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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.
"Play It By Trust" 1966/1999
by Yoko Ono
White pieces on white board
www.francisnaumann.com/EXHIBITIONS/DuchampChess/index.html
“Marcel Duchamp: The Art of Chess” is the first exhibition devoted to exploring the influence of Duchamp’s activities as a chess player on his artistic production. It debuted at the St. Louis University Museum of Art (May 6 – August 16, 2009), and the present gallery exhibition is an expanded version of that show. It will open at Francis M. Naumann Fine Art on September 10, 2009 (and run through October 31, 2009).
The exhibition features the magnificent early cubist drawing Study for Portrait of Chess Players (1911), which renders Duchamp’s two brothers—Raymond Duchamp-Villon and Jacques Villon—intently engaged in a game of chess; a large central “X” in the center of the composition represents the precise point where their minds meet, a cerebral focus common to much of Duchamp’s subsequent production. Among the highlights of the show will be an example of the readymade Trébuchet (1917/64), the coat rack that visitors to Duchamp’s studio were expected to trip over (the chess equivalent of a gambit offered in the opening of a game); the Nice chess poster (1925); regular and deluxe examples of his book on endgame strategy (1932); the Pocket Chess Set (1943); and Cupid (1943), a recently discovered original drawing for the announcement of a show at the Julien Levy Gallery (in which Duchamp seems to have embedded a hidden message). A number of photographs of Duchamp either playing chess or seated before a chessboard will also be displayed. A signed, limited edition photograph by Arnold Rosenberg of Marcel Duchamp moving chess pieces behind glass (1958) was issued to commemorate this exhibition.
Also included in the show will be works by a number of Duchamp’s contemporaries—Man Ray, Georges de Zayas, Max Ernst, Salvador Dalí, Leon Kelly, Beatrice Wood, Arman and Sarah Austin—that relate to Duchamp’s involvement with the game of chess, as well as a selection of works by contemporary artists—Charles Juhàsz Alvardo, Mike Bidlo, Donald Bradford, Russell Connor, Ingrid Evans, Mark Kostabi, Sophie Matisse, Daniel Meirom, James Meyer, Trong Gia Nguyen, Yoko Ono, Jennifer Shahade, Diana Thater, Douglas Vogel—some of whom have made works specially for inclusion in this show.
Accompanying the exhibition will be Marcel Duchamp: The Art of Chess, a book featuring essays by Francis M. Naumann and Bradley Bailey, both of which demonstrate that Duchamp’s identity as a chess player is so thoroughly interfused with his work as an artist that the two activities are aesthetically and conceptually inseparable. The book also includes the analyses of fifteen Duchamp games by Jennifer Shahade (two-time American Women’s Chess Champion). These games will be reenacted in the exhibition on a video monitor, on which visitors will be able to view the movement of the pieces, all laid out in the format of Duchamp’s Pocket Chess Set of 1943.
FRANCIS M. NAUMANN FINE ART
24 West 57th Street, Suite 305
New York, NY, 10019
Telephone: 212.582.3201
LHOOQ@FRANCISNAUMANN.COM
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
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#documentacritic
#biennalist
#ultracontemporary art
protestart
willowgrovedaycamp.com/willows.html
The Willows at Willow Grove Day Camp is a camp for 3 and 4 year old children. This unique camp experience offers your child an early opportunity to learn and socialize with children their own age.
During the first week of camp, lots of fun was had as the children and counselors got to know each other. “Sun and Surf” was our first week theme. The children really enjoyed decorating their bucket and shovel memo pads during Arts and Crafts. Along with this activity, the Polar Bears and Penguins enthusiastically participated in Nature, Gymnastics, Dance, Tennis and Soccer. We are looking forward to the next seven weeks of fun-filled activities.
Willow Grove Day Camp provides summer fun for kids who live in Willow Grove, Abington, Blue Bell, Hatboro, Horsham, Huntingdon Valley, Lafayette Hill, Philadelphia, Plymouth Meeting, Southampton and the surrounding areas. For more information on the Willows and Willow Grove Day Camp please visit: willowgrovedaycamp.com/willows.html
Potato & Asparagus Frittata, recipe here: carolinasaucecompany.blogspot.com/2012/04/potato-asparagu...
Ethiopia. Gondar
From : www.angelfire.com/ak/sellassie/food/coffee.html
The Coffee Drinking Ceremony
Spreading freshly cut grass on the floor sets the scene for the coffee ceremony. Traditionally, for any special occasion, scented grass will be strewn directly on the floors of houses. A recent development is to scatter flowers over the grass to make it attractive.
People take their seats around the carpet of grass and the necessary utensils for the ceremony. The lady making the coffee will sit in the centre on a stool and be dressed in a white Ethiopian dress with coloured, woven, decorative borders.
The main items needed for the ceremony include: - a black clay coffee pot, locally known as jebena which is round at the bottom with a straw lid, placed on a circular band of straw. Small, often decorated china cups, known as sini are lined up together with a sugar jug on a special wooden curved tray with four short legs, like a miniature table.
There is a narrow-waisted clay brazier for burning charcoal on which the coffee is roasted and brewed and a flat round iron pan and a spoon with a long handle for roasting the coffee beans. A small clay incense-burner and some roasted grain lie in a colourful straw basket. All together there are about forty-one items for the ceremony.
The lady who is conducting the ceremony gently washes a handful of coffee beans on the heated pan. Roasted popcorn, barley or bread is passed round, amid general conversation while the coffee beans are stirred and shaken and the husks are blown away. When the coffee beans have turned black and shining and the aromatic oil is coaxed out of them, the lady brings the pan around to every body shaking the beans so that the coffee smoke rises from the pan and gives off the strong coffee-flavoured aroma. Everybody stretches out their arms to pull the aroma closer to their noses.
The lady then brings one or two pieces of burning charcoal to the incense burner and cream-coloured incense crystals are thrown on to the burning charcoal. A few seconds later the air is filled with the smoke and aroma of the incense, mingled with the coffee smell. The Jebena, will be filled with water and placed on the brazier for boiling before the ground coffee is poured into it. At this time the lady will grind the coffee with a wooden pestle and a mortar.
Ground coffee is then added to the water in the pot little by little. With a graceful movement the lady then lifts the jebena and holding it high pours into the little cups and fills them up to the brim. Now the first round of coffee known as awol, a word of Arabic origin, meaning ‘first’ is ready to be drunk. The cups are then served, starting with the elderly first. Children are not served coffee but they will be given a handful of roasted popcorn, barley or a piece of bread, which is prepared for the ceremony. Traditionally in many parts of the country, coffee would have been served slightly salted and in some parts mixed with fresh butter, but currently it is served with sugar.
After the first round the jebena is refilled with water and there is more talking and consumption of popcorn or bread. The second round is now ready. It is weaker than the first as no further coffee has been added. This new round is called tona, from the Arabic thani, meaning ‘second’. When there are many guests and not enough cups to go round, or when it becomes difficult to remember to whom each cup belongs, a bowl of water will be brought in for rinsing the cups between rounds.
The third and final brew is made by again adding water to the original coffee, and brining it to the boil. The last brew is called baraka, which means ‘blessing’ in several languages including Arabic and Geez, the Ethiopian ecclesiastical language. At the end of the third round the elderly bless the house and everybody departs.
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.
REVISTA DE FILOSOFIA: REVISTA DE FILOSOFÍA CONTEMPORANEA
REVISTA OBSERVACIONES FILOSÓFICAS
www.observacionesfilosoficas.net/
Dr. Adolfo Vasquez Rocca _ Director
www.danoex.net/adolfovasquezrocca.html
Revista de Filosofía Contemporánea
www.observacionesfilosoficas.net/indexcategorias.htm
Adolfo Vásquez Rocca PH.D.
www.danoex.net/adolfovasquezroccainvestigacion.html
Dr. Adolfo Vasquez Rocca | Universidad Complutense de Madrid
www.danoex.net/adolfovasquezrocca.html
Adolfo Vasquez Rocca, Academic staff at Universidad Andrés Bello UNAB
emui.academia.edu/AdolfoVasquezRocca
ADOLFO VÁSQUEZ ROCCA PH.D.
Pontificia Universidad Católica de Valparaíso
Universidad Andrés Bello UNAB
Escuela Matríztica
Universidad Complutense de Madrid
Eastern Mediterranean University - Academia.edu
E-mail: adolfovrocca@gmail.com
ADOLFO VÁSQUEZ ROCCA PH.D.
Web personal:
www.danoex.net/adolfovasquezrocca.html
Publicaciones Internacionales Catalogadas en DIALNET Directorio de Publicaciones Científicas Hispanoamericanas
dialnet.unirioja.es/servlet/autor?codigo=1053859
Pontificia Universidad Católica de Valparaíso
Universidad Andrés Bello UNAB
Universidad Complutense de Madrid
E-mail: adolfovrocca@gmail.com
PROFESOR DR. ADOLFO VÁSQUEZ ROCCA
Profesor Adjunto Escuela de Psicología y de la Facultad de Arquitectura UNAB Miembro del Consejo Editorial Internacional de la 'Fundación Ética Mundial'. Director del Consejo Consultivo Internacional de 'Konvergencias', Revista de Filosofía, Bs. Aires; Miembro del Consejo Editorial Internacional de Revista Praxis – Facultad de Filosofía y Letras, Universidad Nacional. Miembro del Conselho Editorial da Humanidades em Revista, Universidade Regional do Noroeste do Estado do Rio Grande do Sul, Brasil y de Sophia –Revista de Filosofía de la Pontificia Universidad Católica del Ecuador–. –Secretario Ejecutivo de Revista Philosophica PUCV. – Director de Revista Observaciones Filosóficas. Profesor visitante en la Maestría en Filosofía de la Benemérita Universidad Autónoma de Puebla. – Profesor visitante Florida Christian University USA y Profesor Asociado al Grupo Theoria –Proyecto europeo de Investigaciones de Postgrado– UCM. Académico Investigador de la Vicerrectoría de Investigación y Postgrado, Universidad Andrés Bello. Ha publicado entre otros el Libro: Peter Sloterdijk; Esferas, helada cósmica y políticas de climatización, Colección Novatores, Nº 28, Editorial de la Institución Alfons el Magnànim (IAM), Valencia, España, 2008. Invitado especial a la International Conference de la Trienal de Arquitectura de Lisboa | Lisbon Architecture Triennale 2011
Prof. Adjunto Escuela de Psicología y de la Facultad de Arquitectura UNAB Director del Consejo Consultivo Internacional de Revista 'Konvergencias'; Miembro del Consejo Editorial Internacional de Revista Praxis – Facultad de Filosofía y Letras, UNA. Miembro del Conselho Editorial da Humanidades em Revista, Universidade do Noroeste do Estado do Rio Grande Brasil. –Secretario Ejecutivo Revista Philosophica PUCV. – Director de Revista Observaciones Filosóficas.
VÁSQUEZ ROCCA, Adolfo, "SLOTERDIJK: SECRETOS BIZARROS DE FREUD, DISCRETAS OBSESIONES TELECOMUNICATIVAS Y PRIMERAS FORMACIONES DE PSICOLOGÍA PROFUNDA EUROPEAS" 1 , En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - Universidad Complutense de Madrid, NÓMADAS. 31 - (I) 31 | Julio-Diciembre 2011, pp. 339-368.
Referencia indexación Universidad Complutense:
Revistas Científicas Complutenses +Madrid
usuarios.universia.net/verActividad.action?loginUsuario=a...
VÁSQUEZ ROCCA, Adolfo, "NIETZSCHE Y DERRIDA: DE LA VOLUNTAD DE ILUSIÓN A LA MITOLOGÍA BLANCA", En CUENTA Y RAZÓN DEL PENSAMIENTO ACTUAL Nº 145 – 2008 - Revista de la Fundación de Estudios Sociológicos de Madrid, (FUNDES) Nº 145 – 2008, pp. 45 a 64 - ISSN : 0211-1381
www.cuentayrazon.org/revista/pdf/145/Num145_006.pdf
- VÁSQUEZ ROCCA, Adolfo, "SLOTERDIJK 'NORMAS PARA EL PARQUE HUMANO'; DE LA CARTA SOBRE EL HUMANISMO A LAS ANTROPOTECNIAS Y EL DISCURSO DEL POS-THUMANISMO", En
Revista Observaciones Filosóficas - Nº 5 / 2007 | ISSN 0718-3712
www.observacionesfilosoficas.net/petersloterdijkdelasnorm...
- VÁSQUEZ ROCCA, Adolfo, PETER SLOTERDIJK; DEL PESIMISMO METODOLÓGICO AL CINISMO DIFUSO DE NUESTRAS SOCIEDADES EXHAUSTAS, En Konvergencias: Revista de Filosofía y Culturas en Diálogo, ISSN 1669-9092, Nº. 15, 2007 , págs. 84-92
VÁSQUEZ ROCCA, Adolfo, “PETER SLOTERDIJK: EXTRAÑAMIENTO DEL MUNDO; ABSTINENCIA, DROGAS Y RITUAL”, Konvergencias, Filosofía y Culturas en Diálogo - ISSN 1669-9092, Número 11 Año III Enero 2006.
“¡Ay! quién nos contara la historia completa de los narcóticos! Ella es punto menos que la historia de la 'formación', de lo que suele llamarse civilización”.
F. NIETZSCHE , Die fröhliche Wissenschaft, 86
VÁSQUEZ ROCCA, Adolfo, "PETER SLOTERDIJK: 'EXTRAÑAMIENTO DEL MUNDO'. ABSTINENCIA, DROGAS Y RITUAL" En Gazeta de Antropología, Nº 22, 2006
Texto 22-12. | UNIVERSIDAD DE GRANADA, ESPAÑA, UE. ISSN 0214-7564
y CUADERNO DE MATERIALES, Nº22 Enero 2006, UNIVERSIDAD COMPLUTENSE DE MADRID. ISSN: 1138-7734
VÁSQUEZ ROCCA, Adolfo, "PETER SLOTERDIJK; EXTRAÑAMIENTO DEL MUNDO; ABSTINENCIA, DROGAS Y RITUAL", Revista ZONA MOEBIUS, Año 4 / enero, 2006.
- VÁSQUEZ ROCCA, Adolfo, “PETER SLOTERDIJK; LA MÚSICA DE LAS ESFERAS Y LA ERA ANTROPOTÉCNICA”. Konvergencias, Filosofía y Culturas en Diálogo. ISSN 1669-9092
Número 12 Año III Mayo 2006, www.konvergencias.net/musicaps01.htm
Peter Sloterdijk ¿dónde estamos, cuando escuchamos música? Número 12 Año III Mayo 2006
Konvergencias, Filosofía y Culturas en Diálogo. www.konvergencias.net/musicaps.htm
Periodista y escritor. Profesor de Sociología en la Staatliche Hochschule für Gestaltung de Karlsruhe.
Director periodístico de ZDF, alemania. www.peter-voss.eu/
Sloterdijk y Canetti; el detonante iconográfico y operístico de la política de masas ; Konvergencias: Revista de Filosofía y Culturas en Diálogo, ISSN 1669-9092, Nº. 13, 2006, www.konvergencias.net/vasquezrocca115.htm
VÁSQUEZ ROCCA, Adolfo, "SLOTERDIJK: SECRETOS BIZARROS DE FREUD, DISCRETAS OBSESIONES TELECOMUNICATIVAS Y PRIMERAS FORMACIONES DE PSICOLOGÍA PROFUNDA EUROPEAS" 2 , En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - Universidad Complutense de Madrid, NÓMADAS. 31 - (I) 31 | Julio-Diciembre 2011, pp. 339-368.
Referencia indexación Universidad Complutense:
Revistas Científicas Complutenses +Madrid
usuarios.universia.net/verActividad.action?loginUsuario=a...
VÁSQUEZ ROCCA, Adolfo, "NIETZSCHE Y DERRIDA: DE LA VOLUNTAD DE ILUSIÓN A LA MITOLOGÍA BLANCA", En CUENTA Y RAZÓN DEL PENSAMIENTO ACTUAL Nº 145 – 2008 - Revista de la Fundación de Estudios Sociológicos de Madrid, (FUNDES) Nº 145 – 2008, pp. 45 a 64 - ISSN : 0211-1381
www.cuentayrazon.org/revista/pdf/145/Num145_006.pdf
VÁSQUEZ ROCCA, Adolfo, "EDWARD HOPPER Y EL OCASO DEL SUEÑO AMERICANO", En HOMINES –Arte y Cultura– MA-739-2004, 2009, Málaga, 2005.
www.homines.com/arte_xx/hopper_ocaso_americano/index.htm
Peter Sloterdijk; temblores de aire, atmoterrorismo y crepúsculo de la inmunidad
Konvergencias: Revista de Filosofía y Culturas en Diálogo, ISSN-e 1669-9092, Nº. 16, 2007 , 196-216
dialnet.unirioja.es/servlet/articulo?codigo=2377373&o...
______________
Peter Sloterdijk; espumas, mundo poliesférico y ciencia ampliada de invernaderos
Autores: Adolfo Vásquez Rocca
Localización: Konvergencias: Revista de Filosofía y Culturas en Diálogo, ISSN-e 1669-9092, Nº. 16, 2007 , págs. 217-228
dialnet.unirioja.es/servlet/articulo?codigo=2377372&o...
KONVERGENCIAS Filosofía y Culturas en Diálogo
ISSN 1669-9092
Año V, No 16 Tercer Cuatrimestre 2007
____________
- Vásquez Rocca, Adolfo, Peter Sloterdijk; del pesimismo metodológico al cinismo difuso de nuestras sociedades exhaustas, En Konvergencias: Revista de Filosofía y Culturas en Diálogo, ISSN 1669-9092, Nº. 15, 2007 , págs. 84-92
PETER SLOTERDIJK; DEL PESIMISMO METODOLÓGICO AL CINISMO DIFUSO DE NUESTRAS SOCIEDADES EXHAUSTAS Dr. ADOLFO VÁSQUEZ ROCCA
dialnet.unirioja.es/servlet/articulo?codigo=2310343&o...
ISSN 1669-9092
- VÁSQUEZ ROCCA, Adolfo, “PETER SLOTERDIJK: EXTRAÑAMIENTO DEL MUNDO; ABSTINENCIA, DROGAS Y RITUAL”, Konvergencias, Filosofía y Culturas en Diálogo - ISSN 1669-9092, Número 11 Año III Enero 2006.
“¡Ay! quién nos contara la historia completa de los narcóticos! Ella es punto menos que la historia de la 'formación', de lo que suele llamarse civilización”.
F. NIETZSCHE , Die fröhliche Wissenschaft, 86 /
- VÁSQUEZ ROCCA, Adolfo, "PETER SLOTERDIJK: 'EXTRAÑAMIENTO DEL MUNDO'. ABSTINENCIA, DROGAS Y RITUAL" En Gazeta de Antropología, Nº 22, 2006
Texto 22-12. | UNIVERSIDAD DE GRANADA, ESPAÑA, UE. ISSN 0214-7564
y CUADERNO DE MATERIALES, Nº22 Enero 2006, UNIVERSIDAD COMPLUTENSE DE MADRID. ISSN: 1138-7734
/
- VÁSQUEZ ROCCA, Adolfo, "PETER SLOTERDIJK; EXTRAÑAMIENTO DEL MUNDO; ABSTINENCIA, DROGAS Y RITUAL", Revista ZONA MOEBIUS, Año 4 / enero, 2006.
