate. It communicates at a frequency of more than one million megahertz, and at such a high rate of speed, the message only lasts a millisecond. Spock programs to computer to send linguacode messages at that frequency. Another energy beam is sent out, but Spock transmits a message just in time, and the beam disappears. The ship continues on course through the cloud. They pass through many expansive and colorful cloud layers and upon clearing these, a giant vessel is revealed. It is roughly cylindrical in shape, with large spikes jutting out from the surface at equidistant angles between each other, forming a hexagon-like shape.

Kirk tells Uhura to transmit an image of the alien to Starfleet, but she explains that any transmission sent out of the cloud is being reflected back to them. Kirk orders Sulu to fly above and along the top of the vessel. The Enterprise is so small compared to the size of the alien vessel that it appears only as a little white dot next to it. The ship travels past many oddly-shaped structures, including a sunken area where the energy beams originate.

An alarm sounds, and yet another energy bolt approaches the ship. It appears on the bridge as a column of bright light that emits a very loud noise. The crew struggles to shield their eyes from its brilliant glow. Chekov asks Spock if it is one of the alien's crew, and Spock replies that it is a probe sent from the vessel. The probe slowly moves around the room and stops in front of the science station. Bolts of lightning shoot out from it and surround the console--it is trying to access the ship's computer. Spock manages to smash the controls to prevent further access, and the probe gives him an electric shock that sends him rolling onto the floor. The probe approaches the helm/navigation console and it scans Lt. Ilia. Suddenly, she vanishes, along with the probe.

Ahead of the ship looms another giant section of the vessel. A tractor beam is drawing the Enterprise toward an opening aperture. Decker calls for Chief DiFalco (Marcy Lafferty) to come up to the bridge as Ilia's replacement. The ship travels deep into the next chamber. Decker wonders why they were brought inside--they could have been easily destroyed outside. Spock deduces that the alien is curious about them. Uhura's monitor shows that the aperture is closing; they are trapped. The ship is released from the tractor beam and suddenly, an intruder alert goes off. Someone has come aboard the ship and is in the crew quarters section.

Kirk and Spock arrive inside a crewman's quarters to discover that the intruder is inside the sonic shower. It is revealed to be Ilia, although it isn't really her--there is a small red device attached to her neck. In a mechanized voice, she replies "You are the Kirk unit--you will listen to me." She explains that she has been programmed by an entity called "V'Ger" to observe and record the normal functions of the carbon-based units (humans) "infesting" the Enterprise. Kirk opens the shower door and "Ilia" steps out, wearing a small white garment that just materialized around her. Dr. McCoy and a security officer enter the room, and Kirk tells McCoy to scan her with a tricorder.

Kirk asks her who V'Ger is. She replies "V'Ger is that which programmed me." McCoy tells Kirk that Ilia is a mechanism and Spock confirms she is a probe that assumed Ilia's physical form. Kirk asks where the real Ilia is, and the probe states that "that unit" no longer functions. Kirk also asks why V'Ger is traveling to Earth, and the probe answers that it wishes to find the Creator, join with him, and become one with it. Spock suggests that McCoy perform a complete examination of the probe.

In sickbay, the Ilia probe lays on a diagnostic table, its sensors slowly taking readings. All normal body functions, down to the microscopic level, are exactly duplicated by the probe. Decker arrives and is stunned to see her there. She looks up at him and addresses him as "Decker", rather than "Decker unit," which intrigues Spock. Spock talks with Kirk and Decker in an adjoining room, and Spock locks the door. Spock theorizes that the real Ilia's memories and feelings have been duplicated by the probe as well as her body. Decker is angry that the probe killed Ilia, but Kirk convinces him that their only contact with the vessel is through the probe, and they need to use that advantage to find out more about the alien. Suddenly, the probe bursts through the door, and demands that Kirk assist her with her observations. He tells her that Decker will do it with more efficiency.

