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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.
MAY DAY IN WHITSTABLE
From my blog: rangefinderchronicles.blogspot.co.uk/2014/08/may-day-in-w...
Toyo 45/ 45 slide
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.
The Cincinnati Law Library Association is a private, nonprofit corporation which, until January 1, 2010, operated the law library in the Hamilton County Courthouse under the provisions of Ohio Revised Code §3375.48 et seq. Since January 1, 2010, the Law Library is governed by the Hamilton County Law Library Board.
Originally created in 1834, this Bench and Bar library was incorporated June 5th. 1847 for "the improvement of its members and the cultivation of the Science of Law." Members pay annual dues but use of the library is provided without charge to elected and appointed officials of Hamilton County and the State of Ohio.
Cincinnati, like many other settlements in the Northwest Territory, had grown up near the shores of the Ohio River. The first courthouse was traditionally considered to be a log cabin built by volunteers in 1790. The log cabin was located on a public square donated to the City and Hamilton County commissioners by Mathias Dennan, Robert Patterson, and Israel Ludlow, the original owners of all of what eventually became downtown Cincinnati. That first courthouse, the jail, and a whipping post, were all contiguous with a swamp & frog pond on that site.
A second, two-story limestone brick building was constructed at the same location around 1802. That courthouse was used as a barracks during the War of 1812. A fire caused by careless soldiers burned the structure to the ground in 1814.
In 1815, Hamilton County commissioners accepted the gift of one of the city’s "out-lots" from a man named Jesse Hunt as the location of its next courthouse. This third courthouse stood on a 200-foot circular plot of ground, in the Federal style of architecture prevalent at that time. Being 62 feet long and 50 feet wide, its walls rose another 50 feet to a cornice, then 120 feet to the top of its dome on a cupola centered on a four-sided roof, with another 160 feet to the top of its spire. Completed in 1819, it had -- as the term "out-lot" well implies -- the profound disadvantage of having been quite remote from the centers of business and major law firms at that point in time.
In 1834, the need for a centrally-located law library was on the minds of a number of local attorneys. On February 25th of that year, the Ohio General Assembly passed " an act to incorporate the ‘Cincinnati Law Library’," naming twenty-one men, including William Henry Harrison, as officers. Harrison was also involved in the formation of the Mercantile Library. No action was taken on the law library, and the idea remained dormant for another twelve years. The attorneys complained of the inconvenience of carrying books to the Courthouse. The judges considered it a conflict of interest to borrow books from counsel in pending matters.
In the Fall of 1846, a meeting was called, and William R. Morris, Daniel Van Matre, William Corry, Alphonse Taft, and George E. Pugh were appointed to a Committee. The Committee was charged to devise a plan, and, if possible, raise money for the establishment of a law library association. On Sept. 3, 1846, a subscription drawn up by Morris began to circulate. William B. Caldwell, the presiding judge of the Court of Common Pleas at the time, became involved in the effort, and between him and George Pugh an initial roster of 102 pledges had been obtained by January 1847 with the committee beginning to buy the first books. By February of that same year a large walled bookcase had been purchased, and the first library was set up in the actual courtroom of the Court of Common Pleas.
On February 8, 1847, Bernard Bradley was appointed the first librarian. On June 5th, The Cincinnati Law Library was reincorporated and its first board of trustees elected. The first board consisted of Morris, as president; Oliver Spencer, as vice-president; Van Matre, who had acted as treasurer for the committee, continued in that capacity now; R.B. Warden, secretary; Alphonse Taft, and Jordan Pugh.
On March 28, 1884 riots broke out in Cincinnati over the verdict which had been rendered on a murder trial involving a livery stable owner who had been killed by two employees. The trial of the first defendant ended in a verdict of guilty of manslaughter and a sentence of 20 years imprisonment. A crowd numbering more than 10,000 gathered but Sheriff Morton Lytle Hawkins refused to turn over the prisoner and established defenses for the Jail. Unable to get to the prisoner, the mob centered their hostilities on the courthouse. On March 29th the mob ransacked the Courthouse and set it on fire. The courthouse and law library were total losses. National Guard, then called the Militia, armed with two Gatling guns, restored order. Shots were exchanged and a lawyer, John J. Desmond, serving as Militia Captain was killed. Captain Desmond’s picture is in the Law Library and a statute of him is located in the Courthouse Lobby.
The Law Library reopened on April 3rd with nine books. The Library Association assessed each member $100 to rebuild the collection. Support & substantial donations poured in from around the country as well. Contributions in the form of books came from the Secretary of State’s Office of both Ohio and Kentucky; the City of Cincinnati, and from libraries and law firms in New York, Connecticut, and as far away as the then Territories of Montana and Wyoming. In June 1884, the Library’s treasury was $6,852 in cash receipts. A year later it had grown to $19,808. By June 1893, the Library’s collection had been rebuilt to 16,373 volumes, and by 1899, over 20,000. The single largest contributor, over time, was Rufus King leaving the Library Association $20,000 in his will. Edwin Gholson succeeded Myers as law librarian in 1899, and further built the collection to well over 50,000 volumes.