2.-
"Conjeturas sobre el animal que topa consigo, se propone lo grande, a menudo no avanza un paso y, a veces, esta harto de todo”.
P. Sloterdijk
VÁSQUEZ ROCCA, Adolfo, “GEORG TRAKL Y JORGE TEILLIER; PARA HABLAR CON LOS MUERTOS”, En Revista Almiar, MARGEN CERO © Madrid, 2007
www.margencero.com/articulos/articulos3/trakl.htm
VÁSQUEZ ROCCA, Adolfo, "PETER SLOTERDIJK; EL HOMBRE COMO EXPERIMENTO SONORO Y METAFÍSICO ANIMAL DE LA AUSENCIA", PHILOSOPHICA, Instituto de Filosofía PONTIFICIA UNIVERSIDAD CATÓLICA DE VALPARAÍSO, Nº 31, Sem. I, 2007, ISSN 076 - 1913, pp. 89-105.
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
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
Beautifully decorated door of house no. 25 in Rua de Santa Maria in Funchal, island of Madeira, Portugal.
This door belongs to the art project Arte Portas Abertas (the art of open doors) in Rua de Santa Maria of Funchal and was created by Elias Homen de Gouveia.
Funchal is the largest city and capital of Madeira.
Madeira is a Portuguese island in the Atlantic ocean, approximately 1000 km (620 mi) southwest of Lisbon and 700 km (435 mi) west of the Moroccan coast. Situated in a hot spot area, Madeira is of volcanic origin, formed during several eruptive phases, the last of which ended around 6500 years ago. Madeira is a very mountainous island. With an extent of only 57 km (35 mi) from west to east and 22 km (14 mi) from north to south, and with the highest mountain having an elevation of 1862 m (6109 ft), the terrain of the island is mostly very rocky and steep, except for the high plateau Paul da Serra.
Madeira is also known as the "island of flowers", although most of the popular "typical" Madeiran flowers (like the bird of paradise flower, the hydrangea, the agapanthus and others) are neither endemic nor native. Some of the genuine Madeiran plants are the "Pride of Madeira" (Echium candicans), Canary Islands Juniper (Juniperus cedrus) and the laurel forests of Madeira (the latter one being listed as UNESCO World Heritage).
Madeira is permeated by artificially built water channels called levadas, which distribute the water from the wetter northern half of the island to the agricultural regions of the south. The levadas, mostly built by prisoners or slaves, were cut into the side of the mountains, partly running through tunnels, and enabled for example the cultivation of sugar cane which was the source of the Madeiran wealth during the 15th to 17th century.
Today most of the levadas are still in use, not only for irrigation but also for hydroelectricity. Running across the whole island, they provide a wide network of walking paths, making even extremely remote regions of the island accessible to pedestrians, which is one of the reasons for Madeira's popularity as a hiking paradise.
Madeira hiking holiday July 2013.
clickeventonline.com/event/politica/150504-TheHonorableCa...
INTERVIEWER: Jaime Suchlicki, is the Emilio Bacardi Moreau Distinguished Professor and Director of the Institute for Cuban and Cuban-American Studies, University of Miami. He is also editor of “Cuban Affairs,” a quarterly electronic journal published by ICCAS, and the author of Cuba: from Columbus to Castro; Mexico: from Montezuma to the Rise of PAN; and of the recently published Breve Historia de Cuba. Dr. Suchlicki is a highly regarded consultant to the public and private sector in the U.S.
The Honorable Carlos Gutierrez, is Chair of Albright Stonebridge Group (ASG), a premier strategic advisory and commercial diplomacy firm. Secretary Gutierrez spent nearly thirty years with Kellogg Company. After assignments in Latin America, Canada, Asia, and the United States, he became President and Chief Executive Officer of Kellogg in 1999 − the youngest CEO in the company's hundred year history and in April 2000, was named Chairman of the Board. He also served as the 35th U.S. Secretary of Commerce from 2005 to 2009 under President George W. Bush. Secretary Gutierrez joined ASG from Citi, where he served as Vice Chairman of the Institutional Clients Group and as a member of the Senior Strategic Advisory Group. He serves on the Boards of Occidental Petroleum Corporation, MetLife, Time Warner, and Viridis Learning. Secretary Gutierrez is Chairman of the Board of Trustees of Meridian International Center, and a Member of the Board of the U.S.-Mexico Foundation. He is a member of George W. Bush Institute’s Human Freedom Advisory Council. Secretary Gutierrez also serves on the Advisory Committee for Presidential Leadership Scholars, a program established in partnership with the U.S. presidential centers of George W. Bush, Bill Clinton, George H.W. Bush and Lyndon B. Johnson. He is chairman of Republicans for Immigration Reform, the political action group that he co-founded in 2012. He also serves as a National Trustee at the University of Miami and as a non-resident scholar at the University’s Institute for Cuban and Cuban American Studies.
This Series is made possible thru a generous anonymous grant honoring Cesar L. Alvarez.
Cesar is the past Chief Executive Officer and current Chairman of Greenberg Traurig, LLP. During his 13 year tenure as CEO, which began in 1997, he led the firm to become one of the Top 10 law firms in the United States by the leading its growth from 325 lawyers in eight offices to approximately 1850 attorneys in more than 36 locations in the United States, Europe, Asia and Latin America. Under Cesar’s leadership and with the support of his partners, the firm was recognized as the fastest-growing law firm in the United States. Cesar was the only Hispanic to lead a Top 10 law firm in the United States. At the age of 13, Cesar immigrated from Cuba with his family to escape communism. After graduating from the University of Florida in 1972 with his Bachelor of Science, Master of Business Administration, and Juris Doctor, he joined Greenberg Traurig as its 13th lawyer. Before taking the helm as CEO, Cesar practiced securities, corporate and international law for more than 25 years. He has been recognized nationally and in his community for his professional, business and charitable leadership. Cesar has been honored as one of the "100 Most Influential Lawyers in America" by The National Law Journal in 1997, 2000, and 2006, as one of the top most powerful Hispanics by PODER's Power Issue, and among "The 25 Best Latinos in Business," Hispanic Magazine's Power Issue. He also has been honored with the Chambers and Partners’ "Lifetime Achievement" Award, American Bar Association’s "Spirit of Excellence" Award, and The Florida Bar’s “President’s Award of Merit.” He serves on the boards of Florida International University, University of Miami School of Law Visiting Committee, and Chairs the Florida International University College of Law Dean’s Advisory Council.
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.
Our Lady of Lourdes & St Joseph, Leigh on Sea, Essex
I passed OLoL&SJ (apologies for the acronym) on my way to St Clement and had to stop. This RC church had fallen off my radar and would have been missed had it not been so arresting.
Built in the 1920's to the design of the parish priest, Fr FW Gilbert, it stands as his personal testament to God. Full of good period glass, a very Catholic reredos, lectern and rood; unusually a SE tower but, to my mind, the most exceptional feature is the Lady Chapel which is a scaled replica of Lourdes.
A rich priest's homage to Gothic architecture with a distinct Catholic twist - I wish this was my parish church!
Neither Pevsner nor Mee covered it (inherent anti Catholicism at work?) so Taking Stock instead:
An idiosyncratic Gothic church of the 1920s, very much a personal work by the parish priest Fr F. W. Gilbert, but closely following the design of Charles Nicholson’s church of St Alban at Westcliff-on-Sea. The church was sympathetically extended in the 1960s. The interior is rich in fittings, some designed by Fr Gilbert.
The original church (now the parish hall) began life as a timber-framed, corrugated iron drill hall, originally built for the Essex Volunteers in 1900 under the supervision of Major Burles and purchased in 1913. The site of the present church was purchased by the Rev. F.W. Gilbert in 1924, using donations and his private money. It appears that Fr Gilbert acted as his own architect, his design borrowing heavily from that of the Anglican church of St Alban the Martyr at Westcliff-on-Sea, built in 1898-1908 from designs by Nicholson & Corlette. The Gilbert family promised £2,000 once building work commenced. The contract price was £12,234. The builders were Messrs Marshall & Smith of Grays but Fr Gilbert acted as his own clerk of works, using local labour, including unemployed men from Grays. The foundation stone was laid on 7 October 1924 and the church opened in September 1925. The presbytery was built in 1925.
The church was sympathetically extended in 1965-66 by Burles, Newton & Partners, in the same style and materials; the west wall was moved twenty feet further out to create a choir gallery, west door and porch and a baptistery with organ chamber above. Proposals to replace the old hall with a new and larger building were prepared in 2007 but have not yet been implemented.
The church is a large and handsome structure in a free Gothic style. The walls are faced with random rubble with stone dressings. Apparently much of the stone was quarried near Glasgow and was originally used as ballast in lighters intended for the Gallipoli campaign, which were later bought by a local ship owner, who donated the stone for the building of the church. The roof is covered in plain tiles. On plan the church comprises a long nave and sanctuary under a continuous roof swept down over north and south aisles, southwest porch, northwest organ chamber, southeast double transept and southeast tower. The gabled west end is Burles & Newton’s work of the 1960s and has a broad straight-headed doorway flanked by small trefoiled windows with a large six-light traceried window above. On the north side is a tall transeptal organ chamber and then the low side wall of the north aisle with three pairs of small trefoiled windows. On the south side is a small projecting porch and then the low side wall of the south aisle, a double transept with three-light traceried windows in the gabled ends and then the bold square south east tower. The tower is of three stages with a traceried two-light window on the south side of the lowest stage and pairs of small openings in the two stages above. The tower has a single large diagonal buttress at the southeast corner, crenellated flint-faced parapets and a tiled spirelet. The east end wall of the sanctuary is articulated with three round-headed blind arches. This wall fronts the garden of the large presbytery which is attached to the northeast corner of the church, and the church and presbytery together form a strong architectural composition.
The interior walls are all plastered and painted with plain flooring of timber. There is a west gallery in the 1960s extension and nave arcades of four bays of simple pointed chamfered arches on square chamfered concrete piers. Above each pier the nave is spanned by the tie beams of the roof and above them is a five-sided timbered ceiling. The aisles have lean-to roofs and are also timbered. The east bay on the south side is a small transept. There is no chancel arch in the usual sense, but the division between nave and sanctuary is marked by pilaster strips on the walls with a rood beam at half- height and a timber rib spanning the roof between them. The sanctuary has a single large open arch on each side and is richly furnished. The east wall in particular is lined to full-height with carved decoration. The floor is black and white marble. On the south side of the sanctuary is a second transept divided from the first by a double arch resting on dwarf double columns with ornamental Gothic capitals. In the east wall of this transept a chamfered pointed arch leads to the base of the tower which contains a Lourdes grotto.
The church is rich in fittings. These include the carved timber reredos filling the whole east wall, the extraordinary pulpit with figures of evangelists supported by cherubs, apparently designed by Fr Gilbert, who also designed the figures of the rood beam, the elaborate oak stalls in the sanctuary and the font at the west end of the nave given in memory of Col. Knight (d.1891) with its stone bowl on clustered columns and a surrounding floor of Cosmati work.
There is some stained glass in the church including the west window by Whitefriars and other windows by Goddard & Gibbs. The scale model of the Lourdes grotto was built by Cyril Psaila (d. 1931).
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www[dot]blouseroumaine[dot]com/orderthebook_p1[dot]html
Under Nicolae Ceausescu Blandiana's writings were banned after a "seditious" poem she wrote about the dictator: "Motanul Arpagic" (Tom Cat Onion)...
After 1990 she was active in the "Alianta Civica" which helped bring to the fore the first democratic government in Romania (1996-2000).
Below is one of Blandiana's ""engaged" poems about the status of women under communism:
“An entire people,
Not yet born,
But condemned to birth,
In columns before birth
Foetus beside foetus,
An entire people,
Which does not see, does not hear, does not understand,
But moves forward.
Through writhing bodies of women,
Through the blood of mothers
Unconsulted.”
(Ana Blandiana, The Children’s Crusade, 1984)
en.wikipedia.org/wiki/Ana_Blandiana
www.transcript-review.org/section.cfm?id=122&lan=en
-------------
Ana Blandiana's biography is included in the "Blouse Roumaine' Anthology:
www.blouseroumaine.com/orderthebook_p1.html
The Blouse Roumaine Anthology had finally been formatted as an E-BOOK
Contents:
2,250,000 words,
over 1,000 pages,
160 critical biographies,
58 social categories/professions
600 quotations (mostly translated into English for the first time),
circa 3,000 bibliographical references (including URLs and credits)
6 Indexes (alphabetical, by profession, timeline, quotation Index, place index and name index)
The website is not yet fully updated to reflect the latest statistics or content but the book can be now downloaded online:
----------------------------------------------------------------------------------------------------------------
3.2. Gazetteer of 160 Women within 58 Categories by Call, Profession or Social Status
Academics (22), Actresses (9), Anti-Communist Fighters (14), Architects/Interior Designers (2), Art Critics (9), Artist Book Binders (1), Ballerinas (6), Charity Workers/Benefactors (20), Communist Public Figures (2), Courtesans (3), Designers (2), Diplomats (4), Essayists (11), Ethnographers (6), Exiles & First-generation Romanians born abroad (87), Explorers (1), Feminists (12), Folk Singers (1), Gymnasts, Dressage Riders (2), Historians (5), Honorary Romanian Women (15), Illustrators (3), Journalists (13), Lawyers (4), Librarians (3), Linguists (2), Literary Critics (1), Media (15), Medical Doctors/Nurses (5), Memoir Writers (16), Missionaries and Nuns (4), Mountainéers (2), Museographers (1), Musical Instruments Makers (1), Novelists (24), Opera Singers (16), Painters (14), Peasant Farmers (6), Philosophers and Philosophy Graduates (4), Pianists (6), Pilots (4), Playwrights (5), Poets (29), Political Prisoners (30), Politicians (5), Revolutionaries (2), Royals and Aristocrats (34), Scientists (8), Sculptors (4), Slave (1), Socialites/Hostesses (20), Spouses/Relations of Public Figures (51), Spies (2), Tapestry Weavers (4), Translators (25), Unknown Illustrious (6), Violinists (4), Workers (3)
Watercolour of a 1965 Triumph Herald
unframed watercolour 42cm x 28cm approx
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Bakersfield Track Club Half Marathon and 5K
November 15, 2008
Half Marathon
www.andynoise.com/fallbtchalf08.html
Place Name Time Pace Div/Tot Sex/Tot Div
1 GALVIN GONZALEZ 1:11:30 5:28 1/8 1/98 M3034
2 David Bacus 1:14:52 5:43 1/4 2/98 M2024
3 ZACHARY HOLT 1:21:52 6:15 1/10 3/98 M1319
4 JORDAN PERRY 1:23:34 6:23 1/8 4/98 M2529
5 Rudy Montoya 1:23:49 6:24 1/11 5/98 M4044
6 Jose Salcedo 1:25:28 6:32 2/4 6/98 M2024
7 Timothy Anderson 1:25:33 6:32 1/18 7/98 M5054
8 Chris Anderson 1:26:31 6:37 2/10 8/98 M1319
9 Diego Diaz 1:26:58 6:39 1/14 9/98 M3539
10 JOHN PURCELL 1:28:22 6:45 3/10 10/98 M1319
11 SHAWNA ROUNTREE 1:29:00 6:48 1/8 1/73 F2529
12 CREGG WEINMANN 1:29:53 6:52 2/18 11/98 M5054
13 Craig Gardner 1:30:40 6:56 3/18 12/98 M5054
14 Javier Cruz 1:31:16 6:58 1/11 13/98 M4549
15 Steve Dirkse 1:31:23 6:59 2/14 14/98 M3539
16 WALTER PAVLAKOVICH 1:31:36 7:00 4/18 15/98 M5054
17 David Little 1:32:46 7:05 4/10 16/98 M1319
18 Ezequiel Gonzalez 1:32:47 7:05 5/10 17/98 M1319
19 Alec Briones 1:33:03 7:07 1/9 18/98 M5559
20 Damon Wilstead 1:33:55 7:11 2/8 19/98 M3034
21 BART VANDERWAL 1:35:35 7:18 2/11 20/98 M4044
22 John Lee 1:35:55 7:20 5/18 21/98 M5054
23 Roehl Caragao 1:36:29 7:22 2/11 22/98 M4549
24 MARK OGILVIE 1:37:25 7:27 3/11 23/98 M4044
25 Dave Hoglund 1:37:26 7:27 2/9 24/98 M5559
26 JEFF GIUMARRA 1:37:29 7:27 3/8 25/98 M3034
27 Jacob Scott 1:37:32 7:27 6/10 26/98 M1319
28 JAMES BELL 1:37:32 7:27 6/18 27/98 M5054
29 Charolette Cholometes 1:37:40 7:28 1/9 2/73 F3034
30 DAVE MEEK 1:38:36 7:32 3/14 28/98 M3539
31 Daniel Ramirez 1:39:18 7:35 3/9 29/98 M5559