Decker and Ilia are seen walking around in the recreation room. He shows her pictures of previous ships that were named Enterprise. Decker has been trying to see if Ilia's memories or emotions can resurface, but to no avail. Kirk and McCoy are observing them covertly on a monitor from his quarters. Decker shows her a game that the crew enjoys playing. She is not interested and states that recreation and enjoyment has no meaning to her programming. At another game, which Ilia enjoyed and nearly always won, they both press one of their hands down onto a table to play it. The table lights up, indicating she won the game, and she gazes into Deckers eyes. This moment of emotion ends suddenly, and she returns to normal. "This device serves no purpose."

"Why does the Enterprise require the presence of carbon units?" she asks. Decker tells her the ship couldn't function without them. She tells him that more information is needed before the crew can be patterned for data storage. Horrified, he asks her what this means. "When my examination is complete, all carbon units will be reduced to data patterns." He tells her that within her are the memory patterns of a certain carbon unit. He convinces her to let him help her revive those patterns so that she can understand their functions better. She allows him to proceed.

Spock slowly enters an airlock room. He sees an officer standing at a console, his back to Spock. Spock quietly approaches him, and gives him the Vulcan nerve pinch to render him unconscious.

Decker, the probe, Dr. McCoy, and Dr. Chapel are in Ilia's quarters. Dr. Chapel gives the probe a decorative headband that Ilia used to wear. Chapel puts it over "Ilia's" head and turns her toward a mirror. Decker asks her if she remembers wearing it on Delta IV. The probe shows another moment of emotion, saying Dr. Chapel's name, and putting her hand on Decker's face, calling him Will. Behind them, McCoy reminds Decker that she is a mechanism. Decker asks "Ilia" to help them make contact with V'Ger. She says that she can't, and Decker asks her who the Creator is. She says V'Ger does not know. The probe becomes emotionless again and removes the headband.

Spock is now outside the ship in a space suit with an attached thruster pack. He begins recording a log entry for Kirk detailing his attempt to contact the alien. He activates a panel on the suit and calculates thruster ignition and acceleration to coincide with the opening of an aperture ahead of him. He hopes to get a better view of the spacecraft interior.

Kirk comes up to the bridge and Uhura tells him that Starfleet signals are growing stronger, indicating they are very close to Earth. Starfleet is monitoring the intruder and notifies Uhura that it is slowing down in its approach. Sulu confirms this and says that lunar beacons show the intruder is entering into orbit. Chekov tells Kirk that Airlock 4 has been opened and a thruster suit is missing. Kirk figures out that Spock has done it, and orders Chekov to get Spock back on the ship. He changes his mind, and instead tells him to determine his position.

Spock touches a button on his thruster panel and his thruster engine ignites. He is propelled forward rapidly, and enters the next chamber of the vessel just before the aperture closes behind him. The thruster engine shuts down, and the momentum carries Spock ahead further. He disconnects the thruster pack from his suit and it falls away from him.

Continuing his log entry, Spock sees an image of what he believes to be V'Gers home planet. He passes through a tunnel filled with crackling plasma energy, possibly a power source for a gigantic imaging system. Next, he sees several more images of planets, moons, stars, and galaxies stored and recorded. Spock theorizes that this may be a visual representation of V'Gers entire journey. "But who or what are we dealing with?" he ponders.

He sees the Epsilon 9 station, and notes to Kirk that he is convinced that all of what he is seeing is V'Ger; and that they are inside a living machine. Then he sees a giant image of Lt. Ilia with the sensor on her neck. Spock decides it must have some special meaning, so he attempts to mind-meld with it. He is quickly overwhelmed by the multitude of images flooding his mind, and is thrown backward.

Kirk is now in a space suit and has exited the ship. The aperture in front of the Enterprise opens, and Spock's unconscious body floats toward him. Later, Dr. Chapel and Dr. McCoy are examining Spock in sickbay. Dr. McCoy performs scans and determines that Spock endured massive neurological trauma from the mind-meld. Spock tells Kirk he should have known and Kirk asks if he was right about V'Ger. Spock calls it a conscious, living entity. Kirk explains that V'Ger considers the Enterprise a living machine and it's why "Ilia" refers to the ship as an entity and the crew as an infestation.