After the riot in 1884, the Ohio General Assembly passed a bill creating a board of trustees to oversee the renovation of that structure and construction of a fifth courthouse which remained until 1908. Then, agitation started growing about conditions in the County jail and County Commissioners passed a resolution providing for the construction of a new one. The measure was approved by voters, and a planning committee appointed to oversee the project. The committee recommended that not only a new jail be built, but another whole new courthouse as well; and on Sept. 26, 1911, the Commissioners prepared a new resolution calling for the issuance of $2,500,000 in bonds to rebuild both the jail and courthouse.
The sixth and present courthouse was dedicated on October 18, 1919. The exterior remains essentially unchanged to this day, but there have been interior renovations and new courtrooms. It is made of New Hampshire granite and Bedford limestone in a Renaissance Revival style of architecture. Like the courthouses of 1853 and 1887, the building is elevated on a one-story base set at grade-level. Three main tiers are grouped together by a row of Corinthian columns. Currently, since security was increased in 1996, the public entrance is one of three wide-arched doorways featuring polished, wrought bronze doors facing the Main Street entrance.
The Law Library is on the sixth floor of this courthouse, extending almost the width of the building. Its main reading room is flanked by six pairs of polished marble columns extending fifteen feet to cornice stained glass windows bearing the names of the Library’s founders and others important the history of the law.
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Shine Bright like a Diamond
www.youtube.com/watch?v=lWA2pjMjpBs
Find light in the beautiful sea
I choose to be happy
You and I, you and I
We're like diamonds in the sky
You're a shooting star I see
A vision of ecstasy
When you hold me, I'm alive
We're like diamonds in the sky
I knew that we'd become one right away
Oh right away
At first sight I felt the energy of sun rays
I saw the life inside your eyes
So shine bright, tonight you and I
We're beautiful like diamonds in the sky
Eye to eye, so alive
We're beautiful like diamonds in the sky
Shine bright like a diamond (3x)
We're beautiful like diamonds in the sky
Shine bright like a diamond (3x)
We're beautiful like diamonds in the sky
Palms rise to the universe
As we moonshine and molly
Feel the warmth we'll never die
We're like diamonds in the sky
You're a shooting star I see
A vision of ecstasy
When you hold me, I'm alive
We're like diamonds in the sky
At first sight I felt the energy of sun rays
I saw the life inside your eyes
So shine bright, tonight you and I
We're beautiful like diamonds in the sky
Eye to eye, so alive
We're beautiful like diamonds in the sky
Shine bright like a diamond (3x)
We're beautiful like diamonds in the sky
Shine bright like a diamond (3x)
We're beautiful like diamonds in the sky
Shine bright like a diamond (3x)
So shine bright, tonight you and I
We're beautiful like diamonds in the sky
Eye to eye, so alive
We're beautiful like diamonds in the sky
Shine bright like a diamond (3x)
Woah... oh... yeah...
Shine bright like a diamond (4x)
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Sony NEX-C3 Voigtlander 28mm f/2 Ultron
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Reflection for Today: Does a Church Appearing Fervent Mean That It Has the Work of the Holy Spirit?
Several months ago, I witnessed the pastors in our church vying with each other for the sake of fame and gain and jockeying for position, so much so that they even verbally attacked and disparaged each other during sermons. Their sermons were not enjoyable to listen to, and our spirits went unnourished. Furthermore, there was widespread cooling of the faith of brothers and sisters; they pursued wealth, they coveted physical pleasures and they followed worldly trends, giving all their attention to eating, drinking and having fun. Most of the time, some brothers and sisters simply did not attend gatherings, but instead only came when a disaster occurred in their lives or when there was some important holiday … Faced with this situation in our church, I left to look for a church that had the work of the Holy Spirit . I searched in many places, however, and discovered that most churches were just the same, and I began to lose hope. I recently found a church, however, which often put on shows and held events, and it even had pastors come from overseas to give sermons. The atmosphere in this church was very warm and enthusiastic, and many people attended each gathering. Looking at this church that was so ardent and at the brothers and sisters who attended gatherings so enthusiastically, I thought this must be a church that had the work of the Holy Spirit. It wasn’t long, however, before I discovered that, although appeared ardent, the sermons preached by the pastors were unable to provide benefits for the lives of brothers and sisters and were unable to satisfy our spirits. The singing and dancing that went on only had the effect of changing the atmosphere in the church—while it was going on, we all felt very energetic, but as soon as we sat down to listen to a pastor give a sermon, we would begin to doze off. Moreover, brothers and sisters were always trying to outdo each other with donations and prayers. Whoever donated a lot was considered to be someone who loved , and whoever prayed for a long time and said nice words in their prayers was considered to be a spiritual person…. In this kind of church, the brothers and sisters not only had no honesty or humility but, on the contrary, their vanity just got stronger and stronger and they became more and more hypocritical. They focused on expressing themselves and showing off in front of others and were exceedingly self-righteous and arrogant. Whenever they encountered an issue, they just dealt with it however they wanted, and they didn’t listen to anyone else—they were just not keeping to the Lord’s teachings at all. Faced with this kind of situation in the church, I couldn’t help but wonder: Could such a church that appears to be so fervent from the outside have the work of the Holy Spirit? This question has always perplexed me, so I’d like to ask if you could answer it for me.
recommenda to you: what is the holy spirit
I had some of the worst hairstyles you can imagine, reveals Jennifer Aniston! - www.bolegaindia.com/gossips/I_had_some_of_the_worst_hairs...