32 AARON ALBAY 1:39:25 7:36 7/10 30/98 M1319
33 COURTNEY MOORE 1:40:16 7:40 1/1 3/73 F1319
34 Richard Black 1:40:35 7:41 7/18 31/98 M5054
35 JOSE MONTELONGO 1:40:44 7:42 4/14 32/98 M3539
36 Klaus Benamy-Hackel 1:41:14 7:44 4/9 33/98 M5559
37 MICHAEL RAMIREZ 1:41:20 7:45 2/8 34/98 M2529
38 Raul Gonzalez 1:41:31 7:45 5/14 35/98 M3539
39 Freddie Bingham 1:42:33 7:50 4/8 36/98 M3034
40 Mike Gonzalez 1:42:47 7:51 3/11 37/98 M4549
41 Gerry Saba 1:43:55 7:56 4/11 38/98 M4044
42 DAVE PEGLER 1:44:04 7:57 5/11 39/98 M4044
43 DEBBIE WALLACE 1:45:03 8:02 1/12 4/73 F4549
44 EDDIE PAULSEN 1:45:25 8:03 6/14 40/98 M3539
45 Gary Enns 1:45:33 8:04 7/14 41/98 M3539
46 GREG FONTES 1:45:33 8:04 4/11 42/98 M4549
47 JOE SWEET 1:45:35 8:04 5/8 43/98 M3034
48 Sara Bradford 1:45:52 8:05 2/9 5/73 F3034
49 Daniel Tavarez 1:46:31 8:08 8/14 44/98 M3539
50 Connie Tavarez 1:46:35 8:09 1/5 6/73 F3539
Bakersfield Track Club Half Marathon and 5K
November 15, 2008
Half Marathon
Place Name Time Pace Div/Tot Sex/Tot Div
51 Todd Witwer 1:47:12 8:11 8/18 45/98 M5054
52 MARK WITCHER 1:48:41 8:18 9/18 46/98 M5054
53 Roy Walford 1:50:02 8:24 1/3 47/98 M6064
54 HAYLEY TOBIN 1:50:13 8:25 1/14 7/73 F4044
55 Amy Fredericks 1:50:33 8:27 1/2 8/73 F6064
56 KELLY LOPEZ 1:50:45 8:28 2/14 9/73 F4044
57 ROBERT JOHNSON 1:50:48 8:28 5/9 48/98 M5559
58 JOSHUA GARZA 1:50:50 8:28 6/11 49/98 M4044
59 Eric Wolf 1:50:52 8:28 3/4 50/98 M2024
60 Derek Jeffery 1:51:02 8:29 3/8 51/98 M2529
61 BROOKS RICHARDSON 1:51:25 8:31 10/18 52/98 M5054
62 Tony Jeffery 1:52:52 8:37 7/11 53/98 M4044
63 Mike Moore 1:53:34 8:41 5/11 54/98 M4549
64 DAVE COWLES 1:54:34 8:45 8/11 55/98 M4044
65 Brian Cisneros 1:55:06 8:48 8/10 56/98 M1319
66 John Wilson 1:55:22 8:49 2/3 57/98 M6064
67 Mike Barella 1:55:26 8:49 9/11 58/98 M4044
68 FRANCISCO RAMIREZ 1:55:29 8:49 9/14 59/98 M3539
69 Jose Torres 1:56:33 8:54 9/10 60/98 M1319
70 Yolanda Hughes 1:56:38 8:55 3/14 10/73 F4044
71 Keith Stearmon 1:56:40 8:55 4/8 61/98 M2529
72 BOB BARTON 1:57:15 8:57 6/11 62/98 M4549
73 JOHN OPHEIM 1:57:22 8:58 3/3 63/98 M6064
74 Margaret Patterson 1:57:26 8:58 2/12 11/73 F4549
75 Jim Cowles 1:57:28 8:58 1/2 64/98 M6569
76 PHILIPPE IGOA 1:58:11 9:02 7/11 65/98 M4549
77 KATE QUINN 1:58:11 9:02 1/7 12/73 F5559
78 Ken Berckes 1:58:18 9:02 11/18 66/98 M5054
79 CARMEN ALBANES 1:58:25 9:03 1/11 13/73 F5054
80 KATHRYN JOSLIN 1:58:28 9:03 3/9 14/73 F3034
81 Darlene Savage 1:59:12 9:06 3/12 15/73 F4549
82 CHRIS DANFORTH 1:59:57 9:10 8/11 67/98 M4549
83 JUAN CERVANTES 2:00:23 9:12 4/4 68/98 M2024
84 JOSIE MARTIN 2:00:31 9:12 2/11 16/73 F5054
85 TAMMY GARCIA 2:01:31 9:17 4/14 17/73 F4044
86 Carol Weston 2:01:47 9:18 2/2 18/73 F6064
87 Esther Ray 2:02:16 9:20 2/7 19/73 F5559
88 Bob Ziemet 2:02:25 9:21 2/2 69/98 M6569
89 TRACY HUBBELL 2:02:40 9:22 5/14 20/73 F4044
90 ERIC BERLIN 2:03:45 9:27 12/18 70/98 M5054
91 craig smith 2:04:15 9:30 9/11 71/98 M4549
92 Jialan Su 2:04:21 9:30 4/9 21/73 F3034
93 DANIEL RODRIGUEZ 2:04:29 9:31 13/18 72/98 M5054
94 Greg Adkins 2:04:32 9:31 10/14 73/98 M3539
95 Tawnie McCaa 2:04:55 9:33 1/2 22/73 F2024
96 ROY PIERUCCI 2:04:56 9:33 6/9 74/98 M5559
97 ALICIA BROWN 2:05:39 9:36 2/5 23/73 F3539
98 Kevin Higgins 2:05:49 9:37 14/18 75/98 M5054
99 Guido Climer 2:06:11 9:38 11/14 76/98 M3539
100 Lonnie Stockton 2:06:16 9:39 6/14 24/73 F4044
Bakersfield Track Club Half Marathon and 5K
November 15, 2008
Half Marathon
Place Name Time Pace Div/Tot Sex/Tot Div
101 CHARLES MATHER 2:06:55 9:42 5/8 77/98 M2529
102 Meg Reimers 2:07:10 9:43 7/14 25/73 F4044
103 Barb Johnston 2:07:27 9:44 3/11 26/73 F5054
104 Katie Nickell 2:07:27 9:44 8/14 27/73 F4044
105 HOPE ROE 2:07:39 9:45 4/12 28/73 F4549
106 RODERICK MARCIA 2:07:45 9:46 6/8 78/98 M3034
107 Connie Taylor 2:07:46 9:46 5/9 29/73 F3034
108 Nicole Panero 2:07:50 9:46 2/8 30/73 F2529
109 Cory Bringman 2:08:26 9:49 3/5 31/73 F3539
110 LONDO WHITNEY 2:09:11 9:52 12/14 79/98 M3539
111 Odette Hudson 2:09:27 9:53 3/7 32/73 F5559
112 Clarissa Wilstead 2:09:49 9:55 3/8 33/73 F2529
113 JEFF COOMBER 2:09:58 9:56 15/18 80/98 M5054
114 Susan James 2:10:43 9:59 4/11 34/73 F5054
115 JOAN COLLIN S 2:11:42 10:04 5/11 35/73 F5054
116 Denise Haynes 2:11:43 10:04 5/12 36/73 F4549
117 Peg Baird 2:13:42 10:13 6/11 37/73 F5054
118 REBECCA WALKER 2:15:22 10:20 4/8 38/73 F2529
119 Troy Wells 2:15:29 10:21 10/11 81/98 M4044
120 Fred Little 2:15:29 10:21 16/18 82/98 M5054
121 Brock Sheela 2:16:35 10:26 7/8 83/98 M3034
122 Pedro Segura 2:16:59 10:28 7/9 84/98 M5559
123 DELORES CORTEZ 2:17:12 10:29 1/2 39/73 F7099
124 Jennifer Fendrick 2:17:26 10:30 4/5 40/73 F3539
125 Rachel Taylor 2:17:48 10:32 5/8 41/73 F2529
126 DANIEL J. RAMIREZ 2:17:49 10:32 13/14 85/98 M3539
127 Angelica Rogers 2:18:22 10:34 7/11 42/73 F5054
128 Jason Gutierrez 2:19:10 10:38 6/8 86/98 M2529
129 Maria Steele 2:19:13 10:38 8/11 43/73 F5054
130 Janice Horcasitas 2:19:16 10:38 4/7 44/73 F5559
131 DALE VAN SCHAACK 2:20:54 10:46 5/7 45/73 F5559
132 MARILYN JOHNSON 2:20:56 10:46 6/7 46/73 F5559
133 Deanna Koelewyn 2:23:11 10:56 6/12 47/73 F4549
134 Karen Briltz 2:23:15 10:57 9/14 48/73 F4044
135 PEGGY SCHUH 2:23:29 10:58 9/11 49/73 F5054
136 RICHARD GARRETT 2:23:30 10:58 10/11 87/98 M4549
137 JOSHUA ST. CLAIR 2:24:23 11:02 10/10 88/98 M1319
138 DAVID CHAPIN 2:25:02 11:05 7/8 89/98 M2529
139 JOANNA THOMAS 2:25:03 11:05 6/8 50/73 F2529
140 Paula Badasci 2:25:14 11:06 10/14 51/73 F4044
141 Joe Saldana 2:26:19 11:11 17/18 90/98 M5054
142 carol montez 2:29:10 11:24 7/12 52/73 F4549
143 Lynda Ernst 2:30:26 11:29 8/12 53/73 F4549
144 Maria Mendoza 2:31:06 11:33 7/8 54/73 F2529
145 Christine Gibson 2:34:12 11:47 8/8 55/73 F2529
146 Cheryl Scott 2:35:09 11:51 11/11 91/98 M4044
147 Renee Candelaria 2:35:46 11:54 9/12 56/73 F4549
148 Becky Whitehead 2:37:09 12:00 2/2 57/73 F7099
149 David Martino-Carr 2:38:34 12:07 8/9 92/98 M5559
150 Cheryl Wahl 2:39:43 12:12 10/12 58/73 F4549
Bakersfield Track Club Half Marathon and 5K
November 15, 2008
Half Marathon
Place Name Time Pace Div/Tot Sex/Tot Div
151 Brad Wahl 2:39:43 12:12 11/11 93/98 M4549
152 CAROL MONJE 2:41:13 12:19 10/11 59/73 F5054
153 SHELLEY JOHNSON 2:41:41 12:21 11/14 60/73 F4044
154 MICHAEL GARCIA 2:41:42 12:21 9/9 94/98 M5559
155 Yiota Harrelson 2:43:32 12:29 6/9 61/73 F3034
156 Kim Aviles 2:44:28 12:34 12/14 62/73 F4044
157 JULIE LEE 2:47:44 12:49 13/14 63/73 F4044
158 Eva Ramirez 2:47:48 12:49 7/9 64/73 F3034
159 Melanie Reed 2:47:53 12:49 14/14 65/73 F4044
160 GEOFF MCAVOY 2:49:14 12:56 8/8 95/98 M2529
161 SUSAN ORMEROD 2:54:42 13:21 11/12 66/73 F4549
162 Kenadee Mishler 2:58:06 13:36 2/2 67/73 F2024
163 Phyllis Martino-Carr 3:00:00 13:45 7/7 68/73 F5559
164 Kathy Berckes 3:00:04 13:45 11/11 69/73 F5054
165 Rafaela Cisneros 3:01:09 13:50 5/5 70/73 F3539
166 Dwayne Mishler 3:02:07 13:55 18/18 96/98 M5054
167 Elizabeth Luckhardt 3:03:22 14:00 12/12 71/73 F4549
168 Ana Arreola 3:03:54 14:03 8/9 72/73 F3034
169 IAN BYERS 3:06:51 14:16 8/8 97/98 M3034
170 Gisela Gomez 3:08:08 14:22 9/9 73/73 F3034
171 Robert Sandoval 3:08:08 14:22 14/14 98/98 M3539
©2008 Bakersfield Track Club
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.
well, there's nsa cia whore and murderer jami rose,
and her 'settings' of medals thru the sochi olympics :)
www.timeanddate.com/date/durationresult.html?m1=4&d1=...
From and including: Friday, April 4, 1980
To, but not including Saturday, February 22, 2014
Result: 12,377 days
It is 12,377 days from the start date to the end date, but not including the end date
Or 33 years, 10 months, 18 days excluding the end date
Alternative time units
12,377 days can be converted to one of these units:
1,069,372,800 seconds
17,822,880 minutes
297,048 hours
12,377 days
1768 weeks (rounded down)
notice her '45' placement of Russia 40/77 and :)
Medal count
RankCountryGoldSilverBronzeTotal
1Russian Fed.1311933
2Norway1151026
3Canada1010525
4United States971228
5Netherlands87924
6Germany86519
7Switzerland63211
8Belarus5016
9Austria48517
10France44715
and the 1831 salcedo / guyaso zip 70119 new orleans jami 15/33:
1Russian Fed.1311933
doesn't take much, to see and understand her 'natural and arbitration guidance thru her daily basis on / in time', huh?
(and nsa via whore and murderer jami rose currently resides in texas, and you can see her reflection and natural arbitration in guidance of score, here:
scores.espn.go.com/ncb/boxscore?gameId=400498406
#19TEX 18 3654
#8KU 46 3985
and:
www.timeanddate.com/date/durationresult.html?m1=4&d1=...
From and including: Friday, April 4, 1980
To, but not including Sunday, February 23, 2014
Result: 12,378 days
It is 12,378 days from the start date to the end date, but not including the end date
Or 33 years, 10 months, 19 days excluding the end date
Alternative time units
12,378 days can be converted to one of these units:
1,069,459,200 seconds
17,824,320 minutes
297,072 hours
12,378 days
1768 weeks (rounded down)
54 love 85 contained.. same as thomas is contained in house 1768, huh?
33 jami 96 pleasure and what else to say?
54 love 85 contained 1768 weeks 54 love (eastern) 18 love (western),
i mean, 'opposite' 38/83 right? and how nsa cia whore and murderer USES
that to KILL people, FOR LOVE? (of violence 85 yea maybe that.. contained 85? riiight.. well
you get it :)
CIA and NSA Whore and MURDERER Jami Rose KILLED Alisa Ferraro and Paul Gagnon 4 months before their wedding 6
you created the channel at 1831 Salcedo / Guyaso Zip 70119, and placed Alisa inside of you and never even asked me if you could what do you think is going to happen to you CIA and NSA Whore and MURDERER Jami Rose
8635445544 CIA and NSA Whore and MURDERER Jami Rose KILLED Alisa Ferraro and Paul Gagnon on 07021995 isn't that right?
You murdered Alisa Ferraro and Paul Gagnon in time by me channeling your ill will and associations unknowingly didn't you CIA and NSA Whore and MURDERER Jami Rose your time will come i promise on my last dying breath your going to face judgement,
whether you like it or not :)
You created the channel and placed Alisa inside of you and never even asked me if you could what do you think is going to happen to you CIA and NSA Whore and MURDERER Jami Rose?
343 in time, huh? CIA and NSA Whore and MURDERER Jami Rose?
Jami 15/33 Alisa 242,
Still creating that "natural order" and ordinance of time of yours on a daily monthly weekly yearly basis and killing people in time, CIA and NSA Whore and MURDERER Jami Rose? :)
how much longer do you think before it ends up, on *your* end :)
you set up the channel without even asking me jami, and then you did what you wanted to, in 2005 and 2006. you chose murder jami, you chose
who supported you jami.. and why did you accept $$,$$$ to contain 176 and power contain 176 :) at 1831 salecdo/guyaso, and let those people die.. without even asking
me, if you could could create that channel, if you contain me. you chose jami. you chose murder. who supported you?
your CIA and NSA Whore Jami Rose MURDERED all of those people, DESTROYED all of those lives, what should her punishment be?
CIA Whore and MURDERER, Jami Rose. her photo, right here :)
www.flickr.com/photos/89268704@N08/8123854555/in/photostream
JamiRoseCIAandNSAWhore
jami rose cia and NSA whore all those people that she killed all that damage that she caused
1)hurricane katrina
2)bp oil spill
3)japan tsunami
her date in time for the murders and destruction she cause in Hurricane Katrina,
here:
www.timeanddate.com/date/durationresult.html?m1=4&d1=...
From and including: Friday, April 4, 1980
To, but not including Monday, August 29, 2005
Result: 9278 days
It is 9278 days from the start date to the end date, but not including the end date
Or 25 years, 4 months, 25 days excluding the end date
Alternative time units
9278 days can be converted to one of these units:
801,619,200 seconds
13,360,320 minutes
222,672 hours
9278 days
1325 weeks (rounded down)
en.wikipedia.org/wiki/Hurricane_Katrina
( At least 1,833 people died in the hurricane and subsequent floods, making it the deadliest U.S. hurricane since the 1928 Okeechobee hurricane; total property damage was estimated at $81 billion (2005 USD) (per wikipedia :)
nice reference, huh? :)
her date in time for the murders and destruction she cause in the BP Gulf Oil Spill,
here:
www.timeanddate.com/date/durationresult.html?m1=4&d1=...
From and including: Friday, April 4, 1980
To, but not including Tuesday, April 20, 2010
Result: 10,973 days
It is 10,973 days from the start date to the end date, but not including the end date
Or 30 years, 16 days excluding the end date
Alternative time units
10,973 days can be converted to one of these units:
948,067,200 seconds
15,801,120 minutes
263,352 hours
10,973 days
1567 weeks (rounded down)
( It claimed eleven lives[6][7][8][9] and is considered the largest accidental marine oil spill in the history of the petroleum industry, an estimated 8% to 31% larger in volume than the previously largest, the Ixtoc I oil spill. Following the explosion and sinking of the Deepwater Horizon oil rig, a sea-floor oil gusher flowed for 87 days, until it was capped on 15 July 2010.[8][10] The US Government estimated the total discharge at 4.9 million barrels (210 million US gal; 780,000 m3).[3] After several failed efforts to contain the flow, the well was declared sealed on 19 September 2010.[11] Some reports indicate the well site continues to leak.[12][13](per wikipedia..
notice the 1831 salcedo guyaso.. take away the contained 1 and you have... 831.. there's much more if you just check it out :)
en.wikipedia.org/wiki/Deepwater_Horizon_oil_spill
what was the government estimate of how many barrels of oil, again?
1.76 million, but for some reason that was lost and changed to 4.9.
just saying on that. :)
(there's alot there too.. make sure you check it out :)
next:
her date in time for the murders and destruction she cause in the 2011 Tōhoku earthquake and tsunami:
www.timeanddate.com/date/durationresult.html?m1=04&d1...
From and including: Friday, April 4, 1980
To, but not including Friday, March 11, 2011
Result: 11,298 days
It is 11,298 days from the start date to the end date, but not including the end date
Or 30 years, 11 months, 7 days excluding the end date
Alternative time units
11,298 days can be converted to one of these units:
976,147,200 seconds
16,269,120 minutes
271,152 hours
11,298 days
1614 weeks
doesn't take a genius to see this one, in direct correlation with nsa cia whore and murderer jami rose's time, does it? :)
(The 2011 earthquake off the Pacific coast of Tōhoku (東北地方太平洋沖地震 Tōhoku-chihō Taiheiyō Oki Jishin?), often referred to in Japan as the Great East Japan Earthquake (東日本大震災 Higashi nihon daishinsai?)[8][9][10][fn 1] and also known as the 2011 Tohoku earthquake,[11] and the 3.11 Earthquake, was a magnitude 9.0 (Mw) undersea megathrust earthquake off the coast of Japan that occurred at 14:46 JST (05:46 UTC) on Friday 11 March 2011,[2][3][12] with the epicentre approximately 70 kilometres (43 mi) east of the Oshika Peninsula of Tōhoku and the hypocenter at an underwater depth of approximately 30 km (19 mi).[2][13] It was the most powerful known earthquake ever to have hit Japan, and the fifth most powerful earthquake in the world since modern record-keeping began in 1900.[12][14][15] The earthquake triggered powerful tsunami waves that reached heights of up to 40.5 metres (133 ft) in Miyako in Tōhoku's Iwate Prefecture,[16][17] and which, in the Sendai area, travelled up to 10 km (6 mi) inland.[18] The earthquake moved Honshu (the main island of Japan) 2.4 m (8 ft) east and shifted the Earth on its axis by estimates of between 10 cm (4 in) and 25 cm (10 in),[19][20][21] and generated sound waves detected by the low orbiting GOCE satellite.[22]
On 12 September 2012, a Japanese National Police Agency report confirmed 15,883 deaths,[23] 6,150 injured,[24] and 2,643 people missing[25] across twenty prefectures, as well as 129,225 buildings totally collapsed, with a further 254,204 buildings 'half collapsed', and another 691,766 buildings partially damaged.[26] The earthquake and tsunami also caused extensive and severe structural damage in north-eastern Japan, including heavy damage to roads and railways as well as fires in many areas, and a dam collapse.[18][27] Japanese Prime Minister Naoto Kan said, "In the 65 years after the end of World War II, this is the toughest and the most difficult crisis for Japan."[28] Around 4.4 million households in northeastern Japan were left without electricity and 1.5 million without water.[29]
The main earthquake was preceded by a number of large foreshocks, with hundreds of aftershocks reported. The first major foreshock was a 7.2 MW event on 9 March, approximately 40 km (25 mi) from the epicenter of the 11 March earthquake, with another three on the same day in excess of 6.0 MW.[2][40] Following the main earthquake on 11 March, a 7.0 MW aftershock was reported at 15:06 JST (6:06 UTC), succeeded by a 7.4 MW at 15:15 JST (6:16 UTC) and a 7.2 MW at 15:26 JST (6:26 UTC).[41] Over eight hundred aftershocks of magnitude 4.5 MW or greater have occurred since the initial quake,[42] including one on 26 October 2013 (local time) of magnitude 7.3.[43] Aftershocks follow Omori's Law, which states that the rate of aftershocks declines with the reciprocal of the time since the main quake. The aftershocks will thus taper off in time, but could continue for years.[44](per wikipedia :)
en.wikipedia.org/wiki/2011_T%C5%8Dhoku_earthquake_and_tsu...
what else?