Spock describes V'Ger's homeworld as a planet populated by living machines with unbelievable technology. But with all that logic and knowledge, V'Ger is barren, with no mystery or meaning. He momentarily lapses into sleep but Kirk rouses him awake to ask what Spock should have known. Spock grasps Kirk's hand and tells him "This simple feeling is beyond V'Ger's comprehension. No meaning, no hope. And Jim, no answers. It's asking questions. 'Is this all that I am? Is there nothing more?'"

Uhura chimes in and tells Kirk that they are getting a faint signal from Starfleet. The intruder has been on their monitors for a while and the cloud is rapidly dissipating as it approaches. Sulu also comments that the intruder has slowed to sub-warp speed and is three minutes from Earth orbit. Kirk acknowledges and he, McCoy and Spock go up to the bridge.

Starfleet sends the Enterprise a tactical report on the intruders position. Uhura tells Kirk that V'Ger is transmitting a signal. Decker and "Ilia" come up to the bridge, and she says that V'Ger is signaling the Creator. Spock determines that the transmission is a radio signal. Decker tells Kirk that V'Ger expects an answer, but Kirk doesn't know the question. Then "Ilia" says that the Creator has not responded. An energy bolt is released from V'Ger and positions itself above Earth. Chekov reports that all planetary defense systems have just gone inoperative. Several more bolts are released, and they all split apart to form smaller ones and they assume equidistant positions around the planet.

McCoy notices that the bolts are the same ones that hit the ship earlier, and Spock says that these are hundreds of times more powerful, and from those positions, they can destroy all life on Earth. "Why?" Kirk asks "Ilia." She says that the carbon unit infestation will be removed from the Creator's planet as they are interfering with the Creator's ability to respond and accuses the crew of infesting the Enterprise and interfering in the same manner. Kirk tells "Ilia" that carbon units are a natural function of the Creator's planet and they are living things, not infestations. However "Ilia" says they are not true life forms like the Creator. McCoy realizes V'Ger must think its creator is a machine.

Spock compares V'Ger to a child, and suggests they treat it like one. McCoy retorts that this child is about to wipe out every living thing on Earth. To get "Ilia's" attention, Kirk says that the carbon units know why the Creator hasn't responded. The Ilia probe demands that the Creator "disclose the information." Kirk won't do it until V'Ger withdraws all the orbiting devices. In response to this, V'Ger cuts off the ship's communications with Starfleet. She tells him again to disclose the information. He refuses, and a plasma energy attack shakes the ship. McCoy tells Spock that the child is having a "tantrum."

Kirk tells the probe that if V'Ger destroys the Enterprise, then the information it needs will also be destroyed. Ilia says that it is illogical to withhold the required information, and asks him why he won't disclose it. Kirk explains it is because V'Ger is going to destroy all life on Earth. "Ilia" says that they have oppressed the Creator, and Kirk makes it clear he will not disclose anything. V'Ger needs the information, says "Ilia." Kirk says that V'Ger will have to withdraw all the orbiting devices. "Ilia" says that V'Ger will comply, if the carbon units give the information.

Spock tells Kirk that V'Ger must have a central brain complex. Kirk theorizes that the orbiting devices are controlled from there. Kirk tells "Ilia" that the information cant be disclosed to V'Ger's probe, but only to V'Ger itself. "Ilia" stares at the viewscreen, and, in response, the aperture opens and drags the ship forward with a tractor beam into the next chamber. Chekov tells Kirk that the energy bolts will reach their final positions and activate in 27 minutes. Kirk calls to Scotty on the intercom and tells him to stand by to execute Starfleet Order 2005; the self-destruct command. A female crewmember asks Scotty why Kirk ordered self-destruct, and Scotty tells her that Kirk hopes that when they explode, so will the intruder.