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
Our Lady & The English Martyrs, Cambridge
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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.
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www.decorobra.com/los-colores-como-base-de-la-decoracion....
El color resulta fundamental en el diseño y la decoración. Es el que brinda la primera impresión de un espacio y modifica sus características y apreciación. Por esto y más, la elección del color se hace fundamental.
Con tonos claros damos amplitud y luminosidad
Para generar ambientes agradables debemos animarnos a jugar también con colores que no sean los habituales. Sin embargo hay ciertas cuestiones que debemos tener en cuenta al elegir, por ejemplo: si los espacios son pequeños y poco iluminados, son aconsejables los tonos claros, que nos dan sensación de amplitud. Los detalles más pequeños de color van a parecer más radiantes gracias al telón de fondo pálido. Lo bueno es que aumenta la sensación de luminosidad y espacio en la sala, ya que los colores claros reflejan la luz.
La elegancia de los marrones
Si buscamos un toque de elegancia podemos optar por el marrón; aunque nos suela resultar muy oscuro podemos aplicarlo y combinarlo con ciertos tonos que aportarán luminosidad. Colores que combinan muy bien con el marrón son todos los arenas, beige, crudos…Este ambiente que decidamos pintar de marrón deberá contar con muy buena iluminación. Podemos utilizarlos tanto para un dormitorio, donde conseguiremos una clima muy íntimo y acogedor, como para un salón, un recibidor, la cocina, o incluso el baño.
Azul, clima de relax
Expresa quietud y reposo por lo que es utilizado en oficinas y sitios donde el trabajo que se realice resulte estresante. En el hogar se logran aprovechar al máximo sus beneficios en dormitorios, estudios, salas de lectura y salón.
Luce muy bien con la madera, tonalidades neutras suaves y el blanco. Puede combinarse con verde, violeta o inclusive naranja para crear un ambiente mas dinámico. Pero sin duda su elegancia y pasividad son indiscutibles. El azul es un color que transmite sensación de calma donde es utilizado, las tonalidades más oscuras deben ser correctamente aplicadas pues pueden menguar de gran manera la iluminación de unambiente.
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Manifestación. 12 de noviembre 2011. Santa Cruz de Tenerife
Imprime y denuncia ante el Gobierno de Canarias la denuncia ciudadana contra el puerto de Granadilla
Ben Magec - Ecologistas en Acción
Razones para apoyar la manifestación contra el puerto de Granadilla
Desde Ben Magec-Ecologistas en Acción queremos hacerte llegar diez de las razones que justifican la necesidad de seguir luchando contra el puerto de Granadilla. Podríamos nombrar muchas más, y nos ofrecemos a ampliar toda esta información desde el momento en el que nos la demanden. Para ello, sólo tienes que dirigirte a nosotras/os a través del número 922.31.54.75.
1- El puerto de Granadilla es una obra ilegal, como se demostrará cuando se resuelva cualquiera de las denuncias que actualmente hay presentadas en varias jurisdicciones. Sería lamentable que cuando se dictara sentencia, la obra ya hubiera sido ejecutada, por eso tenemos que reclamar celeridad a la justicia, y exigir que no se comprometa un patrimonio tan valioso como nuestro medio ambiente, por una estafa de tal calibre.
2- El puerto de Granadilla es fruto de una decisión política, y como tal, esta decisión debería ser sometida a un debate público argumentado, con datos reales, y sujeto a una elección democrática. En ningún caso ha habido debate público ni se han aportado argumentos convincentes y que no hayan sido rebatidos con información de calidad. El puerto de Granadilla es un ejemplo evidente de la enorme carencia democrática que padecemos. La mejor solución frente a ello, es reclamar la participación. Y para eso, lo mejor es participar.
3- El puerto de Granadilla no va a suponer ningún tipo de mejora económica para Tenerife. No va a ofrecer empleo de forma significativa. En su mejor momento, generará únicamente 45 puestos de trabajo directos según el Estudio de Seguridad y Salud del proyecto. Supondrá la derivación de unos 150 millones de euros a manos de una U.T.E compuesta por tres de las empresas más poderosas no sólo de Canarias, sino del Estado español, sin dejar ningún beneficio en estas islas.
4- El puerto de Granadilla supondrá un impacto ecológico sin precedentes. La pérdida de ecosistemas marinos como el que las praderas de sebadales garantizan, y también de ecosistemas terrestres costeros; la reducción y la contaminación de las mejores playas naturales del Sur; la afección directa a varias zonas de relevancia ecológica protegidas a nivel canario y europeo; o la pérdida de biodiversidad, son sólo algunos ejemplos de las consecuencias ambientales asociadas la construcción de esta infraestructura.