Still creating that "natural order" and ordinance of time of yours on a daily monthly weekly yearly basis and killing people in time, CIA and NSA Whore and MURDERER Jami Rose? :)
here's the rest :)
by entering in her information from date of birth here:
www.timeanddate.com/date/duration.html
you can monitor her information that is used by the world markets on a daily basis, not only that, but control for what is in numerical belief, thru out the us and the rest of the world.
She creates a natural order in time with her existance and by her date of birth, on a daily basis, weekly basis, yearly basis and in forward motion time placement. :)
Its also an Ordinance in time,
(but she's KILLING people in time. THOUSANDS of people,
and *thats* accepted. :) not anymore, huh, CIA and NSA Whore and MURDERER Jami Rose. :) not anymore :)
also,
www.timeanddate.com/date/durationresult.html?m1=01&d1...
(The stasis of origin should show in the above link, like what is just listed below. why not tell people? :)
From and including: Saturday, January 1, 0001 (Julian calendar)
To, but not including : Friday, April 4, 1980 (Gregorian calendar)
It is 722,910 days from the start date to the end date, but not including the end date
Or 1979 years, 3 months, 3 days excluding the end date
Note:The From date is a Julian calendar date. The current Gregorian calendar was adopted in United States where Thursday, September 3, 1752 was the first of 11 days that were skipped. This has been accounted for in this calculation. Read more about the Julian and Gregorian calendars
Alternative time units
722,910 days can be converted to one of these units:
62,459,424,000 seconds
1,040,990,400 minutes
17,349,840 hours
103,272 weeks (rounded down)
if you need a little help to her "stasis of orgin" here you go. if you're not smart enough to know what a birthday does in time, its an active measure for which you create throught your life span. there, i said it. don't like that intelligent secret? millions people living, and not knowing that. how could anyone not know? :)
and all those people she killed. never punished
thomas warn varnas will make sure that happens, won't he?
you attempted two murders on his life at 143 Rue Esplanade and Villa Du Lac,
by channeling his dreams with tenants and parking cars outside of his residence, capturing him..
how does it feel now Jami, to know the same is happening
to you :)
:)
there you go :)
btw, did i channel her ill will and associations unknowingly, and did it kill alisa ferraro and paul gagnon in time, to?
to me, that warrants enough to blow her head off.
sorry. but thats the way i feel, at the moment
~peace
thomas :) (not smiling) (but its about to get better :)
NOTE: ADDITION: DON'T FORGET TO CHECK OUT HER '45' FROM HER DOB, ON A DAILY BASIS, NEXT DAY BASIS, AND *YEARLY* BASIS.. THE FORMATION SHE HAS DOES MANY THINGS, *INCLUDING* 575.. just fyi.. :)
(and don't forget to check out one of CIA and NSA Whore and MURDERER Jami Rose's Habitat's.. 225 Area Code Baton Rouge.. you'll find her there :)
(Don't forget that she is being 'channeled' (still, after all those people she killed and all of that destruction) into sales and control for 'wins' :)
LSU and The New Orleans Saints..)
(504 319 0813 nsa cia whore and murderer jami rose's phone from 1831 Salcedo / Guyaso, Zip 70119
you can find out *everything* you need to know from Baton Rouge on nsa cia whore and murderer jami rose.
i did. :)
(oh yea, am i supposed to be mentioning anything on NSA itself on NSA CIA WHORE AND MURDERER JAMI ROSE'S *NEXT* BIRTH YEAR, THAT IS HAPPENING YEAR TO DAY.. 34.. initial 38/74 NSA 16/34.. alot of things are "happening" with that currently in time now, no? :) good info. pats self on back, check her out and what's going on in the markets.. :)
~peace
thomas :)
(*that's good* oh i know it is mrs alisa who is with mr paul in heaven, *i know it is* ty friend :)!
the only thing that i'm surprised about kids, is that i *truly* thought she had a conscious,
and that she would disclose who she really is.. who supported her to KILL :)
and not just that, to attempt to kill me to.
but you're too much of a coward, to face justice,
huh nsa cia whore and murderer jami rose?
what? afraid that you might end up in prison?
:) that would be a safer place for you now> :)
well, your move.
still chicken? seemingly so, and albeit without a conscious.
how long, will that last ?
~peace
thomas :)
片名：King Kong
译名：金刚
杰克·布莱克Jack Black
杰米·贝尔Jamie Bell
类型：动作/冒险/剧情/奇幻/科幻/惊悚
片长：--
发行：环球
上映日期：2005年12月14日(美国)
官方网站：http://www.kingkongmovie.com/
剧情简介 第一次世界大战的欧洲战场。“关键时刻”参战的美国空军在法国的上空正忙着与德国人周旋。在这场空战中让观众认识了才华横溢的美国飞行员杰克。时间瞬息转到十五年后，早已在空军退役的杰克已经来到了位于东南亚的苏门达腊到打工。
一支来自英国的考古队在队长罗德的带领下已经来到这片神奇的热带丛林很久了，队中还包括队长的千金，美丽的安。南太平洋阴郁、神秘的岛屿地貌和茂密森林同样吸引着这位性感的金发女郎。
来自美国本土电影之都好莱坞的导演卡尔·丹姆带着他的摄制组也不远万里、漂洋过海地来到这里寻找着他新片的灵感和最佳拍摄地。
然而，就是这三方看起来毫不相干的人们逐渐地被这荒蛮之地吸引到了一起。当这些人“团结”到一起组成全新的拍摄考察队伍，美丽的安成为卡尔导演最新的女一号的同时，在一座全新的岛屿上，这个似乎预谋已久的传奇故事便慢慢拉开了无法再次还原的序幕。数十米高的巨型黑猩猩、凶残的史前恐龙、无人踏及的原始森林、虔诚愚昧的土著人……都令这队来自文明世界的现代人始料不及。但利欲熏心的导演发现并导演了一场惊世骇俗的“人猩恋”。将美女安以土著人独特的“艺术形式”许配给了那个叫“刚”的大黑猩猩。然而，这一荒诞的行为却早就了一场惊心动魄的“人猩大战”……
幕后花絮 1933年版的《金刚》在影迷们当中有着很高的人气。因为它不仅仅是代表一部单纯的电影作品，它甚至带动了电影艺术的一个潮流。自七十二年前那只威猛的大黑猩猩首次登上帝国大厦，就已经在数不胜数的影视剧中亮相，就连近日横扫北美票房的迪斯尼动画片《四眼天鸡》中也可以看到那再熟悉不过的经典桥段。
还记得1976年，约翰?吉尔勒明耗费相当于当今6500万美元巨资翻拍的《金刚》，除了将金刚大战战机的场景从帝国大厦搬到在“9?11”中被覆灭的“世贸双子”外，其它故事发展和场景设置几乎与原版相同，但是，这部使用了当时最为先进的电影特技的《金刚》被观众斥为“简单的幻想片”，与原版的《金刚》完全没可比之处，这或许是观众对原版《金刚》爱护有加的表现之一吧。想当初梅里安?库珀仅消耗了68万美元拍出那部传世的黑白经典《金刚》，银幕上的大猩猩实际仅有十几米高，而用来拍摄握住安的近镜却由一只8米长的“巨臂”完成，那强壮的躯体也只由塑料加上兔毛粘制而成，可想而知这只大怪物有多“简陋”。然而，在观众心目中，这只金刚好得无可比拟。实在佩服大半个世纪前威利斯?布里恩为该片做出的有史以来第一个振奋人心的视觉特效。可惜当初奥斯卡还没有最佳视觉特效奖，凭1933版《金刚》天马行空的想法和特效，丝毫不比当今的好莱坞CG电影差多少……
影片简评 早在七十二年前的1933年，一只巨大的猩猩就已经一只手握着一位性感女郎，令一只手攀在纽约帝国大厦的尖顶上，像世人宣誓着自己对爱情的忠贞不渝和永往无前了。而野蛮的人们却用他们高傲的姿态、嘲笑的声音和他们引以为傲的战机，欲征服这只来自原始部落的强悍动物……
《金刚》影片的诞生可以说是电影史上的必然，亦是偶然。先说必然，在电影这类特殊的艺术表现形式发展到那个年代的时候，已经有越来越纷繁的表现形式和另类题材被聪明的电影人引入大银幕。曾风靡一时的巨大怪物哥斯拉，《捉鬼队》中巨大的棉花糖人等已经越来越受到影迷们的关注和喜爱。因此像金刚这样来自我们人类平行世界中的近亲便不期而至地走上了大银幕。另外，电影制作技术的不断创新也使得此类电影特技日臻成熟地运用在了实际的电影作品当中，从而能越来越带动人们对此类电影的兴趣
曲目及下载：
· Something Monstrous... Neither Beast Nor Man
· Captured
so where are we with what is important.. for *tomorrow* in nsa cia whore and MURDERER jami rose's day in time?
:) www.timeanddate.com/date/durationresult.html?m1=4&d1=...
From and including: Friday, April 4, 1980
To, but not including Thursday, January 23, 2014
Result: 12,347 days
It is 12,347 days from the start date to the end date, but not including the end date
Or 33 years, 9 months, 19 days excluding the end date
Alternative time units
12,347 days can be converted to one of these units:
1,066,780,800 seconds
17,779,680 minutes
296,328 hours
12,347 days
1763 weeks (rounded down)
and :)
scores.espn.go.com/ncb/conversation?gameId=400509996
Illinois
(13-6, 2-4 Big Ten)
(17) Ohio State
(15-4, 2-4 Big Ten)
and, :)
her 'forward' yearly placement :);
www.timeanddate.com/date/durationresult.html?m1=4&d1=...
From and including: Friday, April 4, 1980
To, but not including Sunday, January 25, 2015
Result: 12,714 days
It is 12,714 days from the start date to the end date, but not including the end date
Or 34 years, 9 months, 21 days excluding the end date
Alternative time units
12,714 days can be converted to one of these units:
1,098,489,600 seconds
18,308,160 minutes
305,136 hours
12,714 days
1816 weeks (rounded down)
and :)
scores.espn.go.com/ncb/conversation?gameId=400506386
LSU
(12-5, 3-2 SEC)
Alabama
(8-9, 2-2 SEC)
not hard to read between the lines, huh?
and how about :)?
what i *love* about this,
is evverybody knows..
who she is now.
and she cowars and hides..
how about that? :))))))))))
how much *longer* before daughter jaytlyn finds out in school that mommy was a prostitute that worked for intelligence?
how much *longer* before daughter jaytlyn finds out mommy sold drugs out of her place in colorado..
how much longer?
can't hide from that,
can you,
nsa cia whore and MURDERER jami rose.. :))))))
~peace
thomas :))))))))
CIA and NSA Whore and MURDERER Jami Rose KILLED Alisa Ferraro and Paul Gagnon 4 months before their wedding 6
you created the channel at 1831 Salcedo / Guyaso Zip 70119, and placed Alisa inside of you and never even asked me if you could what do you think is going to happen to you CIA and NSA Whore and MURDERER Jami Rose
8635445544 CIA and NSA Whore and MURDERER Jami Rose KILLED Alisa Ferraro and Paul Gagnon on 07021995 isn't that right?
You murdered Alisa Ferraro and Paul Gagnon in time by me channeling your ill will and associations unknowingly didn't you CIA and NSA Whore and MURDERER Jami Rose your time will come i promise on my last dying breath your You created the channel and placed Alisa inside of you..
You murdered Alisa Ferraro and Paul Gagnon in time by me channeling your ill will and associations unknowingly didn't you CIA and NSA Whore and MURDERER Jami Rose your time will come i promise on my last dying breath your going to face judgement,
whether you like it or not :)
You created the channel and placed Alisa inside of you and never even asked me if you could what do you think is going to happen to you CIA and NSA Whore and MURDERER Jami Rose?
343 in time, huh? CIA and NSA Whore and MURDERER Jami Rose?
Jami 15/33 Alisa 242,
Still creating that "natural order" and ordinance of time of yours on a daily monthly weekly yearly basis and killing people in time, CIA and NSA Whore and MURDERER Jami Rose? :)
how much longer do you think before it ends up, on *your* end :)
you set up the channel without even asking me jami, and then you did what you wanted to, in 2005 and 2006. you chose murder jami, you chose
who supported you jami.. and why did you accept $$,$$$ to contain 176 and power contain 176 :) at 1831 salecdo/guyaso, and let those people die.. without even asking
me, if you could could create that channel, if you contain me. you chose jami. you chose murder. who supported you?
your CIA and NSA Whore Jami Rose MURDERED all of those people, DESTROYED all of those lives, what should her punishment be?
CIA Whore and MURDERER, Jami Rose. her photo, right here :)
www.flickr.com/photos/89268704@N08/8123854555/in/photostream
JamiRoseCIAandNSAWhore
jami rose cia and NSA whore all those people that she killed all that damage that she caused
JamiRoseCIAandNSAWhore
jami rose cia and nsa whore all those people that she killed all that damage that she caused
1)hurricane katrina
2)bp oil spill
3)japan tsunami
and many others in time.
raped. robed. murdered. dismembered.
never punished for her crimes
born on april 4 1980.
here you go :)
by entering in her information from date of birth here:
www.timeanddate.com/date/duration.html
you can monitor her information that is used by the world markets on a daily basis, not only that, but control for what is in numerical belief, thru out the us and the rest of the world.
She creates a natural order in time with her existance and by her date of birth, on a daily basis, weekly basis, yearly basis and in forward motion time placement. :)
Its also an Ordinance in time,
(but she's KILLING people in time. THOUSANDS of people,
and *thats* accepted. :) not anymore, huh, CIA and NSA Whore and MURDERER Jami Rose. :) not anymore :)
also,
www.timeanddate.com/date/durationresult.html?m1=01&d1...
(The stasis of origin should show in the above link, like what is just listed below. why not tell people? :)
From and including: Saturday, January 1, 0001 (Julian calendar)
To, but not including : Friday, April 4, 1980 (Gregorian calendar)
It is 722,910 days from the start date to the end date, but not including the end date
Or 1979 years, 3 months, 3 days excluding the end date
Note:The From date is a Julian calendar date. The current Gregorian calendar was adopted in United States where Thursday, September 3, 1752 was the first of 11 days that were skipped. This has been accounted for in this calculation. Read more about the Julian and Gregorian calendars
Alternative time units
722,910 days can be converted to one of these units:
62,459,424,000 seconds
1,040,990,400 minutes
17,349,840 hours
103,272 weeks (rounded down)
if you need a little help to her "stasis of orgin" here you go. if you're not smart enough to know what a birthday does in time, its an active measure for which you create throught your life span. there, i said it. don't like that intelligent secret? millions people living, and not knowing that. how could anyone not know? :)
and all those people she killed. never punished
thomas warn varnas will make sure that happens, won't he?
you attempted two murders on his life at 143 Rue Esplanade and Villa Du Lac,
by channeling his dreams with tenants and parking cars outside of his residence, capturing him..
how does it feel now Jami, to know the same is happening
to you :)
:)
there you go :)
btw, did i channel her ill will and associations unknowingly, and did it kill alisa ferraro and paul gagnon in time, to?
to me, that warrants enough to blow her head off.
sorry. but thats the way i feel, at the moment
~peace
thomas :) (not smiling) (but its about to get better :)
NOTE: ADDITION: DON'T FORGET TO CHECK OUT HER '45' FROM HER DOB, ON A DAILY BASIS, NEXT DAY BASIS, AND *YEARLY* BASIS.. THE FORMATION SHE HAS DOES MANY THINGS, *INCLUDING* 575.. just fyi.. :)
(and don't forget to check out one of CIA and NSA Whore and MURDERER Jami Rose's Habitat's.. 225 Area Code Baton Rouge.. you'll find her there :)
(Don't forget that she is being 'channeled' (still, after all those people she killed and all of that destruction) into sales and control for 'wins' :)
LSU and The New Orleans Saints..)
(504 319 0813 nsa cia whore and murderer jami rose's phone from 1831 Salcedo / Guyaso, Zip 70119
you can find out *everything* you need to know from Baton Rouge on nsa cia whore and murderer jami rose.
i did. :)
(oh yea, am i supposed to be mentioning anything on NSA itself on NSA CIA WHORE AND MURDERER JAMI ROSE'S *NEXT* BIRTH YEAR, THAT IS HAPPENING YEAR TO DAY.. 34.. initial 38/74 NSA 16/34.. alot of things are "happening" with that currently in time now, no? :) good info. pats self on back, check her out and what's going on in the markets.. :)
~peace
thomas :)
(*that's good* oh i know it is mrs alisa who is with mr paul in heaven, *i know it is* ty friend :)!
[crosseye stereograph, see 3D with your right eye on the left image, and left on right.]
My second break-out frame ever attempted.
Normally, I am opposed to loosing any information in a picture. The purpose of my work is recording reference documents.
I started by matching the pairs [see "How to Join Stereo Pairs".]
To preserve the original stereo pair work, I duplicated the whole image layer and added an alpha channel to it, for trimming later.
I added a pink layer, which would be discarded later, between them - that would provide contrasting background for the edge trimming to come.
To create the first frame, I added a transparent layer in which I used the rectangle select tool to carefully position the centers of the first frame rails that would widen from as edges accumulated..
To simulate a guilded wood frame,
I picked a pine wood pattern as a brush, clicked Edit|Stroke-selection at three pixels wide, which gave the center of the frame moulding.
Then I used the select-by-color tool anywhere in the transparent area and inverted that selection to select the frame edges.
I repeated those two select/stroke steps several times, thickening the frame with alternating solid color/patten brush, varying the width of the stroke and choosing progressively darker toward the edges.
When I was satisfied with the frame appearance, I reduced its dimension with Layer|Autocrop-layer because it was a perfect rectangle to duplicate for the matching pair. If it was any other shape I could have selected transparent by color, inverted the selection to CTRL-C copy the frame, and then added a clear layer to paste the copy into. Either way it is important at this point to have the copy on a separate layer to slide around visually aligning the frame to draw the eye behind the locomotive. The right edge was most important in this shot, so I tried to "give clearance" as if the frame were touching the wheels of the obscured side. I wasn't concerned with the left edge, knowing that if such a giant gold frame around the real engine existed, the viewer would be able to "see around" it more with the right eye, and that would enhance the illusion of depth.
Quickly, I checked horizontal alignment by zooming in to 800% aligning the bottom of the window to the edge of the frame, then dragging the bottom slider over to the other frame to use the move tool adjusting up/down so the frames are at identical heights relative to the window base. (a method used in the critical point of Joining Stereo Pairs.)