The countdown is now down to 18 minutes. DiFalco reports that they have traveled 17 kilometers inside the vessel. Kirk goes over to Spock's station, and sees that Spock has been crying. "Not for us," Kirk realizes. Spock tells him he is crying for V'Ger, and that he weeps for V'Ger as he would for a brother. As he was when he came aboard the Enterprise, so is V'Ger now--empty, incomplete, and searching. Logic and knowledge are not enough. McCoy realizes Spock has found what he needed, but that V'Ger hasn't. Decker wonders what V'Ger would need to fulfill itself.

Spock comments that each one of us, at some point in our lives asks, "Why am I here?" "What was I meant to be?" V'Ger hopes to touch its Creator and find those answers. DiFalco directs Kirk's attention to the viewscreen. Ahead of them is a structure with a bright light. Sulu reports that forward motion has stopped. Chekov replies that an oxygen/gravity envelope has formed outside of the ship. "Ilia" points to the structure on the screen and identifies it as V'Ger. Uhura has located the source of the radio signal and it is straight ahead. A passageway forms outside the ship as Kirk Spock, McCoy, Decker, and "Ilia" enter a turbolift.

The landing party exits an airlock on the top of the saucer section and walks up the passageway. At the end of the path is a concave structure, and in the center of it is an old NASA probe from three centuries earlier. Kirk tries to rub away the smudges on the nameplate and makes out the letters V G E R. He continues to rub, and discovers that the craft is actually Voyager 6. Kirk recalls the history of the Voyager program--it was designed to collect data and transmit it back to Earth. Decker tells Kirk that Voyager 6 disappeared through a black hole.

Kirk says that it must have emerged on the far side of the galaxy and got caught in the machine planet's gravity. Spock theorizes that the planet's inhabitants found the probe to be one of their own kind--primitive, yet kindred. They discovered the probe's 20th century programming, which was to collect data and return that information to its creator. The machines interpreted that instruction literally, and constructed the entire vessel so that Voyager could fulfill its programming. Kirk continues by saying that on its journey back, it amassed so much knowledge that it gained its own consciousness.

"Ilia" tells Kirk that V'Ger awaits the information. Kirk calls Uhura on his communicator and tells her to find information on the probe in the ship's computer, specifically the NASA code signal, which will allow the probe to transmit its data. Decker realizes that that is what the probe was signaling--it's ready to transmit everything. Kirk then says that there is no one on Earth who recognizes the old-style signal--the Creator does not answer.

Kirk calls out to V'Ger and says that they are the Creator. "Ilia" says that is not logical--carbon units are not true life forms. Kirk says they will prove it by allowing V'Ger to complete its programming. Uhura calls Kirk on his communicator and tells him she has retrieved the code. Kirk tells her to set the Enterprise transmitter to the code frequency and to transmit the signal. Decker reads off the numerical code on his tricorder, and is about to read the final sequence, but Voyager's circuitry burns out, an effort by V'Ger itself to prevent the last part of the code from being transmitted.

"Ilia" says that the Creator must join with V'Ger, and turns toward Decker. McCoy warns Kirk that they only have 10 minutes left. Decker figures out that V'Ger wanted to bring the Creator here and transmit the code in person. Spock tells Kirk that V'Ger's knowledge has reached the limits of the universe and it must evolve. Kirk says that V'Ger needs a human quality in order to evolve. Decker thinks that V'Ger joining with the Creator will accomplish that. He then goes over to the damaged circuitry and fixes the wires so he can manually enter the rest of the code through the ground test computer. Kirk tries to stop him, but "Ilia" tosses him aside. Decker tells Kirk that he wants this as much as Kirk wanted the Enterprise.

Suddenly, a bright light forms around Decker's body. "Ilia" moves over to him, and the light encompasses them both as they merge together. Their bodies disappear, and the light expands and begins to consume the area. Kirk, Spock, and McCoy retreat back to the Enterprise. V'Ger explodes, leaving the Enterprise above Earth, unharmed. On the bridge, Kirk wonders if they just saw the beginning of a new life form, and Spock says yes and that it is possibly the next step in their evolution. McCoy says that its been a while since he "delivered" a baby, and hopes that they got this one off to a good start.