5- El puerto de Granadilla es una infraestructura absolutamente inútil. Todas y cada una de las justificaciones que han ofrecido sus promotores, han caído por su propio peso: no es un puerto competitivo para hacer transbordo de contenedores. Además, para esta función ya existe el puerto de Santa Cruz. Es más, la Dársena del Este está siendo ampliada, con lo que ahora dispondrá de 280.189 m2 destinados a tráfico de contenedores en esa zona. Tampoco servirá para descargar Gas Natural, puesto que según el Dictamen Pericial firmado por el Capitán de la Marina Mercante, don Fernando Lucas Correa Hernández, únicamente sería operativo para este fin durante el 40% del año, dada la fuerza de los vientos dominantes en la zona. En cualquier caso, la importación de Gas Natural como nueva fuente de energía para Canarias, requeriría de otro debate argumentado, que tampoco se ha producido. La introducción del Gas Natural, una fuente de energía sucia (aunque se nos intente convencer de lo contrario) y no renovable, supondría la paralización una vez más de la implantación de las fuentes energéticas limpias y renovables. Por otra parte, su introducción no justifica de ninguna forma la construcción del puerto ya que están sobradamente demostradas otras soluciones técnicas para su descarga, como la opción ’off shore’ o mar adentro, que es la que se está aplicando en Madeira y otros muchos lugares que ahora están optando por la implantación del gas. Por último, la excusa con la que el puerto se ha vendido a la Unión Europea es la del supuesto colapso inminente del puerto de Santa Cruz, un puerto que no sólo ha reducido significativamente su actividad (utilización del 65% de su capacidad en 2006, cuando aún la crisis financiera no se había significado como ahora), sino que, como ya hemos visto, está siendo ampliado, y además, con fondos europeos.
6- El puerto de Granadilla ya ha sido causante de graves atentados no sólo contra la biodiversidad, sino además, contra justicia y la democracia. El afán por desbloquear judicialmente el puerto de Granadilla ante la paralización cautelar impuesta por el Tribunal Superior de Justicia de Canarias, y de paso eliminar cualquier barrera legal a la construcción de cualquier otra infraestructura que repercutiera negativamente en el medio natural, dio paso a la aprobación del nuevo Catálogo Canario de Especies Protegidas, que rebaja el nivel de protección de 260 especies, desprotege absolutamente a 89, y a 171 las protege únicamente si no molestan, encasillándolas en una peligrosa nueva categoría de protección que se denomina ’Especies de Interés para los Ecosistemas Canarios’. Este nuevo Catálogo no sólo no contó con la colaboración de la Comunidad Científica ni la participación ciudadana, sino que además ha sido rechazado por numerosas instituciones de prestigio, como la UICN o el CSIC, por nombrar sólo algunas.
7- El puerto de Granadilla es el ejemplo más nítido del derroche de dinero público en lo que se ha dado en llamar la ’burbuja de las infraestructuras’. Canarias está destinando ingentes sumas de dinero público en construir numerosas infraestructuras innecesarias a lo largo de todo el territorio, que ni generan empleo, ni responden a una necesidad social, ni mejorarán la situación socio-económica de la gran mayoría de la población, ni dinamizarán la economía. En plena crisis, y utilizando sólo algunos ejemplos, Ben Magec-Ecologistas en Acción ha calculado que en estos momentos se están comprometiendo unos 7.700 millones de euros en obras inútiles, lo cual, para entendernos, sería equiparable a construir 77 Auditorios Adán Martín por todas las islas. La adjudicación de estas obras a los grandes poderes económicos, afianza la estructura de poder basado en la capacidad de presión de las grandes empresas adjudicatarias, que son las que realmente están ostentando la función decisora sobre el futuro territorial, energético, económico y social de Canarias, en un contexto de recortes es áreas especialmente sensibles como educación y sanidad.
8- El puerto de Granadilla ha sido, y sigue siendo, la obra más y mejor contestada, de toda la historia de la Unión Europea. Concretamente, la denuncia dirigida al Defensor del Pueblo ha sido la demanda que ha concitado mayor respaldo en la historia de este organismo europeo. Esta infraestructura, y lo que ella representa, ha supuesto años de lucha argumentada. Las excusas esgrimidas por los promotores han sido rebatidas en su totalidad por personas de sobrada cualificación técnica. El movimiento ciudadano ha sabido dotarse de capacidad crítica y argumental para enfrentarse a este despropósito. Este movimiento democrático ciudadano ha reclamado por una parte la no construcción del puerto, y por otro lado una exigencia de una mayor calidad democrática en nuestras islas. No podemos tirar toda esta carga de razones por la borda.
9- El puerto de Granadilla ha dado pie a más de una década de lucha social. Miles de personas han participado en las más diversas acciones de protesta contra el puerto. No es nuestra culpa que los partidos políticos responsables de su ejecución hayan ignorado desde las 56.000 firmas recogidas para apoyar la I.L.P que pretendía proteger la costa de Granadilla, a las manifestaciones de miles de personas que han salido a la calle a protestar y reivindicar sus derechos democráticos. Ha sido histórica también la implicación de la Comunidad Científica en esta lucha. No es el momento de abandonar, sino de refortalecer esta lucha. Granadilla es el símbolo de una manera despótica de actuar desde la política y de desprecio absoluto a la participación ciudadana. Rendirnos significaría algo así como legitimar esta política.