The next step is a tough concept for the simplest results. There are two frames that cover both engines. But I want to make it appear that the engine is breaking out of the page, and the bars descending down over the boiler spoil that effect, so they must be removed. To do that most easily requires "flying blind", working on a layer you don't see.
I clicked the layer of the offending guilded frame as the one to work on, then clicked off it's visibility, so I see only the engine. Zoom in to the stack. Using the free-select tool (lasso) I carefuly set points along it's edge as if I were going to cut the smokestack away. When I was wider than the bar of the frame, I checked my work, and clicked the guilded frame layer item visibility, tap the deleted key and the frame now has a hole in it. Three more holes for the top and bottom cut-away of the frame leaves floating bars of frame that are easily removed with rectangle select. Now the top layers depicting the frames end at the visual limit of the object, giving the appearance that they disappear behind that object.
Last step: trim away the background outside the frames.
I selected the duplicate layer to work on, knowing that CTRL-Z (undo) is my friend and if I really mess up, the bottom layer is still in registration so I can select a matching piece to overlap a higher layer with a copy/paste and not have to worry about alignment. Having the "decoupage" layer (with alpha channel added) over the pink contrasting layer was a great help in the trim. I worked in small sections with the free-select tool and delete key, snipping away at the edge of the subject, then removing large chunks as we did with the guilded frame. Having pink show through to confirm the right places were deleted and nothing more is easier to me than the default grey checkerboard against this essentially black and white subject.
The project took several hours.
When I was done I saved it in three formats:
1) .xcf the native format that preserves tranparancies and layers, so I could come back and make adjustments if needed.
2) .gif to preserve transparency, at the cost of color depth. For web pages with backgrounds other than white.
3) .jpg flattened with a white background for color depth at the cost of transparency. for web pages with white backgrounds.
3D, California, Los Angeles, Griffith Park, Travel Town, Shay locomotive, Camino-Placerville & Lake Tahoe #2, Break-out of frame, dsc00110, 2010.03.21 17.43, 34.154640, -118.308527
www.politico.com/news/stories/0611/56941.html
A 'kitchen sink solution' on jobs
By: Chris Frates
June 15, 2011
The center-left Washington think tank Third Way is holding a forum Wednesday to discuss the merits of allowing companies to bring the $1 trillion in profits parked overseas back to the United States at a temporarily reduced tax rate.
The morning forum at Union Station will include Sen. Kay Hagan (D-N.C.); Democratic Reps. Loretta Sanchez of California and Jared Polis of Colorado; former Service Employees International Union President Andy Stern; Duke Energy chief executive Jim Rogers; and George Schink, managing director of Navigant Economics.
Third Way’s vice president of communications, Sean Gibbons, said the forum is designed to determine whether the idea — which is anathema to many liberals — is a viable option for jump-starting U.S. job growth.
“We have unemployment near 9 percent. We’ve basically pulled every single lever we can as a government. … We’ve done almost everything we can to get the economy going. It’s time to throw in the kitchen sink. This is a kitchen sink solution,” Gibbons said. One trillion dollars “is a lot of coin. It’s sitting overseas. If we could bring over a significant portion of that back into the economy, we believe that would stimulate demand, and demand stimulates jobs.”
It’s not a perfect solution, Gibbons said, but one the Republican-controlled House might be willing to entertain.
He acknowledged that analysts don’t yet know how many jobs such a policy might create. But, he said, bringing money back to the U.S. creates demand, which in turn drives hiring.
The forum is the first public event of the think tank’s new corporate tax reform project directed by former Rep. Dan Maffei (D-N.Y.), who’s now a Third Way senior fellow.
Right now there is over a trillion dollars in global profits earned by American businesses sitting overseas. What if we lowered the bar for companies to bring that money back home?
Third Way hosted an Idea Forum that examined the economic and policy implications of a repatriation tax holiday that would allow American multinational companies to bring overseas profits back to the U.S. for investment at a reduced tax rate.
Featuring a distinguished panel of leaders from business, labor, economics and government, the forum offered a fruitful discussion of a repatriation holiday’s impact on hiring and investment, business practices, and future tax policy. Participants include Senator Kay Hagan, (D-NC), Congresswoman Loretta Sanchez (CA-47), Congressman Jared Polis (CO-2), Andy Stern, former President of the Service Employees International Union, Jim Rogers, CEO of Duke Energy and Dr. George Schink, Managing Director and Principal of Navigant Economics.
This Idea Forum is the first public event of Third Way’s new corporate tax reform project, managed by former Congressman (and now Third Way Senior Fellow) Dan Maffei, which will advance ideas to make the code fairer, simpler, and more pro-growth.
current.newsweek.com/budgettravel/2009/07/rome_street_art...
Creative expression in Rome isn't limited to museums and churches. It's out in the open, if you know what to look for and where. We sent photoblogger Jessica Stewart out to capture street art's various incarnations—stencils, graffiti, chalk drawings, even break-dancing. Check out the results in our slide show.
Stewart moved to Rome four years ago, after completing degrees in art history and Renaissance studies, and began posting at RomePhotoBlog. Her photographs are on display through July 31 at Al Vino Al Vino (via dei Serpenti 19) and will be included in a show at Hobo Art Club (via Ascoli Piceno 3), September 11-25.
I chatted with Stewart over pizza at Il Maratoneta in Rome's San Lorenzo neighborhood this spring and, more recently, traded emails to get her impressions of the evolving street art scene.
What sparked your interest in street art, and when did you start photographing it?
I'd always noticed stencils and posters around in the city, but my real interest started in February when shooting a series on San Lorenzo for my blog. It's an area where a lot of street artists work and afterward I noticed it became a strong theme for that shoot. From then I've been doing more and have gotten a chance to get to know many of the artists, which makes it all the more interesting.
Where can tourists go to spot street art while in Rome, and what should they be looking for?
All the artists I know are quite respectful of the city, so you won't be finding anything pasted up on the Colosseum—you need to go a bit off the beaten path. The neighborhoods of Trastevere, Pigneto, and San Lorenzo are all good bets for finding street art. Ostiense has some nice stuff as well, especially near the Garbatella metro station where there are many interesting painted murals, and the Jewish Ghetto has work by Sten and Lex, as well as stencils by the French artists C215.
For tiny touches, check out the backs of street signs and bus stops, where many artists will place small stickers. Just keep your eyes peeled, as once you start looking you'll find examples everywhere. Now my friends (many of whom have lived here for years or are Romans) are seeing street art everywhere for the first time. It's been under their nose the whole time, but they hadn't noticed until someone pointed it out.
How does street art in Rome compare with that of hubs like London, Berlin, or L.A.? What makes it uniquely Roman?
I think that Rome street art is still very unknown, even in the city itself, and hasn't gotten nearly as commercial as in a lot of cities. A very small number of artists are making a name for themselves internationally already, but most are still emerging, which is really exciting. And I think the city is just starting to come around, with more events being organized and the founding of the gallery MondoPop, which features a lot of street artists, right near the Spanish Steps has brought even more legitimacy to the scene. As far as what makes it very Roman, I think you'll see a lot of pieces influenced by classic art, religion, and politics.
Rome has centuries worth of masterpieces. How do you think that legacy rubs off on street artists?
The influence is more obvious with some than others. The artist Lucamaleonte studied restoration here in Rome, and his pieces always remind me of the engravings or etchings of Albrecht Durer or Rembrandt. Mr. Klevra and Omino71's Byzantine-style Madonna and Child icons are other example of pieces that are influenced by the surroundings. But at the same time, I don't want to say that this is what every artist is looking at. Many, I think, subtly pay homage to Roman history, such as the Hogre stencil that with a date written on a beer bottle gives a nod to Allied bombings here in Rome in the 1940s. More often than not, however, I think people are creating their own styles. Artists have always commented on politics, religion, etc., so I think that isn't anything new. What I do think is that all the artists respect the city and are striving to express themselves outside of the established norms.
How long has the Rome scene been around, is it changing, and what sort of community is there?
As I understand it, around 2002, a small group began working more on stencils and posters. From there, the movement has grown, and I'm always struck by the diversity and talent I see here. There's a strong community of artists that has grown up around certain events and locations. The centro sociale Strike near Stazione Tiburtina is one haven, and certainly MondoPop's exhibits have brought people together, as well as the Stick My World exhibitions (begun by artist Omino71) that have given Roman artists more chances to work together. Some, like Sten, Lex, and Lucamaleonte work in a collective studio, while others often will go out together and paste up posters or work together on pieces.
Do you have a favorite artist?
I don't really have one absolute favorite, so if you don't mind, I'll give you a list of some favorites (in no particular order!). UNO, Hogre, 999, #, Lucamaleonte, Sten and Lex, Mr. Klevra, Omino71, Alice', Sone, Urka, and [X]. All completely different, but all very interesting and talented in their own ways. Most don't have websites, but almost everyone has an account on Flickr, which you should be able to find easily.
www.budgettravel.com/bt-srv/gallery/0907_RomeStreetArt/in...
ADOLFO VASQUEZ ROCCA _Doctor en Filosofía _ Director de 'Revista Observaciones Filosóficas'
ADOLFO VASQUEZ ROCCA __PH. D.
Doctor en Filosofía
Universidad Complutense de Madrid UCM
www.danoex.net/adolfovasquezrocca.html
Adolfo Vásquez Rocca
Doctor en Filosofía
REVISTA OBSERVACIONES FILOSÓFICAS
Prof. Dr. Adolfo Vásquez Rocca
Director de Revista Observaciones Filosóficas.
VÁSQUEZ ROCCA, Adolfo
Doctor en Filosofía
Valparaiso - Madrid
Pontificia Universidad Católica de Valparaíso
Universidad Andrés Bello UNAB
Universidad Complutense de Madrid
Tlf. (56) 32 - 233347X | E-mail: adolfovrocca@gmail.com
Trayectoría Académica
Doctor en Filosofía por la Pontificia Universidad Católica de Valparaíso; Postgrado Universidad Complutense de Madrid, Departamento de Filosofía IV. Profesor de Postgrado del Instituto de Filosofía de la Pontificia Universidad Católica de Valparaíso; Profesor de Antropología y Estética en el Departamento de Artes y Humanidades de la Universidad Andrés Bello UNAB. Profesor de la Escuela de Periodismo y Arquitectura UNAB Santiago. – En octubre de 2006 y 2007 es invitado por la 'Fundación Hombre y Mundo' y la UNAM a dictar un Ciclo de Conferencias en México. – Miembro del Consejo Editorial Internacional de la 'Fundación Ética Mundial' de México. Director del Consejo Consultivo Internacional de 'Konvergencias', Revista de Filosofía y Culturas en Diálogo, Argentina. Miembro del Conselho Editorial da Humanidades em Revista, Universidade Regional do Noroeste do Estado do Rio Grande do Sul, Brasil y del Cuerpo Editorial de Sophia –Revista de Filosofía de la Pontificia Universidad Católica del Ecuador–. Asesor Consultivo de Enfocarte –Revista de Arte y Literatura– Asturias, España. Miembro del Consejo Editorial Internacional de 'Reflexiones Marginales' –Revista de la Facultad de Filosofía y Letras UNAM– Director de Revista Observaciones Filosóficas. Profesor visitante en la Maestría en Filosofía de la Benemérita Universidad Autónoma de Puebla. – Profesor visitante Florida Christian University USA y Profesor Asociado al Grupo Theoria –Proyecto europeo de Investigaciones de Postgrado– UCM. Académico Investigador de la Vicerrectoría de Investigación y Postgrado, Universidad Andrés Bello. Artista conceptual. Ha publicado el Libro: Peter Sloterdijk; Esferas, helada cósmica y políticas de climatización, Colección Novatores, Nº 28, Editorial de la Institución Alfons el Magnànim (IAM), Valencia, España, 2008. Invitado especial a la International Conference de la Trienal de Arquitectura de Lisboa | Lisbon Architecture Triennale 2011
PUBLICACIONES
Publicaciones Internacionales Catalogadas en DIALNET Directorio de Publicaciones Científicas Hispanoamericanas
dialnet.unirioja.es/servlet/autor?codigo=1053859
Publications Scientific
de.scientificcommons.org/adolfo_v%C3%A1squez_rocca
Biblioteket og Aarhus Universitet, Denmark | Det Humanistiske Fakultet
Biblioteca Universidad Complutense de Madrid
Directorio de recursos digitales - Ministerio de Cultura, España
roai.mcu.es/es/consulta/busqueda_referencia.cmd?campo=ida...
Biblioteca Asociación Filosófica UI
www.uruguaypiensa.org.uy/categoria_144_1_1.html
LIBROS
VÁSQUEZ ROCCA, Adolfo
Libro: Peter Sloterdijk; Esferas, helada cósmica y políticas de climatización, Colección Novatores, Nº 28, Editorial de la Institución Alfons el Magnànim (IAM), Valencia, España, 2008. 221 páginas | I.S.B.N.: 978-84-7822-523-1
INVESTIGACIÓN:
Proyecto de Investigación N° DI-10-09/JM - UNAB
“Ontología de las distancias en Sloterdijk, hacia una teoría antropotécnica de las comunicaciones”.
Dirección de Investigación, Universidad Andrés Bello – Fondo Jorge Millas 2009, Facultad de Humanidades y Educación UNAB
TRAYECTORÍA ACADÉMICA
Doctor en Filosofía por la Pontificia Universidad Católica de Valparaíso; Postgrado Universidad Complutense de Madrid, Departamento de Filosofía IV, Teoría del Conocimiento y Pensamiento Contemporáneo. Áreas de Especialización Antropología y Estética.
Profesor de Postgrado del Instituto de Filosofía de la PUCV, Profesor asociado al Grupo Theoria Proyecto europeo de Investigaciones de Postgrado.
(1993) Profesor del Seminario "Lógica Contemporánea 'Wittgenstein y El Círculo de Viena' ", Instituto de Filosofía, Universidad Católica de Valparaíso
(1995-1998) Director de Investigación Teoría del Conocimiento -Theory of Knowledge Tok- The Mackay School, Bachillerato Internacional, International Baccalaureate.
(2005-2008) Profesor de Antropología, Escuela de Medicina, Universidad Andrés Bello.
(2005-2010) Profesor de Antropología Filosófica y Estética, Departamento de Artes y Humanidades de la Universidad Andrés Bello, UNAB
(2006-2007) Profesor de Estética, Escuela de Arquitectura, Universidad Andrés Bello UNAB
(2006) Profesor del Diplomado en Psicología Clínica "Psicopatología, subjetividad y cultura". Escuela de Psicología PUCV
(2006 - 2010) Profesor de Estética Escuela de Arquitectura, Universidad Andrés Bello, UNAB
(2006-2010) Profesor de Fundamentos Culturales de la Comunicación. Escuela de Periodismo, Universidad Andrés Bello, UNAB
(2006-2010) Profesor de la Escuela de Psicología, Universidad Andrés Bello, UNAB
(2006-2007) Profesor invitado Facultad de Filosofía y Letras de la Universidad Nacional Autónoma de México, UNAM
(2007) Profesor visitante de la Benemérita Universidad Autónoma de Puebla, semestre de otoño 2007, BUAP
(2005-2008) Profesor de Postgrado, Instituto de Filosofía, Pontificia Universidad Católica de Valparaíso, PUCV
(2005-2010) Profesor Asociado Grupo THEORIA Proyecto europeo de Investigaciones de Postgrado. UCM
(2009-2010) Profesor visitante Florida Christian University USA
(2010) Director Académico Carrera de Filosofía y Teología, Universidad Cristiana de Chile UCCH
(2009-2010) Académico Investigador de la Vicerrectoría de Investigación y Postgrado, Universidad Andrés Bello.
Asignaturas y Seminarios de Postgrado impartidos:
2005 - 2º Seminario "Rorty: ironismo liberal y giro narrativo de la Filosofía".
2006 1º Seminario Sloterdijk: "Crítica de la Razón Cínica"
2006 2º Seminario "Nietzsche; Genealogía de la moral y voluntad de ficción"
2007 1º Seminario Sloterdijk - Nietzsche
2007 2º Seminario: Sloterdijk un pensador estético
2008 1º Seminario "Peter Sloterdijk - W. Benjamín; De la Filosofía a la Arquitectura"
2008 2º Seminario "Sloterdijk y Baudrillard; Ontología de las distancias y antropotécnica de las comunicaciones"
PARTICIPACIÓN EN SEMINARIOS Y CONGRESOS
2004 Seminario Homenaje Prof. Dr. Mirko Skarica, Instituto de Filosofía, Pontificia Universidad Católica de Valparaíso. Ponencia: "Lógica paraconsistente y semántica de los mundos posibles", noviembre.
2004 Seminario "Raúl Ruiz y la vanguardia del Cine francés", organizado por la PUCV. UPLACED, ARCIS y Embajada de Francia. Conferencia: "Raúl Ruiz; Defensa retórica del arte de filmar y del cine como arte; plan secreto, sinfonía dramática y lógica narrativa", octubre.
2005 "El Dios Pensado: Estudios antropológicos acerca de lo divino" Ciclo de Conferencias en la Universidad Andrés Bello. Departamento de Artes y Humanidades - Campus República, UNAB. Conferencia: "Ludwig Wittgenstein; Mística, Filosofía y Silencio", septiembre
2006 Video-Conferencia UCM - UNED y A Parte Rei en ATEI Asociación de Televisión Educativa Iberoamericana, “El poder de la palabra; lenguaje y realidad”, Febrero, 2006, serbal.pntic.mec.es/~cmunoz11/video3.html
2006 Universidad Veracruzana en su 50' Aniversario y XI Encuentro Nacional de Pasantes de Filosofía. Conferencia Magistral: "La ficción del sujeto y las seducciones de la gramática en Nietzsche y Deleuze", octubre.
2006 Universidad Autónoma de Tlaxcala. Conferencia: "En el mismo barco: ensayo sobre la hiperpolítica, posmodernidad y globalización en Peter Sloterdijk", octubre.
2006 Universidad Autónoma de Tlaxcala. Cursillo Maestría en Filosofía: “El giro Estético de la epistemología; redescripciones de la posmodernidad”, 19 y 20 de octubre.
2006 1er Coloquio Hispanoamericano de Filosofía después de Auschwitz, en el Antiguo Colegio de Medicina, Ciudad de México; organizado por la UNAM, la Universidad Iberoamericana y La Asociación Filosófica de México. Ponencia: "Peter Sloterdijk; El Posthumanismo: sus fuentes teológicas y sus medios técnicos", octubre.
2006 Coloquio internacional: Repercusiones e interacciones políticas, filosóficas y teológicas entre oriente y occidente. UNAM, Mesa ética y Responsabilidad humana, Ponencia: "Rorty: el Giro narrativo de la Ética o la Filosofía como género literario", octubre.
2007 II Coloquio Franco-Hispano-Chileno de Etnopsicología y III Seminario Internacional sobre el Espacio "El Espacio y el Lenguaje". PUCV. Ponencia: "Metafórica de las Esferas; una aproximación al hombre como experimento sonoro", enero.
2007 Instituto de Sistemas Complejos de Valparaíso, Ciclo: "Diálogo: Ciencia, Política y Poder. ¿Es Chile una Sociedad Justa?". Conferencia: "Imaginarios, cartografía de las emociones escindidas y crisis del proyecto urbano, mayo.