Uhura tells Kirk that Starfleet is requesting the ship's damage and injury reports and vessel status. Kirk reports that there were only two casualties: Lt. Ilia and Captain Decker. He quickly corrects his statement and changes their status to "missing." Vessel status: fully operational. Scotty comes on the bridge and agrees with Kirk that it's time to give the Enterprise a proper shakedown. When Scotty offers to have Spock back on Vulcan in four days, Spock says that's unnecessary, as his task on Vulcan is completed.

Kirk tells Sulu to proceed ahead at warp factor one. When DiFalco asks for a heading, Kirk simply says "Out there, thataway." With that, the Enterprise flies overhead and engages warp drive.

youtu.be/4n2dGwYcp9k?t=8s Star Trek Theme

kern invite 08 - varsity by ralls by AndyNoise.Com

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

Garhwalis lining reserve trenches [Estaires La Basée Road, France]. Photographer: H. D. Girdwood. by British Library

1

Reference: Photo 24/(240)

From the Girdwood Collection held by the British Library.

This image is part of the Europeana Collections 1914-1918

Date: 4 Aug 1915

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

www.emergencyrooms.org

www.colonel.dk/

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

Anna's Hummingbird (Calypte anna) by Mark Carmody

43 21

OUT NOW!!!! The Birds of Ireland: A Field Guide with Jim Wilson

Shorebirds of Ireland with Jim Wilson.

Freshwater Birds of Ireland with Jim Wilson

www.markcarmodyphotography.com

Anna's Hummingbird (Calypte anna) is a medium-sized stocky hummingbird native to the west coast of North America. This bird was named after Anna Masséna, Duchess of Rivoli. In the early 20th century, Anna's Hummingbird bred only in northern Baja California and southern California. The transplanting of exotic ornamental plants in residential areas throughout the Pacific coast and inland deserts provided expanded nectar and nesting sites, and the species was able to expand its breeding range greatly. Anna's hummingbirds are now found along the western coast of North America, from southern Canada to northern Baja California, and inland to southern and central Arizona, extreme southern Nevada and southeastern Utah and western Texas. They tend to be permanent residents within their range, and are very territorial. However, birds have been spotted far outside their range in such places as southern Alaska, Saskatchewan, New York, Florida, Louisiana and Newfoundland.

Anna's Hummingbird is 3.9 to 4.3 in (9.9 to 10.9 cm) long. It has an iridescent bronze-green back, a pale grey chest and belly, and green flanks. Its bill is long, straight and slender. The adult male has an iridescent crimson-red to reddish-pink crown and gorget, which can look dull brown or gray without direct sunlight, and a dark, slightly forked tail. Female Anna's Hummingbirds also have iridescent red gorgets, though they are usually smaller and less brilliant than the males'. Anna's is the only North American hummingbird species with a red crown. Females and juvenile males have a dull green crown, a grey throat with or without some red iridescence, a grey chest and belly, and a dark, rounded tail with white tips on the outer feathers.

These birds feed on nectar from flowers using a long extendable tongue. They also consume small insects and other arthropods caught in flight or glean from vegetation. A PBS documentary shows how Anna's hummingbirds eat flying insects. They aim for the flying insect, then open their beaks very wide. That technique has a greater success rate than trying to aim the end of a long beak at the insect. On rare occasions, bees and wasps may become impaled on the bill of an Anna's Hummingbird, causing the bird to starve to death. (wikipedia)

This was taken in the Botanical Gardens of Balboa Park in San Diego, California. I was over on business for the week and managed a few hours in this fantastic setting. This was also my first time seeing Hummingbirds and I was just blown away. To try and photograph them in flight was a great challenge.

Lean on me... by Assay Rez

7

a-world-in-a-grain-of-sand-sl.blogspot.com/2014/06/lean-o...