10- El puerto de Granadilla no está hecho. No nos dejemos engañar, el puerto sólo se ha iniciado, pero aún no se ha concluido, y no es seguro que se pueda concluir. Se puede parar aún, y es mejor que se pare ahora, que el daño aún no se ha consolidado, que cuando ya los valores que pretendemos proteger se hayan destruido para siempre. Su paralización se convertiría en el símbolo de que la lucha ciudadana puede vencer aunque se enfrente a los grandes poderes fácticos de nuestras islas.
This Magnolia x veitchii is located in the Rhododendron Garden (Bed 71A) in the San Francisco Botanical Gardens
"Magnolia x veitchii is a hybrid created in 1907 by Peter Veitch at the Royal Nurseries in England. Its exquisite pink-white chalice-shaped flowers are the result of Veitch's attempt to create a magnolia as beautiful as its parents, hardier, and with an extended blooming season. To create this hybrid, Veitch placed the pollen from a Magnolia denudata (jade lily) onto a flower of Magnolia campbellii (cup and saucer magnolia). The result was the first recorded hybrid of M. campbellii and a tree that embraced the best traits of both its parents. This new hybrid combined the large pink flowers of Magnolia campbellii with the upright tepals and almost pure-white flower of Magnolia denudata. Other desired traits included the upright growth habit of M. campbellii with an earlier and longer bloom season. Magnolia x veitchii flowered as early as seven years from vegetative propagation and seedlings, from the cross, flowered within 10 years (some of which became named cultivars). Magnolia campbellii can take up to 10–12 years from vegetative propagation and up to 20 years to flower from seed. "
MF Stereo Pair using Russian "Sputnik" (early 50s) camera.
Construction on the Oakland Paramount Theater began one year into the Great Depression; according to the Paramount History Page, it was sold to Fox before opening on December 16, 1931. Paramount Pictures itself went into receivership in 1933.
Assuming history repeats itself, we are currently reliving 1930. Except that, in 1930, just as the movie industry was being decimated by the Great Depression, talking pictures kicked the survivors' box office into overdrive, culminating in all-time attendance records during the Golden Age of Hollywood. By contrast, in 2008 affordable home theaters are spreading fast with the latest top-of-the-line flat screens surpassing theater projection quality, home-theater projectors offering screen sizes in excess of 10 feet, master-quality surround sound aimed directly at your couch, and even the beginnings of support for 3D.
What can a public movie house now offer that you cannot get, with less hassle and a remote control to boot, in the privacy of your own home?
I believe, at the very least, the era of the multiplex is over. There is no need for 16 living-room-size boxes to show every last romantic comedy and beer, bong, 'n' boobs flick that manages to get the green light. Going forward, people will increasingly only go to the movies for blockbusters, for event films. Several times a year an event film will draw huge crowds that will nevertheless not offset the cost of keeping a theater open the other 360 days of the year. Most movie theaters now open will be shuttered by 2011.
But not all movie theaters will disappear. When it comes to an event movie, I'd be willing to pay more—maybe $20 instead of $10—than I would for a run-of-the-mill sequel that more likely than not will be a waste of time. But for that extra money, time spent parking and waiting in line, sticky seats, and color commentary from the row behind, I require something I can't get at home—and not just bragging rights that I was the first in the office to see the latest Robert-Downey-Jr.-superhero sequel.
I want:
- the volume cranked to eleven without the neighbors calling the police
- to be part of a mass of oohing, aahing, screaming, and silently weeping humanity
- the awe-inspiring picture frame offered by an Art Deco movie palace
The 3040-seat Paramount (more than double the seating capacity of San Francisco's Castro Theater) came fairly near to selling out last Friday's by-no-means-exclusive screening of Singin' in the Rain. It passes the "nice frame" criterion with flying colors, and its enthusiastic clientele make it a great place to soak up the emotion of the crowd.
Too bad the sound sucks. Either the Paramount's acoustics, its speakers, or both are lousy. If I hadn't already memorized every line of Singin' in the Rain, I'd have had trouble making out several of them.
Fix the sound, and add digital distribution (the print had numerous bad splices, and noticeable deterioration in picture quality not found in the DVD release), and the Paramount comes about as close as I've seen to my vision of the theater of the future. With the Fox Theater just two blocks and three months away, I think it'd be wonderful if one of them made a serious attempt at showing movies again.
The problem is the Grand Lake, only a couple miles away, is already a first-run Art Deco movie palace with a first-rate sound system. But it's only half the size of the Paramount, and even that half has been divided, with separate screening rooms taking up the balcony. I'd do my best to support a serious attempt to out-grand the Grand Lake. Would you?
Geoffroy normally works with art formats like the EMERGENCY ROOM
to stimulate urgent expression by artist about today 's emergencies :
www.emergencyrooms.org/formats.html
www.colonel.dk contact : emergencyrooms@gmail.comThierry Geoffroy/ Colonel will be exhibiting in the museum Kunsthalle Mannheim from october 2018 part of the exhibition Konstruktion der Welt .Kunst und Ökonomie
Constructing the World: Art and Economy 1919-1939 and 2008-2018
10/12/18 to 02/03/19
Ten years after the peak of the global financial crisis in 2008, which profoundly shook the economic systems of America and Europe and had a lasting effect on present-day life, this topical exhibition is the first to illustrate the economy’s dramatic influence on art and to make global comparisons, demonstrating these in an analysis of two separate eras. Economic phenomena in the classical modernism of the 1920s and 30s are not only explored by focusing on art from the German Weimar Republic, the Soviet Union, and the United States, but also juxtaposed with artists of the present day.