2007 Congreso Internacional Nietzsche “Filosofía, Arte, religión, ciencia y política en Nietzsche: memorias de un caminante intempestivo”, organizado por la Universidad Veracruzana, México. Ponencia: "Nietzsche y Sloterdijk; depauperación del nihilismo, posthumanismo y complejidad extrahumana", octubre.
2007 Conferencia Magistral en el Colegio de Filosofía, introductoria a la Maestría en Filosofía de la Benemérita Universidad Autónoma de Puebla, “Peter Sloterdijk; Esferas, deriva biotecnológica y el cinismo difuso de nuestras sociedades Exhaustas”, octubre.
2007 Curso en el Colegio de Filosofía, introductoria a la Maestría en Filosofía de la Benemérita Universidad Autónoma de Puebla: “Sloterdijk; Esferas, Flujos y Redes; Antropología y Estética Posmoderna”, octubre.
2007 Conferencia Magistral Aula Magna, Universidad Nacional Autónoma de México UNAM, Sloterdijk; Esferas y Temblores de Aire [Estética, Ontogénesis de los Espacios Humanos y Etno-terrorismo], octubre
2007 Congreso Internacional de Fenomenología y Hermenéutica, Universidad Andrés Bello, sección Estética. Ponencia: “Sloterdijk: Esferas, fenomenología y ontogénesis de los espacios humanos”, octubre.
2000 "Reflexiones sobre Alteridad y Reconocimiento". Encuentros de la Facultad de Filosofía UCM con pensadores contemporáneos alemanes. Goethe Institut Madrid. Octubre.
2000 Ponencia en Seminario "El Reto del Espacio: Pensar con Heidegger sobre la obra de Eduardo Chillida", Facultad de Filosofía y Letras, Universidad Pontificia Comillas, Campus Cantoblanco, noviembre.
2000 Ponencia "El peso del mundo y el lento regreso del sujeto escindido en Peter Hanke", Encuentro Interdepartamental en torno a la Crisis de Fin de Siglo. Aspectos de la Identidad Europea. Facultad de Filosofía UNIVERSIDAD COMPLUTENSE DE MADRID. Diciembre.
2004 Seminario Homenaje Prof. Dr. Mirko Skarica, Instituto de Filosofía, Pontificia Universidad Católica de Valparaíso Ponencia:
Ponencia "Lógica paraconsistente y semántica de los mundos posibles" (noviembre).
2004 octubre Seminario "Raúl Ruiz y la vanguardia del Cine francés", organizado por la PUCV. UPLACED, ARCIS y EMBAJADA DE FRANCIA. Conferencia: "Raúl Ruiz; Defensa retórica del arte de filmar y del cine como arte; plan secreto, sinfonía dramática y lógica narrativa"
2005 "El Dios Pensado: Estudios antropológicos acerca de lo divino" Ciclo de Conferencias en la Universidad Andrés Bello. Departamento de Artes y Humanidades - Campus República, UNAB Conferencia: "Ludwig Wittgenstein; Mística, Filosofía y Silencio"
2006 I COLOQUIO FRANCO-HISPANO-CHILENO DE ETNOPSICOLOGÍA Y II SEMINARIO INTERNACIONAL SOBRE EL ESPACIO "EL ESPACIO Y EL OTRO". Enero, PUCV. Coloquio y moderación Ponencia de la Dra. Adela Cortina Orts
2007 CONGRESO INTERNACIONAL DE FENOMENOLOGÍA Y HERMENÉUTICA
Comunicación “Sloterdijk: Esferas, fenomenología y ontogénesis de los espacios humanos”,
Universidad Andrés Bello UNAB (17 - 19 de octubre, 2007)
2008 II Seminario "De la Filosofía a la Literatura"
Departamento de Artes y Humanidades, Universidad Andrés Bello UNAB (7 de noviembre, 2008)
Conferencia “Sloterdijk; Pensamiento, expedición y verdad”.
2008 Segundo Coloquio Interdisciplinario: “El Pensamiento de Carla Cordua y El Desarrollo de la Filosofía En Chile”.
Seminario Permanente Hegel – Marx. Facultad de Filosofía y Humanidades, Universidad de Chile UCH (13 de noviembre, 2008)
Ponencia: “En Torno a Sloterdijk y Heidegger: La recepción Filosófica”.
2008 Bienal de Artes Visuales de Honduras 2008: Diásporas del Futuro (BAVH)
Conferencia "El objetivo de la Crítica de Arte" [17 - 19 de noviembre, 2008]
2008 Congreso Internacional - Interdisciplinario de Filosofía, Córdoba, 2008. SAF Sociedad Argentina de Filosofía.
Museo - Palacio Martín Ferreyra (24 al 29 de noviembre, 2008)
Conferencia “Sloterdijk. Ontología de las distancias, concierto de transferencias e historia de la fascinación de proximidad”
2009 III Congreso Panamericano de Bioética OPS, 17 al 20 de junio, Caracas 2009.
Orden Hospitalaria San Juan de Dios. Conferencia inaugural:
“Sloterdijk, Heidegger y Agamben; Biopolítica o notas sobre el Parque Humano y la nuda vida”.
2009 “Seminario Internacional. Giorgio Agamben: Teología Política y Biopolítica”. Organizado por el Instituto de Humanidades de la Universidad Diego Portales. Ponencia: “Sloterdijk, Agamben y Nietzsche: Biopolítica, posthumanismo y Biopoder”. Septiembre
2009 Congreso “El sujeto de la Globalización” Organizado por la SAF Sociedad Asturiana de Filosofía, España. Conferencia: “Sloterdijk y el imaginario de la Globalización; mundo sincrónico y conciertos de transferencia” Octubre 2009 www.sociedadasturianadefilosofia.org/
- 2009 II Seminario Local de Pensamiento Ambiental y Filosofía Contemporánea, Universidad Nacional de Colombia-Sede Manizales, Universidad de Caldas. Auditorio Juan Hurtado Bloque H Piso -1, Diciembre 4 y 5 de 2009.
2010 Seminario de Postgrado, "Seminario Sloterdijk: Esferas y Posthumanismo; Sobre capitalismo, neuroglobalización y mundos asesores", Cátedra Inaugural de la Maestría en Estética, Universidad Nacional de Colombia, Medellín, Facultad de Ciencias Humanas y Económicas, Departamento de Estudios Filosóficos y Culturales, 10 al 12 de Agosto 2010, www.observacionesfilosoficas.net/seminariocolombia.htm
- 2011 International-Conference TRIENAL DE ARQUITECTURA DE LISBOA | LISBON ARCHITECTURE TRIENNALE, Conference "Psicopolítica en Sloterdijk y Virilio; El vértigo de la sobremodernidad; ciudades del pánico y turismo etnográfico”, Lisboa, Portugal, 15 and 16 January 2001 www.trienaldelisboa.com/en/international-conference
CONFERENCIAS INTERNACIONALES
Octubre 2006
Ciclo de Conferencias en México invitado por la Fundación Hombre y Mundo y la UNAM, 0ctubre de 2006.
- UV Universidad Veracruzana en su 50' Aniversario y XI Encuentro Nacional de Pasantes de Filosofía.
Conferencia Magistral: "La ficción del sujeto y las seducciones de la gramática en Nietzsche y Deleuze".
serbal.pntic.mec.es/~cmunoz11/vasquez49.pdf
- 1° COLOQUIO HISPANOAMERICANO DE FILOSOFÍA DESPUÉS DE AUSCHWITZ, en el Antiguo Colegio de Medicina, Ciudad de México; organizado por la UNAM, la UNIVERSIDAD IBEROAMERICANA Y LA ASOCIACIÓN FILOSÓFICA DE MÉXICO.
Ponencia: "Peter Sloterdijk; El Posthumanismo: sus fuentes teológicas y sus medios técnicos".
- UNIVERSIDAD AUTÓNOMA DE TLAXCALA
Conferencia: "El giro Estético de la Epistemología; el estatuto óntico-semiótico de la ficción".
- COLOQUIO INTERNACIONAL: REPERCUSIONES E INTERACCIONES POLÍTICAS, FILOSÓFICAS Y TEOLÓGICAS ENTRE ORIENTE Y OCCIDENTE
Conferencia Aula Magna, UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICO. UNAM:
"Rorty: el Giro narrativo de la Ética o la Filosofía como género literario"
- Ponencia "Espacio y Arquitectura de la Memoria; Hölderlin Trakl y Teillier", En Taller de Investigación "Arquitectura y Humanidades", Programa de Maestría y Doctorado en ARQUITECTURA - UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICO. UNAM
2007 - 2010
- II COLOQUIO FRANCO-HISPANO-CHILENO DE ETNOPSICOLOGÍA Y III SEMINARIO INTERNACIONAL SOBRE EL ESPACIO "EL ESPACIO Y EL LENGUAJE". 9 y 12 de Enero de 2007, PUCV
Conferencia: "Metafórica de las Esferas; una aproximación al hombre como experimento sonoro".
- INSTITUTO DE SISTEMAS COMPLEJOS DE VALPARAÍSO ISCV
Conferencia: "Imaginarios, cartografía de las emociones escindidas y crisis del proyecto urbano" En el marco del Ciclo: "Diálogo: Ciencia, Política y Poder – ¿Es Chile una Sociedad Justa?"
www.psikeba.com.ar/actualizaciones/archivo_06_07/Institut...
- EXPOSICIÓN "Esferas, flujos y complejidad extrahumana" Galería SONAR -Arte y Estudios Culturales- Buenos Aires.
comunicacion.unab.cl/index.php?option=com_content&tas...
[octubre - noviembre de 2007]
Exposición de Pintura: "La condición posthumana", En Espacio Expositivo Itaca -Homines- Málaga.
www.homines.com/itaca/vazquez_condicion_posthumana/index.htm
Exposición "La condition Posthumaine” En Psychanalyse Gallery Paris.
- Ciclo de Conferencias en México
- Conferencias y Congresos en México, invitado por la UNAM y la Fundación Cultural Hombre y Mundo
- CONGRESO INTERNACIONAL NIETZSCHE “Filosofía, Arte, religión, ciencia y política en Nietzsche: memorias de un caminante intempestivo”,
Universidad Veracruzana UV, México
Ponencia: "Nietzsche y Sloterdijk; depauperación del nihilismo, post humanismo y complejidad extrahumana".
[1 al 5 de octubre 2007]
- CONFERENCIA Y CURSILLO EN LA MAESTRÍA DE FILOSOFÍA
Benemérita Universidad Autónoma de Puebla BUAP [octubre 2007]
- CONFERENCIA MAGISTRAL AULA MAGNA de la Facultad de Filosofía y Letras de la Universidad Nacional Autónoma de México UNAM:
“Sloterdijk; Esferas y Temblores de Aire [Estética, Ontogénesis de los Espacios Humanos y Atmo-terrorismo]”
[9 de octubre 2007]
Agencia Universitaria de Noticias UNAM
aunam.politicas.unam.mx/Archivo/07/octubre/071010-pol.htm
- CONGRESO INTERNACIONAL DE FENOMENOLOGÍA Y HERMENÉUTICA
Sección ESTÉTICA
Comunicación “Sloterdijk: Esferas, fenomenología y ontogénesis de los espacios humanos”,
Universidad Andrés Bello UNAB [17 - 19 de octubre, 2007]
- SEMINARIO 'La Poética del Cine en Raúl Ruiz”, FESTIVAL DE CINE DE SEVILLA 2007, en colaboración con la Universidad Hispalense, Ponencia: "La Poética del Cine; sobre las permutaciones antropológicas en el cine de Raúl Ruiz”, 2 de noviembre 2007.
- 2009 III Congreso Panamericano de Bioética OPS, 17 al 20 de junio, Caracas 2009.
Conferencia inaugural: “Sloterdijk, Heidegger y Agamben; Biopolítica o notas sobre el Parque Humano y la nuda vida”.
- 2009 “Seminario acerca de la verdad” Tercera Versión Departamento de Artes y Humanidades, Universidad Andrés Bello.
Campus Viña del Mar - 22 de junio
Ponencia: “Sloterdijk y Heidegger. Verdad y biopolítica después de la crisis del humanismo”.
- 2009 “Seminario Internacional. Giorgio Agamben: Teología Política y Biopolítica”. Organizado por el Instituto de Humanidades de la Universidad Diego Portales. Ponencia: “Sloterdijk, Agamben y Nietzsche: Biopolítica, posthumanismo y Biopoder”. Septiembre
- 2009 Congreso “El sujeto de la Globalización” Organizado por la SAF Sociedad Asturiana de Filosofía, Gigón - España. Conferencia: “Sloterdijk y el imaginario de la Globalización; mundo sincrónico y conciertos de transferencia” Octubre 2009 www.sociedadasturianadefilosofia.org/
- II Seminario Local de Pensamiento
- 2009 II Seminario Local de Pensamiento Ambiental y Filosofía Contemporánea, Universidad Nacional de Colombia-Sede Manizales, Universidad de Caldas. Auditorio Juan Hurtado Bloque H Piso -1, Diciembre 4 y 5 de 2009.
- 2010 Seminario de Postgrado, "Seminario Sloterdijk: Esferas y Posthumanismo; Sobre capitalismo, neuroglobalización y mundos asesores", Cátedra Inaugural de la Maestría en Estética, Universidad Nacional de Colombia, Medellín, Facultad de Ciencias Humanas y Económicas, Departamento de Estudios Filosóficos y Culturales, 10 al 12 de Agosto 2010, www.observacionesfilosoficas.net/seminariocolombia.htm
- 2011 International-Conference TRIENAL DE ARQUITECTURA DE LISBOA | LISBON ARCHITECTURE TRIENNALE, Conference "Psicopolítica en Sloterdijk y Virilio; El vértigo de la sobremodernidad; ciudades del pánico y turismo etnográfico”, Lisboa, Portugal, 15 and 16 January 2001 www.trienaldelisboa.com/en/international-conference
PROYECTOS DE INVESTIGACIÓN
2009 - 2010
- Proyecto de Investigación N° DI-10-09/JM - UNAB
- Proyecto de Investigación: “Ontología de las distancias en Sloterdijk, hacia una teoría antropotécnica de las comunicaciones”.
Dirección General de Investigación y Desarrollo, (VRID) – Vicerrectoría de Investigación y Doctorado UNAB
Fondo Jorge Millas 2009, Facultad de Humanidades y Educación. Universidad Andrés Bello
2011 - 2012
- Proyecto de Investigación N° DI-08-11/JM - UNAB
- Proyecto de Investigación: “Ontología del cuerpo en la Filosofía de Jean Luc Nancy, Biopolítica, Alteridad y Estética de la Enfermedad”.
Dirección General de Investigación y Desarrollo, (VRID) – Vicerrectoría de Investigación y Doctorado UNAB
Fondo Jorge Millas 2009, Facultad de Humanidades y Educación. Universidad Andrés Bello
PROYECTOS DE CREACIÓN ARTÍSTICA
2007 - 2008
Exposición la Condición Post-Humana | Buenos Aires - Málaga |
Marco conceptual y Registro de Obras
ENTREVISTAS
2010
"Filosofía como teoría erótica. Entrevista a Adolfo Vásquez Rocca". Entrevista en 'ALCANCES' Vol.I, Nº 1, año 2010 – Revista de Filosofía – de la Facultad de Filosofía y Humanidades de la Universidad de Chile. www.alcances.cl/ver-articulo.php?id=81
PARTICIPACIÓN EN DIRECTORIOS INTERNACIONALES Y CONCEJOS CIENTÍFICOS.
Director
Revista Observaciones Filosóficas
www.observacionesfilosoficas.net/
Revista de Filosofía Contemporánea, con secciones dedicadas a la Antropología, Estética, Epistemología, Ética, Psicología y Literatura. Indexada en Base de Datos de la Universidad Complutense de Madrid, Catalogada en UNIVERSIA.net Directorio de la Conferencia de Rectores de Universidades Españolas y el Consejo Superior de Investigaciones Científicas (CSIC); DIALNET Directorio de publicaciones científicas hispanoamericanas; LATINDEX Sistema de Publicaciones Científicas Seriadas de América Latina, España y Portugal. En BIBLIOTECA VIRTUAL MIGUEL DE CERVANTES; Les Signets de la BIBLIOTHÈQUE NATIONALE DE FRANCE: Philosophie, Revues y Centre d'Études en Rhétorique, Philosophie et Historie des Idées, Paris. Asociada al Postgrado en Filosofía - Pontificia Universidad Católica de Valparaíso y al Grupo THEORIA Proyecto europeo de Investigaciones de Postgrado. ISSN 0718-3712
Secretario de Redacción de Philosophica, Revista del Instituto de Filosofía de la PUCV. ISSN0716–1913
Editor Asociado de Psikeba, Revista de Psicoanálisis y Estudios Culturales, Buenos Aires, ISSN 1850-339X www.psikeba.com.ar
Miembro de la Federación Internacional de Archivos Fílmicos (FIAF) con sede en Bruselas, Bélgica.
Miembro del Consejo de Redacción de Revista Homines –Arte y Cultura– MA-739-2004, Málaga, España.
Miembro del Consejo Editorial Internacional de la Fundación Ética Mundial de México, www.eticamundial.com.mx/fundacion.html
Miembro del Conselho Editorial da Humanidades em Revista, Universidade Regional do Noroeste do Estado do Rio Grande do Sul, Brasil.
Miembro de la Sociedad Internacional de Bioética (SIBI) - 'Bioéticas'. Guía internacional de la Bioética
Miembro del Consejo Editorial Internacional de 'Cuadernos del Seminario' - Revista del Seminario del Espacio ISSN 0718-4247 Vicerrectoría de Investigación y Estudios Avanzados Pontificia Universidad Católica de Valparaíso.
Miembro del Consejo Editorial de Escáner Cultural - Revista de Arte Contemporáneo y nuevas tendencias, Santiago.
Miembro del Taller de Investigacion "Arquitectura y Humanidades" del Programa de Maestría y Doctorado en Arquitectura de la Universidad Nacional Autónoma de México, UNAM
Miembro del Consejo Consultivo Internacional y dictaminador de Revista de Humanidades:Tecnológico de Monterrey, México.
Director del Consejo Consultivo Internacional de Konvergencias, Revista de Filosofía y Culturas en Diálogo, Argentina. ISSN 1669-9092
COLUMNISTA DE REVISTAS Y PUBLICACIONES INTERNACIONALES, entre las que se cuentan:
A PARTE REI ISSN: 1137-8204 -Revista de la Sociedad de Estudios Filosóficos de Madrid-
NÓMADAS Revista Crítica de Ciencias Sociales y Jurídicas ISSN 1578-6730 - Universidad Complutense de Madrid.
MARGEN CERO, Miembro fundador de la Asociación de Revistas Culturales de España, ISSN 1695-4807
CUENTA Y RAZÓN, Revista de la Fundación de Estudios Sociológicos (FUNDES) de Madrid, Fundada por Julián Marías, ISSN: 0211-1381
HETEROGÉNESIS [SWEDISH-SPANISH] _ Revista de arte contemporáneo. TIDSKRIFT FÖR SAMTIDSKONST
MODALOGÍA Filosofía della moda - Italia
EIKASIA Revista de Filosofía, ISSN 1885-5679 - Oviedo, España
ENFOCARTE Revista Internacional de Arte y Cultura, España
DEBATS Revista de Filosofía y crítica cultural, ISSN 0212-0585, Institució Alfons el Magnànim, Valencia.