Slow Dance Debate @Venice Biennale 2011 . Art Format debating on Emergencies, by Biennalist by Thierry Geoffroy / Colonel : Artist

Biennalist :

Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.

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links about Biennalist :

Thierry Geoffroy/Colonel:

en.wikipedia.org/wiki/Thierry_Geoffroy

en.wikipedia.org/wiki/Emergency_Room_(art)

www.emergencyrooms.org/formats.html

www.colonel.dk/

—--Biennale from wikipedia —--

The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.

Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).

Characteristics[edit]

According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]

The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.

A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.

The Venice Biennale as an archetype[edit]

The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.

The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.

Biennials after the 1990s[edit]

The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.

International biennales[edit]

In the term's most commonly used context of major recurrent art exhibitions:

Adelaide Biennial of Australian Art, South Australia

Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)

Athens Biennale, in Athens, Greece

Bienal de Arte Paiz, in Guatemala City, Guatemala[4]

Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)

Bamako Encounters, a biennale of photography in Mali

Bat-Yam International Biennale of Landscape Urbanism

Beijing Biennale

Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)

Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no

Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China

Bienal de Arte de Ponce in Ponce, Puerto Rico

Biënnale van België, Biennial of Belgium, Belgium

BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.

Biennial of Hawaii Artists

Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]

Biwako Biennale [ja], in Shiga, Japan

La Biennale de Montreal

Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola

Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal

Bucharest Biennale in Bucharest, Romania

Bushwick Biennial, in Bushwick, Brooklyn, New York

Canakkale Biennial, in Canakkale, Turkey

Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]

Changwon Sculpture Biennale in Changwon, South Korea

Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal

Documenta, contemporary art exhibition held every five years in Kassel, Germany

Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France

EVA International, biennial in Limerick, Republic of Ireland

Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]

Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan

Gwangju Biennale, Asia's first and most prestigious contemporary art biennale

Havana biennial, in Havana, Cuba

Helsinki Biennial, in Helsinki, Finland

Herzliya Biennial For Contemporary Art, in Herzliya, Israel

Incheon Women Artists' Biennale, in Incheon, South Korea

Iowa Biennial, in Iowa, USA

Istanbul Biennial, in Istanbul, Turkey

International Roaming Biennial of Tehran, in Tehran and Istanbul

Jakarta Biennale, in Jakarta, Indonesia

Jerusalem Biennale, in Jerusalem, Israel

Jogja Biennale, in Yogyakarta, Indonesia

Karachi Biennale, in Karachi, Pakistan

Keelung Harbor Biennale, in Keelung, Taiwan

Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India

Kortrijk Design Biennale Interieur, in Kortrijk, Belgium

Kobe Biennale, in Japan

Kuandu Biennale, in Taipei, Taiwan

Lagos Biennial, in Lagos, Nigeria[10]

Light Art Biennale Austria, in Austria

Liverpool Biennial, in Liverpool, UK

Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]

Manifesta, European Biennale of contemporary art in different European cities

Mediations Biennale, in Poznań, Poland

Melbourne International Biennial 1999

Mediterranean Biennale in Sakhnin 2013

MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada

MOMENTUM [no], in Moss, Norway[12]

Moscow Biennale, in Moscow, Russia

Munich Biennale, new opera and music-theatre in even-numbered years

Mykonos Biennale

Nakanojo Biennale[13]

NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia

October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]

OSTEN Biennial of Drawing Skopje, North Macedonia[15]

Biennale de Paris

Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]

São Paulo Art Biennial, in São Paulo, Brazil

SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]

Prospect New Orleans

Seoul Biennale of Architecture and Urbanism

Sequences, in Reykjavík, Iceland[18]

Shanghai Biennale

Sharjah Biennale, in Sharjah, UAE

Singapore Biennale, held in various locations across the city-state island of Singapore

Screen City Biennial, in Stavanger, Norway

Biennale of Sydney

Taipei Biennale, in Taipei, Taiwan

Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)

Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.

Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]

Dream city, produced by ART Rue Association in Tunisia

Vancouver Biennale

Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]

Venice Biennale, in Venice, Italy, which includes:

Venice Biennale of Contemporary Art

Venice Biennale of Architecture

Venice Film Festival

Vladivostok biennale of Visual Arts, in Vladivostok, Russia

Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA

Web Biennial, produced with teams from Athens, Berlin and Istanbul.

West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.

WRO Biennale, in Wrocław, Poland[22]

Music Biennale Zagreb

[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.

—---Venice Biennale from wikipedia —

The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]

Organization[edit]

Art Biennale

International Art Exhibition

1895

Even-numbered years (since 2022)

Venice Biennale of Architecture

International Architecture Exhibition

1980

Odd-numbered years (since 2021)

Biennale Musica

International Festival of Contemporary Music

1930

Annually (Sep/Oct)

Biennale Teatro

International Theatre Festival

1934

Annually (Jul/Aug)

Venice Film Festival

Venice International Film Festival

1932

Annually (Aug/Sep)

Venice Dance Biennale

International Festival of Contemporary Dance

1999

Annually (June; biennially 2010–16)

International Kids' Carnival

2009

Annually (during Carnevale)

History

1895–1947

On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]

A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]

The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.

The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).

During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.

1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.

In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.

In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.

During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]

1948–1973[edit]

The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.

1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.

In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.

1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.

The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]

In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").

Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]

1974–1998[edit]

1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.

On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]

In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.

In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]

The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.

For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]

1999–present[edit]

In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.

In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).

The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.

The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.

In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.

Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".

The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".

The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]

Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]

The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]

The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]

The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]

The Biennale has an attendance today of over 500,000 visitors.[30][31][32]

Role in the art market[edit]

When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]

Central Pavilion and Arsenale[edit]

The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.

Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]

A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi.[37]

National pavilions[edit]

Main article: National pavilions at the Venice Biennale

The Giardini houses 30 permanent national pavilions.[13] Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Giardini are occupied by a further 29 pavilions built at different periods by the various countries participating in the Biennale. The first nation to build a pavilion was Belgium in 1907, followed by Germany, Britain and Hungary in 1909.[13] The pavilions are the property of the individual countries and are managed by their ministries of culture.[38]

Countries not owning a pavilion in the Giardini are exhibited in other venues across Venice. The number of countries represented is still growing. In 2005, China was showing for the first time, followed by the African Pavilion and Mexico (2007), the United Arab Emirates (2009), and India (2011).[39]

The assignment of the permanent pavilions was largely dictated by the international politics of the 1930s and the Cold War. There is no single format to how each country manages their pavilion, established and emerging countries represented at the biennial maintain and fund their pavilions in different ways.[38] While pavilions are usually government-funded, private money plays an increasingly large role; in 2015, the pavilions of Iraq, Ukraine and Syria were completely privately funded.[40] The pavilion for Great Britain is always managed by the British Council[41] while the United States assigns the responsibility to a public gallery chosen by the Department of State which, since 1985, has been the Peggy Guggenheim Collection.[42] The countries at the Arsenale that request a temporary exhibition space pay a hire fee per square meter.[38]

In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czechia and Slovakia, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, eleven new participant countries developed national pavilions for the Biennale: Angola, Bosnia and Herzegowina, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada,[43] Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[44] In 2019, four countries participated in the Art Biennale for the first time: Ghana, Madagascar, Malaysia, and Pakistan.[45]

As well as the national pavilions there are countless "unofficial pavilions"[46] that spring up every year. In 2009 there were pavilions such as the Gabon Pavilion and a Peckham pavilion. In 2017 The Diaspora Pavilion bought together 19 artists from complex, multinational backgrounds to challenge the prevalence of the nation state at the Biennale.[47]

The Internet Pavilion (Italian: Padiglione Internet) was founded in 2009 as a platform for activists and artists working in new media.[48][49][50] Subsequent editions were held since,[51] 2013,[51] in conjunction with the biennale.[52]

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وینسVenetsiya

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