Curatorial team: Dr. Eckhart Gillen (Berlin), Dr. Ulrike Lorenz, Dr. Sebastian Baden
Project Lead: Dr. Inge Herold, Assistence: Lisa Valentina Riedel, M. A. mult., Elisabeth Bohnet, M.A.
How does contemporary art reflect the world of work today? The catalogue for the second part of the exhibition Constructing the World at the Kunsthalle Mannheim takes a look at this question. The focus of it is primarily on artistic positions of the past decade that deal with the social, political, and economic effects of the most recent economic crisis after 2008. The works address and interrogate new production conditions and developments on the labor market as well as political conflicts. The accompanying publication provides fascinating insights into the diverse artistic positions.
Artists participating 2008-2018
Maja Bajevic - BBM (Observers of Operators of Machines) - Bureau d'Études - Claire Fontaine - Jacques Coetzer - Abraham Cruzvillegas - Szilárd Cseke - Chto Delat - Jeremy Deller - Simon Denny - Tatjana Doll - Harun Farocki & Antje Ehmann - Thierry Geoffroy - Andreas Gursky - Thomas Hirschhorn - Olaf Holzapfel - Sanja Iveković - Charles Lim Yi Yong - Maha Maamoun - José Antonio Vega Macotela - Tobias Rehberger - Oliver Ressler & Dario Azzellini - Mika Rottenberg - Superflex - Zefrey Throwell - Volume V - Maya Zack - Artur Żmijewski
Artists participating 1919-1939
Berenice Abbott - Gerd Arntz - Lester Thomas Beall - Thomas Hart Benton - George Biddle - John Biggers - Peter Blume - Margaret Bourke-White - Jacob Burck - Clarence Holbrook Carter - Charlie Chaplin - Ottilie Cieluszek - Ralston Crawford - Francis Hyman Criss - Stuart Davis - Alexander A. Deineka - Rudolf Dischinger - Otto Dix - Nikolaj A. Dolgorukow - Arthur Durston - Sergej M. Eisenstein - Fred Ellis - Walker Evans - Philip Evergood - Conrad Felixmüller - Hans Finsler - Max Gebhard - Hugo Gellert - John R. Grabach - Otto Griebel - William Gropper - Carl Grossberg - George Grosz - Hans Grundig - Kurt Günther - O. Louis Guglielmi - John Heartfield - Werner Heldt - Karl Hubbuch - Eric Johansson - Joe Jones - Grethe Jürgens - William Karp - Lewis W. Hine - Hannah Höch - Heinrich Hoerle - Edward Hopper - Hermann Otto Hoyer - Edward McKnight Kauffer - Gerhard Keil - Gustavs Klucis - Käthe Kollwitz - Pawel D. Korin - Valentina N. Kulagina - Wilhelm Lachnit - Fritz Lang - Wladimir W. Lebedew - Jack Levine - El Lissitzky - Arkadi Lobanow - Louis Lozowick - Sergej A. Lutschischkin - Reginald Marsh - Carl Mayer - László Moholy-Nagy - Dimitri Moor - Reinhold Nägele - Otto Nagel - Alice Neel - Oskar Nerlinger -Solomon B. Nikritin - Alice Lex-Nerlinger - Gerta Overbeck - Werner Peiner - Kusma S. Petrow-Wodkin - Juri I. Pimeno w - Natalia Pinus - Michail M. Plaksin - Jackson Pollock - Curt Querner - Climent N. Redko - Albert Renger-Patzsch - Serafima V. Rjangina - Alexander Rodtschenk o - Theodore Roszak - Walter Ruttmann - Leni Riefens tahl - Nikolaus Sagrekov - Alexander N. Samochwalow - Paul Sample - August Sander - Arkadi S. Schaichet - Rudolf Schlichter - Wilhelm Schnarrenberger - Georg Scholz - Franz Wilhelm Seiwert - Ben Shahn - Charles Sheeler - Georgi und Wladimir A. Stenberg - Warwara Stepanowa - Paul Strand - Miklos Suba - Ernst Thoms - Alexander G. Tyschler - Bumpei Usui - Konstantin A. Vialov - Karl Völker - Wladimir A. Wassiljew - Dsiga Wertow - Piotr W. Wiljams - Grant Wood - Gustav Wunderwald - Ekaterina S. Zernova - Heinrich Zille
www.colonel.dk contact : emergencyrooms@gmail.com
#artformats #artformat #formatart #biennale #biennalism #biennalecritic
#ARTIVISM #streetartist #politicalartist #activistartist #Epigrammatists #socialcommentary
#premonitionart #avantgardeart #inadvanceart #urbanartist #InstitutionalCritique
#artintime #onlineart
#toolate
thierry.geoffroy #thierrygeoffroy #artistrole
#biennalist #Biennalism #biennalecritic
#exhibition #contemporaryart #
#artandeconomy #kunsthallemannheim #museum #mannheim#thierrygeoffroycolonel
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Collaboration beetween Biennalist and Ultracontemporay
Art Format
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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
(Must watch!) www.youtube.com/watch?v=TkxGAf1Lxvs
More pictures.
www.google.no/imgres?imgurl=http://4.bp.blogspot.com/_cS4...
www.google.no/imgres?imgurl=http://4.bp.blogspot.com/_TU_...
www.google.no/imgres?imgurl=http://www.condenast.co.uk/im...