LIBROS
VÁSQUEZ ROCCA, Adolfo
Libro: Peter Sloterdijk; Esferas, helada cósmica y políticas de climatización, Colección Novatores, Nº 28, Editorial de la Institución Alfons el Magnànim (IAM), Valencia, España, 2008. 221 páginas | I.S.B.N.: 978-84-7822-523-1
Libro: Rorty: el Giro narrativo de la Ética o la Filosofía como género literario [Compilación de Conferencias en México D.F.] Editorial Hombre y Mundo (HyM), México, 2007 Publicación programada para 2009.
ENTREVISTAS
2010
"Filosofía como teoría erótica. Entrevista a Adolfo Vásquez Rocca". Entrevista en 'ALCANCES' Vol.I, Nº 1, año 2010 – Revista de Filosofía – de la Facultad de Filosofía y Humanidades de la Universidad de Chile. www.alcances.cl/ver-articulo.php?id=81
TESIS DIRIGIDAS
- Tesis: "Globalización y ontología de las distancias en Sloterdijk; hacia una teoría antropotécnica de las comunicaciones". Srta. Liliana Vásquez Rocca
Grado de Magíster en Filosofía. Instituto de Filosofía, Pontificia Universidad Católica de Valparaíso, 2010.
- Tesis: "El espacio interfacial de la convivencia; Micro-esfereología en Peter Sloterdijk". Srta. Lucía Muñiz, 2009
Grado de Magister en Filosofía Práctica, Colegio de Filosofía, Benemérita Universidad Autónoma de Puebla, México.
- Tesis: "Antecedentes y Alcances del problema del humanismo en "Normas para el Parque Humano" de Sloterdijk". Sr. Dusan Vuskovic.
Grado de Licenciatura en Filosofía. Instituto de Filosofía, Pontificia Universidad Católica de Valparaíso, 2008.
- Tesis: "El desarrollo de la intimidad en el tránsito de la Psico-técnica", Sr. Jonathan Belmar Guzmán.
Grado de Licenciatura en Filosofía. Instituto de Filosofía, Pontificia Universidad Católica de Valparaíso, 2007.
PUBLICACIONES indexadas
Publicaciones Internacionales Catalogadas en los siguientes Directorios y Bases de Datos:
Directorio de contenidos científicos, DIALNET, Universidad de la Rioja, España.
dialnet.unirioja.es/servlet/autor?codigo=1053859
Directorio de recursos digitales - Ministerio de Cultura, España
roai.mcu.es/es/consulta/busqueda_referencia.cmd?campo=ida...
Revistas Científicas de la UCM - Editorial Board
Biblioteket og Aarhus Universitet, Denmark | Det Humanistiske Fakultet
ISOC, CIENCIAS SOCIALES Y HUMANIDADES - CINDOC (Centro de Información y Documentación Científica), CSIC (España)
Directorio de publicaciones científicas de América Latina LATINDEX
PHILOSOPHER'S INDEX
DIALNET
ISI
SciELO
DOAJ
www.danoex.net/adolfovasquezrocca.html
ADOLFO VASQUEZ ROCCA __PH. D.
Doctor en Filosofía
Universidad Complutense de Madrid UCM
www.danoex.net/adolfovasquezrocca.html
Adolfo Vásquez Rocca
Doctor en Filosofía
VÁSQUEZ ROCCA, Adolfo
Doctor en Filosofía
Valparaiso - Madrid
ADOLFO VASQUEZ ROCCA __PH. D.
Doctor en Filosofía
Universidad Complutense de Madrid UCM
www.danoex.net/adolfovasquezrocca.html
Adolfo Vásquez Rocca
Doctor en Filosofía
REVISTA OBSERVACIONES FILOSÓFICAS
Prof. Dr. Adolfo Vásquez Rocca
Director de Revista Observaciones Filosóficas.
Mr. Adolfo Vásquez Rocca PH. D. Oxford University: International Baccalaureate IB. Theory of Knowledge _ Director
Pontificia Universidad Católica de Valparaíso
Universidad Andrés Bello UNAB
Universidad Complutense de Madrid
Tlf. (56) 32 - 233347X | E-mail: adolfovrocca@gmail.com
Universidad Complutense de Madrid
tanjilphotographybd@gmail.com | Instagram | Facebook
All Rights Reserved by © Tanjil Rahman
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Bangladesh National Zoo is known as Dhaka Zoo. It was being started at High court area of Dhaka with a limited number of spotted deer, monkeys and some other types of animals in 1947. A master plan was approved with a view to establish a zoological garden at Mirpur in 1960. Dhaka Zoo has a rich collection of animals, birds and wildlife of both local and foreign origin. It has 2150 types of vertebrata belonging to 191 species. These include: 551 mammals of 64 species, 73 reptiles of 15 species, 104 aquarium fishes belonging to 32 different species and 1500 birds of 91 species. The Dhaka Zoo authority has taken up some other projects to improve its overall standard. These include: turning the internal environment of the Zoo into a Safari Park, introducing battery run cars for children, physically disabled and older people to facilitate their visit, establishment of a children park, a dolphin corner and a butterfly park inside the zoo.
[PUBLICADO EN ACADEMIA CAJANDER]
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Publicado en el Defensor Diario de Newark - Newark Daily Advocate
25 de Marzo de 1893
Predicciones para dentro de 100 años (1993)
(...) Cada persona con una mínima educación y mente inquieta escribe un libro. Por lo general es un libro superficial, pero crece en volumen e indica la excitación cerebral que está intentando expresarse por si misma. Hemos llegado a un estado en el que se imprimen más libros de los que el mundo pueda leer. Esto es cierto no solo para libros que no merecen ser leídos, sino también para aquellos que lo son.
Interpreto todo esto como el resultado de una nueva emancipación intelectual, y de la diseminación del conocimiento en lugar de una concentración de la cultura.
Todo el mundo quiere decir algo. Pero lentamente se va aceptando que no todo el mundo tiene algo que decir. Por ello uno puede incluso en este momento detectar las causas que producirán reacción.
En 100 años no se imprimirán tantos libros, pero se dirán muchas más cosas. Eso me parece inevitable.
Ciertamente, esta dirección de desarrollo intelectual implica que el ser humano, si continua progresando, alcanza un estado, tanto individual como social, en el que está menos preocupado por hablar que por hacer. (...)
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Este sorprendente texto es un extracto de un artículo publicado hace hoy 116 años dos meses y 16 días en un periódico de Newark (Ohio) en el que se preguntaba a varios "brillantes periodistas" (sic) sobre como sería la sociedad un siglo después.
Asombrosamente estos párrafos de A.C. Wheeler (apodado Nym Crinkle) bien pudieran pertenecer a algún artículo contemporáneo sobre la denominada blogosfera, blogocosa, bitácoras...
Todo el artículo en general es muy interesante, como son las cosas vistas con la perspectiva que da el tiempo. Aw modo de simple muestra, rescato alguna de las perlas de los otros tres autores:
George Alfred Townsend
* Europa nos está influenciando fuertemente y ello durará muhco tiempo probablemente para nuestro bien. ¿Que podremos aprender de Carolina del Norte o Indiana que sea mejor que las relaciones sexuales Europeas
* No hubiera sido una mejor interpretación del Gobierno que el nuestro hubiera comprado el telefono al principio por un millón de dólares en lugar de gravar a los clientes durante dos generaciones cincuenta dólares al año?
* El hogar debería ser libre, el poder civil, y no el eclesiático, debería celebrar todos los casamientos.
Kate Field
* Todo depende de nuestras mujeres. Si se casan por amor y no por conveniencia; si cultivan el interior de su cabeza de la misma manera que ahora se interesan por la moda.; si "encajan" en los cuerpos sanos que la madre naturaleza pretendió que las madres de la raza humana poseyeran; si enseñan a sus hijos a respetarse ellos mismos y a respetar la autoridad, los americanos de 1993 recordarán a sus ancestros de 1893 poco menos que como vulgares e ignorantes paganos"
John Swanton
*Presumo que antes del próximo siglo acabe las funciones y poderes de nuestro gobierno aumentarán grandemente; que los ferrocarriles, telégrafos y muchas otras cosas, actualmente poseídas como explotaciones privadas serán propiedad pública; que la Ley, Medicina y Teología serán más razonables que lo son ahora; que las invenciones y descubrimientos serán mayores que los que nunca tuvimos y que el bienestar de la humanidad será mayor que lo es ahora, en esta era de confusión".
Visto en: Un post del magnífico blog Paleo-Future (el futuro que nunca fue) al que llevo enganchado más de dos años y donde podéis leer el artículo original escaneado.
Fotografía: Interior de oficina en el Parque Skansen de Estocolmo... si, si, ya se que prometí un día hablar de él...
BSO: One Hundred Years From Now (De ahora en Cien Años) - The Byrds (original y toma alternativa)
willowgrovedaycamp.com/willows.html
We have just finished our third week of camp. The Willows campers have been kept very busy these past three weeks. The days have been flying by way too quickly. It was very exciting to have all our Willows family members join us for an outstanding visiting day. The children were extremely excited to share their activities with their parents, while the parents had fun pretending to be campers. We hope you had as much fun as we did and lunch together was terrific.
The children enjoyed this weeks theme of “I Spy”. They had fun decorating binoculars in Camper Creations. In Ceramics, each child enjoyed making their favorite food out of clay with the help of their parents. Their ceramic projects will be sent home shortly. To end our wonderful week, The Willows campers joined the rest of camp at Waterworld. The children drove
water boats and joined in other great water activities. A terrific time was had by all!
Willow Grove Day Camp provides summer fun for kids who live in Willow Grove, Abington, Blue Bell, Hatboro, Horsham, Huntingdon Valley, Lafayette Hill, Philadelphia, Plymouth Meeting, Southampton and the surrounding areas. For more information on Willow Grove Day Camp and the services they provide please visit: willowgrovedaycamp.com/willows.html
[crosseye stereograph, see 3D with your right eye on the left image, and left on right.]
LOS ANGELES METROPOLITAN TRANSIT AUTHORITY #1543
These were the "Blimps" of the high speed Interurban, multiple unit, electric trains of Southern California's Pacific Electric, the famous "Big Red Cars". This car made it's last run April 6.1961, from Los Angeles, 6th and Main (where now stands a bus terminal) to Long Beach, CA at Ocean and Long Beach Blvd. just a block from The Pike. There was an elevated wooden trestle that allowed it to bridge dense downtown automotive traffic, then it came down to street level just short of Alameda and curved South to Long Beach Avenue. When it got to Clement's Junction (Washington Street) the roadbed opened up to four tracks, on the outside was the South and North bound Local Service using smaller cars. The interior pair of the four track sets was reserved for strings of these heavy, high speed electric commuter trains. The private right of way was four tracks through Watts and down to Long Beach Blvd., where these cars would then ride down the center of the street to downtown Long Beach. Another line branched from the end of four track operation at Willow, and rocked on down to Electric Avenue in Seal Beach, past Signal Hill, the Lagoon and Alamitos Bay.
The curious round windows on the end earned the cars their nickname and were the portholes for the motorman operator.
The wind up knob to the left of the end door was attached by rope to the hot shoe end of the trolly pole pickup the operator could open the door and adjust the pole or reel it in and let up the one on the other end to change direction, the end doors were for train crew only and were not used to communicate passengers between cars.
dsc04407, 2008:04:27 14:11:46, 3D, California, Los Angeles, Griffith Park, Travel Town, MTA #1543 Metropolitan Transit Authority, Pacific Electric "Big Red Car", Long Beach line Interurban "Blimp" or "Balloon Car", Green Livery of 1961
www.politico.com/news/stories/0611/56941.html
A 'kitchen sink solution' on jobs
By: Chris Frates
June 15, 2011
The center-left Washington think tank Third Way is holding a forum Wednesday to discuss the merits of allowing companies to bring the $1 trillion in profits parked overseas back to the United States at a temporarily reduced tax rate.
The morning forum at Union Station will include Sen. Kay Hagan (D-N.C.); Democratic Reps. Loretta Sanchez of California and Jared Polis of Colorado; former Service Employees International Union President Andy Stern; Duke Energy chief executive Jim Rogers; and George Schink, managing director of Navigant Economics.
Third Way’s vice president of communications, Sean Gibbons, said the forum is designed to determine whether the idea — which is anathema to many liberals — is a viable option for jump-starting U.S. job growth.
“We have unemployment near 9 percent. We’ve basically pulled every single lever we can as a government. … We’ve done almost everything we can to get the economy going. It’s time to throw in the kitchen sink. This is a kitchen sink solution,” Gibbons said. One trillion dollars “is a lot of coin. It’s sitting overseas. If we could bring over a significant portion of that back into the economy, we believe that would stimulate demand, and demand stimulates jobs.”
It’s not a perfect solution, Gibbons said, but one the Republican-controlled House might be willing to entertain.
He acknowledged that analysts don’t yet know how many jobs such a policy might create. But, he said, bringing money back to the U.S. creates demand, which in turn drives hiring.
The forum is the first public event of the think tank’s new corporate tax reform project directed by former Rep. Dan Maffei (D-N.Y.), who’s now a Third Way senior fellow.
Right now there is over a trillion dollars in global profits earned by American businesses sitting overseas. What if we lowered the bar for companies to bring that money back home?
Third Way hosted an Idea Forum that examined the economic and policy implications of a repatriation tax holiday that would allow American multinational companies to bring overseas profits back to the U.S. for investment at a reduced tax rate.
Featuring a distinguished panel of leaders from business, labor, economics and government, the forum offered a fruitful discussion of a repatriation holiday’s impact on hiring and investment, business practices, and future tax policy. Participants include Senator Kay Hagan, (D-NC), Congresswoman Loretta Sanchez (CA-47), Congressman Jared Polis (CO-2), Andy Stern, former President of the Service Employees International Union, Jim Rogers, CEO of Duke Energy and Dr. George Schink, Managing Director and Principal of Navigant Economics.
This Idea Forum is the first public event of Third Way’s new corporate tax reform project, managed by former Congressman (and now Third Way Senior Fellow) Dan Maffei, which will advance ideas to make the code fairer, simpler, and more pro-growth.
CRITICAL RUN IS A DEBATING FORMAT
www.emergencyrooms.org/criticalrun.html
THE 28/03/2012 we debate
IS NAVIGATION A TREAT ?
CAN ART BE CURATED BY A PHONE ?
"IS NAVIGATION BY PHONES AND BANKS A THREAT ?" Critical Run wednesday 28 mars / CPH
The App store has taken over state institutions like staten museum for kunst
Visitors are taking in charge and warmly recommanded to be guided by smartphones or ipods . the team from the museum , curators and directors are employing the word ipad every 3 minutes. their home page sound like they work for FONA .
but Can smart phones or ipad be promoted as inoffensif loving pedagogic tools we should swallow without doubts
is forgetting an active state
is beeing guided a state of apathy .
( i heard once at a DR- news conference that people need to be guided because they are stupid )
should we debate those issues together before to jump
Is the role of the national museum to promotte compagnies that some would also consider as global threat ?
the Critical Run ( run and debate before it is too late ) will take place in Kongenshave 16.15 meet in front t the kids ground ( lejeplads )
we will debate those issues of selectif history and Führung. with a group of artist immigrant in Denmark ( who is guiding whom to where )
every one is welcome with any opinion including hopenhagen believer fona or apple sales man believing in win-win
The Critical Run is in collaboration with BAZART and Critical Run
www.emergencyrooms.org/criticalrun.html
this debate will carry on globally until Documenta Kassel ( " The Next Documenta Should be curated by a phone " .
if you like to be one of the global critical run organisateur please contact : 1@colonel.dk
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and because we are talking about a museum exhibiting Jorn a little news from Guy Debord and ( navigation )
library.nothingness.org/articles/SI/en/display/2
CAN ART BE CURATED BY A PHONE ? / CRITICAL RUN the first CRITICAL RUN will take place in Copenhagen and the last in Kassel @documenta get informed of date :www.facebook.com/BIENNALIST or www.emergencyrooms.org/criticalrun.html if you want to be part of the debate and organise a Critical Run where you are please contact 1@colonel.dk
A DELEGATION OF FOREIGN ARTISTS / CURATORS AND FESTIVAL DIRECTORS LIVING IN DENMARK ARE EXPLORING AND DEBATING "DANISH ART " .
HOW IT WORKS .
A DIFFICULT QUESTION INDEED ....
the 28/03/2012 the DELEGATION visited Charlottenborg and Statens Museum for Kunst, did a Critical Run in between the two instutitions
.a video will follow and regular exploration in on plan COLLABORATION WITH BAZART ...more to come soon ....( new people can take contact ...)
THE DELEGATION :
Saied Masoudian
Neringa Abrutyte
Rene Victor Valqui Vidal
Marina Testa Pedersen
Diallo Ibrahima Sory
Pero Pivas
Branka Pivas Onofri
Faranak Sohi
Marcelo Lerer
Maher Khatib
Shohreh Shahrzad
Antonieta Medeiros Urioste
Maia Hauser
Åsmund Boye Kverneland
Thomas Fleurquin
Victor Monchamp
Ada Ortega Camara
Tijana Miskovic
Ginka Rinkova
Thierry Geoffroy
Elizabeth Löwe Hunter
Maja Spangsberg Jakobsen
Juan Fernando Lope
thank you Maja Spangsberg Jakobsen from Bazart /Peter Lind for the name and Marcello Lerer with cards / t6hanks to Claus Handberg Christensen / and the 2 institutions that welcome us //format : Thierry Geoffroy
www.harscorail.com/equipment/surfacing/6700-pd-tamper.html
6700 Production/Switch Tamper
The 6700 Tamper is the latest model of Harsco Rail’s well-known production and switch tamper. Harsco Rail’s 6700 Tamper is a high tech, refined machine known for top quality production, switch tamping, and transit system work. Harsco’s Positive Displacement Workhead Technology is an available option for this machine. Harsco Rail tampers are designed to meet local standards of the customer.
Light Reference System
The Light Reference System consists of the light buggy, mask sensors, surfacing sensor, and a lining sensor located at the rear of the machine. An encoder wheel by the right rear wheel is also used with the auto curve liner system.
Surfacing System
The Surfacing System detects the low spots in the track and the cross level between the two rails. The upper lights on the light buggy shine through the slot in the upper masks on the mask follower. The sensors mounted on the hydraulic and fuel tanks then detect the light and determine the position of the track.
Lining System
The Lining System detects how far the track is out of alignment from being straight and also determines the proper track position in curves. One lower light on the light carriage shines through the slot in the lower mask on the mask follower. The sensor mounted on the rear rail follower then detects the light and determines the position of the track.
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Railroad Tampers
Railroad tampers are another type of maintenance equipment that have greatly improved the efficiency and speed in maintaining the track and right-of-way. As there name implies railroad tampers use hydraulic jacks to "tamp" the ballast, which levels the stone around the ties as well as works it underneath the ties for proper support. As with virtually all maintenance equipment before these machines were constructed all such work was done by manual track gangs that required a strong back and powerful arms. The newest tampers come equipped with a bevy of electronics to also properly align the track after tamping and what are known as production tampers have the capability of lifting the rails to insure that the ballast is beneath the ties for maximum support. Today, tampers are manufactured by several companies including Harsco Rail (which bought out Fairmont, a long-time builder of this machine), Plasser American, and Dymax Rail.