Requirements
1. It got to be natural
2. Be creative.
3. You have to deliver the photo in time!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
4. You have to have FUN doing the photo ! ^_^
Deadline April 25th
(NO EXTENDING OR EXCUSES)
__________________________________________________________
(List is not in order)
CarolParvati™ , Scarlet
www.flickr.com/photos/carolparvatilara/5641835346/in/phot...
BratzMovieMaker928 , Jennifer
www.flickr.com/photos/19039188@N07/5632162988
GoneCookie , Aaric
www.flickr.com/photos/gonecookie/5651560645/
AmandaLuvsMJ , Shadi
www.flickr.com/photos/51002586@N06/5647049432/in/photostream
Done : Link
Undone : No Link
_______________________________________________________
Good Luck!!
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Brassó/Brasov/Kronstadt. My maternal grandfather's hometown.
Black Church/Fekete Templom which dates back to 1477, with a Gothic architecture, blackened by smoke from the 1689 great fire.
digital-escape.blogspot.hu/2009/06/brasov-kronstadtbrasso...
www.szekelyfoldiinfo.ro/Menu/Brasso.html
It was our first long, beautiful and touching journey to my family's second home to Erdély/Transylvania (previously Hungary, it has belonged to Romania since the end of WW1) - and a happy family reunion with my Transylvanian Sekler/Hungarian paternal Grandmother's niece, nephew and Dad's cousins in Székely Land/Székelyföld (a part of Transylvania).
(Dad's mother died 1947, just when his son, my father was allowed to come home from the Soviet lager where he had been a POV for five years.)
My maternal grandfather (1888-1948) was born and grown up as well in Erdély/Transylvania, his hometown was Brassó/Brasov/Kronstadt, so we visited his favourite places too. His mother was born in a well-posessed Saxon family in Brassó, his father was a Hungarian nobleman who was born in Upper Hungary (now it belongs to Slovakia.).
About Erdély/Transylvania (including Székely Land with majority of Hungarian population)::
Transylvania, is a geographical region of Romania near the Hungarian border. It covers about 39,000 square miles (101,000 square kilometers). The majority of its people are Romanians, but about a quarter of the population are Magyars (Hungarians). Magyars make up the largest ethnic group in Hungary. Transylvania also has a sizeable Gypsy minority. The Carpathian Mountains and Transylvanian Alps separate the region from the rest of Romania. For years, Romanians and Hungarians quarreled over Transylvania. Magyars conquered the region in the 900’s. From 1526 to 1699, Transylvania was part of the Ottoman (Turkish) Empire. It was under Hungarian control from 1699 to 1867, when it once again became part of Hungary. During World War I (1914-1918), Romania joined the Allies after being promised Transylvania. After the war, Transylvania became part of Romania. In August 1940, Germany and Italy forced Romania to give northern Transylvania to Hungary. After World War II (1939-1945), Transylvania was returned to Romania and lost its political identity. Transylvania is the main site of the legend about the vampire Dracula. The character of Dracula is based on Vlad Tepes, a cruel prince of the 1400’s who lived in Walachia, a region south of Transylvania. Vlad executed many of his enemies by driving a stake through their bodies. A belief vampires once held by many Romanian peasants added details to the legend. Dracula (1897), a novel by the English author Bram Stoker, made the legend famous. This immensely popular book has inspired numerous plays and motion pictures.
---------------
This trip was not an everyday occurence because we have never met with this part of our family before. The reasons were due to sad and serious historical events:
After WW1 the Treaty of Trianon defined new borders of Hungary due to its role in Great War: we fighted on the side of Central Powers.
Compared to the pre-war Kingdom of Hungary, post-war Hungary had 72% less territory. Its population was 7.6 million, which was 64% less than the population of the pre-war kingdom, whose population was 20.9 million.
31% (3.3 out of 10.7 million) of ethnic Hungarians who lived in the pre-war kingdom lived outside the newly defined borders of post-war Hungary, just like a part of my paternal and maternal family as well as some people of my husband's family (not only in Romania but also in present Slovakia and Ukraine).
After WW2, due to the communist era and especially Ceausescu's politics my father couldn't visit his mother's relatives in Erdély/Transylvania, who lived in Székelyföld (Székely Land or Szekler Land). So we were all happy to meet each other after so many decades!