Before the advent of mechanized railroad tampers the work of getting ballast beneath the ties as well as aligning the track was all done by hand and a good eye. The job involved a track gang of men who would push the ballast beneath the ties one at a time and track jacks were used to properly align the rails. As you can imagine it was slow, very labor intensive work all of which has been greatly improved with the mechanized railroad tamper. Railroad tampers almost always work as some kind of mechanized gang, usually as part of a tie or rail gang (which today normally consists of an army of machines, not men).
Today's tie and rail gangs include such machines as spike or rail anchor pullers (which pull the spikes/anchors clear of the tie), tie cranes (which remove the railroad ties once they are free of the rails), tie extractors/inserters (different from a tie crane these machines work vertically to remove or replace the railroad tie from underneath the rail), and spike inserters (as you might have guessed these machines use hydraulics to quickly drive spikes down in the tie plate and tie itself). If very heavy work is being done other large equipment will be used such as a mechanized tie relaying machine (which is essentially a type of railroad tie inserter) and/or even a rail train if new rail is to be laid.
As it is, tie and rail gangs may look like machines simply heading off to work in an elephant line. However, they are actually very coordinated work details with each machine and accompanying operator assigned a very specific task to get the work done as quickly as possible. The reason for speed and hastiness in finishing a maintenance job is simply, to keep the trains and goods moving. Delays are quite costly and avoided at all costs because if the freight isn't delivered the railroad's don't get paid! Standard railroad tampers work by using sets of heavy-grade steel jacks, which are hydraulically controlled, and feature a small paddle-like design on the very end of the tool.
These jacks are then lowered into the ballast at a certain depth, depending on the thickness of the ties and oscillate at thousands of revolutions per minute. This back and forth motion, along with "pushing" the ballast downward, allows the stone to become very free flowing and causes it to work beneath the ties, giving the track structure maximum support. Tamping also helps to level out the ballast a bit, although final sculpting and angling of the stone is left to ballast regulators. Perhaps, though, the most efficient type of railroad tamper is the production tamper. Looking as if it is a type of auto carrier a production tamper is capable of lifting the entire track structure where it is working (the reason for the extra support beams built into the machine).
The purpose of this is so the machine can not only more efficiently situate the ballast beneath and around the ties but also to properly align the track as well. Using what is known as the Delta System developed in the 1950s production tampers are able to remove the bumps and dips in the rail by aligning the track to a perfectly "flat" traveling surface (excluding superelevated curved track) using triangulation. One other type of railroad tamper is the switch tamper, which is able to swivel its equipment and jacks to work the intricate spaces between railroad switches and diamonds. To learn more about railroad tampers please visit Harsco Rail's website, which provides exact specifications and information concerning their latest models. There you can also check out other types of maintenance machines the company produces such as spike inserters/pullers, undercutters, and blowers.
Other Maintenance-Of-Way Equipment:
Shoulder Cleaners
Ditch Cleaners
Defect Detection Cars
Undercutters
Ballast Regulators
Spike Inserters/Pullers
Tie Cranes
Tie Extractors/Inserters
Rail Grinders
Lastly, for more reading about tampers you may want to consider the book Railway Maintenance Equipment: The Men and Machines That Keep the Railroads Running from noted author Brian Solomon. Throughout the book's 128 pages Solomon covers all types of maintenance equipment from tampers and undercutters to Jordan Spreaders and rotary snow plows. I own this book myself and have used it as reference material for this site many times. It's a great read on an often little understood area of railroading.
Believed to be in Public Domain From Library of Congress, Prints and Photographs Collections. More on copyright: www.loc.gov/rr/print/res/rights.html
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LIBRARY OF CONGRESS INFORMATION
Title: [General view, Copenhagen, Denmark]
Date Created/Published: [between ca. 1890 and ca. 1900].
Medium: 1 photomechanical print : photochrom, color.
Reproduction Number: LC-DIG-ppmsc-05746 (digital file from original)
Rights Advisory: No known restrictions on publication.
Call Number: LOT 13421, no. 001 [item]
c-P&P
Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA hdl.loc.gov/loc.pnp/pp.print
Notes:
Title from the Detroit Publishing Co., catalogue J, foreign section. Detroit, Mich. : Detroit Publishing Company, c1905.
Print no. 6394.
More information about the Photochrom Print Collection is available at hdl.loc.gov/loc.pnp/pp.pgz
Forms part of: Views of architecture and other sites in Copenhagen, Denmark in the Photochrom print collection.
Subjects:
Denmark--Copenhagen.
Format:
Photochrom prints--Color--1890-1900.
Collections:
Photochrom Prints
Part of: Views of architecture and other sites in Copenhagen, Denmark
Bookmark This Record:
www.loc.gov/pictures/item/2001697981/
View the MARC Record for this item.
Rights assessment is your responsibility.
english.news.cn/20220808/270d026219534be08c65eaa2ecb5d7fd...
Pelosi's provocative Taiwan visit sparks sharp criticism
Videos from around the world criticizing Pelosi's taunting visit to Taiwan, destablizing the region..
thehill.com/homenews/administration/3592512-biden-says-he...
Biden says he’s ‘not worried’ about China’s response to Pelosi visit to Taiwan
President Biden on Monday said he’s “not worried” about China’s aggressive response to Speaker Nancy Pelosi’s (D-Calif.) trip last week to Taiwan, adding that he doesn’t think things will escalate any further between the U.S. and Beijing.
“I’m not worried, but I’m concerned that they’re moving as much as they are. But I don’t think they’re going to do anything more,” Biden told reporters.
When asked if Pelosi’s trip was a mistake, the president said, “That was her decision.”
The Biden administration has condemned Beijing’s live-fire drills in the waters surrounding Taiwan, which included multiple Chinese warships and aircraft crossing the median line of the Taiwan Strait, following Pelosi’s visit.
“They are provocative, irresponsible, and raise the risk of miscalculation, that’s what the president was referring to,” White House press secretary Karine Jean-Pierre said on Monday, referring to China’s response.
“They are also at odd with our longstanding goal of maintaining peace and stability across the Taiwan strait, which is what the world expects,” she added.
Pelosi’s visit to Taipei last week made her the highest-ranking U.S. official to visit the island in 25 years. The Chinese foreign ministry characterized her visit as having a “severe impact on the political foundation of China-U.S. relations.”
Since she landed, the White House has said it respects Pelosi’s decision to visit Taiwan and has pushed back on questions about any drama between the Speaker’s office and the White House surrounding her trip.
Biden told reporters last month that the military “thinks it’s not a good idea” for Pelosi to visit Taiwan amid already rising tensions over the island’s status and the administration urging China not to back Russia’s invasion of Ukraine.
Before landing, White House national security spokesman John Kirby warned China against using the moment to create a “crisis” and then said on Tuesday that Beijing’s actions in response to her visit were “consistent with the playbook we expected them to run.”
www.chinadaily.com.cn/a/202208/09/WS62f19835a310fd2b29e70...
One-China principle clearly violated by trip
It's natural for China to feel angry and oppose the recent visit to Taiwan by United States House Speaker Nancy Pelosi, because the trip openly violates the one-China principle and challenges China's territorial integrity and sovereignty, experts said while explaining China's reaction and the severe countermeasures it has taken.
It's clear that the two sides of the Taiwan Straits are the same country, and the Taiwan question, which is purely China's internal affair, brooks no interference by foreign forces, they said.
Traveling in a military aircraft, Pelosi－second in the line of succession to the US president－last week paid a high-profile "official visit to Taiwan", as her office described it in her arrival statement, and was given full protocol treatment by Taiwan's Democratic Progressive Party authorities, which make no secret of pursuing "independence" in their party platform.
Pelosi's two-day trip included meeting with the island's leader Tsai Ing-wen and some "human rights" advocates, as well as visiting the island's "legislative "authority.
Hundreds of millions of Chinese watched, discussed and were outraged by the provocative trip that was also followed by unprecedented countermeasures by the Chinese government, including canceling three cooperative dialogues or meetings with the defense authorities of the US, suspending climate talks, and conducting live-fire drills surrounding the Taiwan island.
Bao Chengke, assistant director at the Institute for East Asian Studies in Shanghai, said that the visit has trampled on the one-China principle and China's national sovereignty, and was a move that in nature promoted the concept of "one China, one Taiwan".
To the Chinese side, the one-China principle is a bottom line that cannot be crossed. It has been reiterated numerous times by the Chinese government, and is firmly believed by the Chinese people, that the island of Taiwan has been an inseparable part of China's territory for 1,800 years and it's crystal clear that the two sides of the Straits belong to one China.
It was even worse that Pelosi turned a deaf ear to repeated warnings from the Chinese government and still made the trip, Bao said, adding that when something like this happens, it's reasonable for any country to feel angry and take severe countermeasures.
Lin Kuan-ting, a young man from Taiwan who is studying on the mainland, said he opposes the visit and the US should not interfere in the Taiwan question as the island has always been a part of China. Another Taiwan student on main-land, Lin Pei-ying, said the visit seriously hurt the feelings of compatriots on both sides of the Straits, and the contradictions between the two sides are purely our family matters.
Root of the Taiwan question
As Xi Jinping, general secretary of the Communist Party of China Central Committee, has said, the Taiwan question arose out of the weakness and chaos of the nation and will be resolved as national rejuvenation becomes a reality.
In 1894, Japan launched the First Sino-Japanese War to invade China. In the following year, the government of the Qing Dynasty (1644-1911) was forced to cede Taiwan to Japan under the unequal Treaty of Shimonoseki.
In 1945, the Chinese people won the War of Resistance Against Japanese Aggression (1931-1945). Taiwan was thus recovered and returned to the motherland.
In 1943, the leaders of China, the US and Britain issued the Cairo Declaration, which clearly states that all territories Japan stole from the Chinese, including Taiwan, shall be restored to China. The Potsdam Declaration of 1945 affirmed that the terms of the Cairo Declaration would be carried out. Thus, Taiwan's legal status as a part of China was irrefutably confirmed.
It was not long, however, before the two sides of the Straits fell into a special state of protracted political confrontation due to civil war in China and the interference of foreign forces.
In 1949, the Central People's Government of the People's Republic of China was established, replacing the Republic of China government as the sole legal government representing the whole of China. It is logical for the government of the People's Republic of China to exercise sovereignty over China, which includes Taiwan.
In 1971, the United Nations General Assembly adopted Resolution 2758 with an overwhelming majority vote, restoring all rights of the PRC and recognizing the government of the PRC as the sole legitimate representative of China to the United Nations.
The one-China principle is a widely recognized basic norm of international relations. More than 180 countries have to date established diplomatic relations with China on the basis of their recognition of the one-China principle, according to official records.
When China and the US established diplomatic relations in 1979, the US recognized in the joint communique with China that the government of the PRC is the sole legal government of China. Since then, the US has long been committed to not developing official relations with Taiwan.
"The one-China principle is part of the postwar international order and has become a general international consensus. As a country that thinks of itself as a champion of the 'rules-based international order', the United States should naturally abide by the one-China principle," Chinese Ambassador to the US Qin Gang wrote in an article in The Washington Post on Thursday.
"President Biden has said many times that the United States will not change its one-China policy and does not support 'Taiwan independence'. But for the 'Taiwan independence' forces, Pelosi's visit represents an exceptionally strong signal that 'the US is on Taiwan's side'. This goes against the one-China principle, the three Sino-US joint communiques and America's own commitments," the article said.
Wu Yongping, director of the Institute of Taiwan Studies at Tsinghua University, said that US support for "Taiwan independence "separatists is a fundamental reason why the Taiwan question is so difficult to resolve.
The US has tried to obscure and hollow out the one-China principle, Wu said, adding that it has colluded with "Taiwan independence" forces on the island and elevated relations with the island in various ways, including arms sales.
After the DPP came to power in Taiwan, it refused to recognize the 1992 Consensus which embodies the one-China principle, creating an increasingly tense and confrontational atmosphere across the Straits, according to Bao from the Institute for East Asian Studies.
Common will
Despite the complex situation, experts believe that the two sides of the Straits must be reunified in the future, which is also the will of the entire Chinese nation.
The mainland has great patience in dealing with the Taiwan question, and it has been working to promote integrated development and cooperation between people across the Straits in order to gradually overcome the resentment and differences and find the path of future reunification, Bao said.
Wu said the mainland's ability to resolve the Taiwan question has been increasing as well, which could been seen in the recent countermeasures, and no other forces should underestimate such ability and China's determination to safeguard its sovereignty and unity.
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.
[What is Johnny Kitties? Visit my blog's Johnny Kitties page for information, a full list of Johnny Depp's filmography, and links to all previous Johnny Kitties blog posts: melissaconnolly.blogspot.com/p/johnny-kitties-celebrating...]
Why are we waiting for barbarians?
The daily routines of a magistrate (Mark Rylance) managing an isolated outpost of an unnamed empire is disrupted by a visit from Colonel Joll (Johnny Depp), who demands a report on the current state of affairs amid growing concerns of an impending uprising by the local nomads or — as the colonel refers to them — the barbarians. His cruel interrogation tactics toward them makes the magistrate question his loyalty to the empire over his conscience. Director Ciro Guerra's Waiting for the Barbarians is a thought-provoking film based on the 1980 novel, written and adapted by Nobel laureate J.M. Coetzee.
I haven't read this novel, but both Johnny and Mark Rylance immediately connected to the story's relevance. "The shocking thing for me, which was the beacon that stayed there, was the fact that it felt all true and relevant to today in many ways in a lot of different places in the world," Johnny explains. "Power begets power, and there are those who decide who follows or who is disposable or unnecessary, and all those decisions are made by the people at the top." Mark Rylance adds, "The way the novel can be extrapolated to almost any circumstance in the world, to any point in history, is staggering."
Who are the real barbarians here?
Because of the pandemic, Waiting for the Barbarians was released to streaming services, and I ended up watching it at my desk on my iMac. I prefer a trip to a movie theater for the big screen, but it was nice to be able to prepare my own snacks (hot chocolate and strawberries) and click play on YouTube whenever I was ready.
I was afraid to watch this movie because I already unintentionally saw headlines of mixed reviews that praised Johnny's terrifying performance. But, don't worry, that didn't stop me. Not only did I watch it, but I liked it! Of course, I prefer no cruelty or torture, but as a whole, I liked the look and feel of everything else in this film. Beautifully shot by cinematographer Chris Menges, it's got a meditative, slow pace and a great soundtrack by Giampiero Ambrosi to match.
The movie opens to this pulsating beat in an expansive desert, following a lone carriage surrounded by soldiers on horseback. Colonel Joll, a member of the police from the Bureau of State Security, has arrived at this random outpost to question the magistrate and locals about the current state of affairs.
Johnny is sinister and stoic with a steadfast frown here: He has always been great at expressing everything with a look rather than a word, and this performance is a good example. He does have some great lines, but mostly, he instills fear by just looking official and menacing. With a nod or other minor gesture, he can get his underlings to spring into action.
"I find the most interesting thing about bad guys throughout history, or characters like Joll, is that people don't wake up in the morning and decide while they are shaving: 'I'm going to be the meanest or worst human being. I'm going to cause as much havoc as possible,'" Johnny explains. "No, for me, playing Joll, he seemed very different to me than a bad guy. That felt like it would have been too easy. If you try to think about how a man like that is built, how he is turned, how a man like this arrives at that place: Is it really to be without emotion; is it sociopathy or psychopathy? Or is there somewhere in that guy that harbors a broken child in there or that has been hammered into a shape by his father or mother in his upbringing?"
Colonel Joll is a stark contrast to the magistrate, wonderfully portrayed by Mark Rylance. This quiet, thoughtful observer is kind, gentle and respectful toward the natives. Having witnessed the unnecessary pain and suffering that Colonel Joll inflicts on the locals without any real cause, you see the magistrate's frustration grow. The Colonel's explanation — "Pain is truth; all else is subject to doubt." — just doesn't cut it. As Colonel Joll's crew disturbs the peace and leaves the outpost in ruins, the magistrate's loyalty sides with the locals. It's a good thing, too, because these nomads will eventually get it together.
I like that there's so little action in this movie that it's hard for me to describe. For example, one scene shows the magistrate falling asleep after hours of washing a local woman's injured feet with warm water. Watching this movie, I could focus on what the characters were thinking. How often does that happen?
The Kitties will put a stop to any barbaric behavior.
The best part of Colonel Joll is his cool shades. Johnny describes them: "When Ciro came up with the shape, they were threatening, menacing, somehow; and the fact that he wouldn't take them off, he would make the magistrate as uncomfortable as possible. He learnt some tricks over the years. Calmness, stillness and quiet, and holding your response to a question can be quite disturbing to the person on the other side of you. They are levels of maintaining the armor."
Check out this sketch by production designer/set decorator Crispain Sallis. "Through that characterization, [Johnny] cut Colonel Joll back to the absolute bone, making any additional theatrical flourishes, such as the glasses or the swagger stick, things to absolutely relish," he explains.
In my own illustration, I'm not sure the shades come across quite as menacing, but Colonel Joll (Gordon) also accessorizes his uniform with a golden hammer that he considers using to beat up the next barbarian. (Did I mention he's not a nice guy?) This is the only moment where Colonel Joll manages a slight smirk, pleased with the fear-induced power he has over these nomads. When the magistrate (Comet) speaks up, pointing out his evil ways, Colonel Joll's face and stance stiffen and his frown returns. Don't worry, Comet didn't get hurt in the making of this illustration. (Also, I realized after I finished this drawing that the uniforms are a deep navy color — not black — but it all depends on the sunlight, right?)
Check out this Crock of Gold!
In other exciting Johnny news, be sure to catch Crock of Gold: A Few Rounds with Shane MacGowan, a documentary that Johnny produced about his friend and frontman of the Pogues. It is available now in the United States and Canada for viewing on home digital platforms and DVD. Additional worldwide releases are coming later this month. I am getting ready to watch it with the volume up.
What's next?
Look at me, all caught up with Johnny Kitties! Mark your calendars for February 5 to see Johnny as war photographer W. Eugene Smith in Minamata. I am pacing the floors for this one.
willowgrovedaycamp.com/willows.html
We have just finished our third week of camp. The Willows campers have been kept very busy these past three weeks. The days have been flying by way too quickly. It was very exciting to have all our Willows family members join us for an outstanding visiting day. The children were extremely excited to share their activities with their parents, while the parents had fun pretending to be campers. We hope you had as much fun as we did and lunch together was terrific.
The children enjoyed this weeks theme of “I Spy”. They had fun decorating binoculars in Camper Creations. In Ceramics, each child enjoyed making their favorite food out of clay with the help of their parents. Their ceramic projects will be sent home shortly. To end our wonderful week, The Willows campers joined the rest of camp at Waterworld. The children drove
water boats and joined in other great water activities. A terrific time was had by all!
Willow Grove Day Camp provides summer fun for kids who live in Willow Grove, Abington, Blue Bell, Hatboro, Horsham, Huntingdon Valley, Lafayette Hill, Philadelphia, Plymouth Meeting, Southampton and the surrounding areas. For more information on Willow Grove Day Camp and the services they provide please visit: willowgrovedaycamp.com/willows.html