And another happy ending: both countries has been members of Europe Union since 2004 (Hungary) and 2007 (Romania).
en.wikipedia.org/wiki/Sz%C3%A9kely
Mémoire2cité il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain. archipostcard.blogspot.com/search?updated-max=2009-02-13T... - museedelacartepostale.fr/periode-semi-moderne/ - archipostalecarte.blogspot.com/ - museedelacartepostale.fr/blog/ - museedelacartepostale.fr/exposition-permanente/ - www.queenslandplaces.com.au/category/headwords/brisbane-c... - collection-jfm.fr/t/cartes-postales-anciennes/france#.XGe... - www.cparama.com/forum/la-collection-de-cpa-f1.html - www.dauphinomaniac.org/Cartespostales/Francaises/Cartes_F... - furtho.tumblr.com/archive
le Logement Collectif* 50,60,70's, dans tous ses états..Histoire & Mémoire d'H.L.M. de Copropriété Renouvellement Urbain-Réha-NPNRU., twitter.com/Memoire2cite tout içi sig.ville.gouv.fr/atlas/ZUS/ - media/InaEdu01827/la-creatio" rel="noreferrer nofollow">fresques.ina.fr/jalons/fiche-media/InaEdu01827/la-creatio Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije
Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.
Lieux géographiques : la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye
www.dailymotion.com/playlist/x34ije_territoiresgouv_cinem... - mémoire2cité - le monde de l'Architecture locative collective et bien plus encore - mémoire2cité - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
Le Joli Mai (Restauré) - Les grands ensembles BOBIGNY l Abreuvoir www.youtube.com/watch?v=eUY9XzjvWHE … et la www.youtube.com/watch?v=hK26k72xIkU … www.youtube.com/watch?v=xCKF0HEsWWo …
Genève Le Grand Saconnex & la Bulle Pirate - architecte Marçel Lachat -
Un film de Julien Donada içi www.youtube.com/watch?time_continue=1&v=4E723uQcpnU … … .Genève en 1970. pic.twitter.com/1dbtkAooLM è St-Etienne - La muraille de Chine, en 1973 ce grand immeuble du quartier de Montchovet, existait encore photos la Tribune/Progres.
www.youtube.com/watch?v=AJAylpe8G48 …, - la tour 80 HLM située au 1 rue Proudhon à Valentigney dans le quartier des Buis Cette tour emblématique du quartier avec ces 15 étages a été abattu par FERRARI DEMOLITION (68). VALENTIGNEY (25700) 1961 - Ville nouvelle-les Buis 3,11 mn www.youtube.com/watch?v=C_GvwSpQUMY … - Au nord-Est de St-Etienne, aux confins de la ville, se dresse une colline Montreynaud la ZUP de Raymond Martin l'architecte & Alexandre Chemetoff pour les paysages de St-Saens.. la vidéo içi * Réalisation : Dominique Bauguil www.youtube.com/watch?v=Sqfb27hXMDo … … - www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije
Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.
la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye 1975 Réalisateur : Sydney Jézéquel, Karenty
la construction des Autoroutes en France - Les liaisons moins dangereuses 1972 www.dailymotion.com/video/xxi0ae?playlist=x34ije - Ministère de l'Équipement et de l'Aménagement du Territoire - Dotation par la France d'autoroutes modernes "nécessité vitale" pour palier à l'inadaptation du réseau routier de l'époque voué à la paralysie : le reportage nous montre des images d'embouteillages. Le ministre de l'Équipement et de l'Aménagement du Territoire dans les deux gouvernements de Pierre Messmer, de 1972 à 1974, Olivier Guichard explique les ambitions du programme de construction qui doit atteindre 800 km par ans en 1978. L'ouverture de section nouvelles va bon train : Nancy / Metz par exemple. Le reportage nous montre l'intérieur des bureaux d'études qui conçoivent ces autoroute dont la conception est assistée par ordinateurs dont le projet d'ensemble en 3D est visualisé sur un écran. La voix off nous informe sur le financement de ces équipements. Puis on peut voir des images de la construction du pont sur la Seine à Saint Cloud reliant l'autoroute de Normandie au périphérique, de l'échangeur de Palaiseau sur 4 niveau : record d'Europe précise le commentaire. Le reportage nous informe que des sociétés d'économies mixtes ont étés crées pour les tronçons : Paris / Lille, Paris / Marseille, Paris / Normandie. Pour accélérer la construction l’État a eu recours à des concessions privées par exemple pour le tronçon Paris / Chartres. "Les autoroutes changent le visage de la France : artères économiques favorisant le développement industriel elles permettent de revitaliser des régions en perte de vitesse et de l'intégrer dans le mouvement général de l'expansion" Sur le plan européen elles vont combler le retard de la France et réaliser son insertion. Images de l'inauguration de l'autoroute entre Paris et Bruxelles par le président Georges Pompidou. Le reportage rappel que l'autre fonction capitale des autoroute est de favoriser la sécurité. La question de la limitation de vitesse est posée au ministre de l’Équipement, qui n'y est favorable que sur certains tronçons. Un des facteur de sécurité selon le commentaire est l'humanisation des autoroutes : aires de repos, restaurants, signalisation touristiques... "Rien n'est impossible aux techniques modernes" nous apprend la voix off qui prend comme exemple le déplacement sur rail de 65 mètres d'un château classé afin de faire passer l'autoroute Lille / Dunkerque.Durée : 4 minutes 30 secondes
Sur les routes de France les ponts renaissent 1945 reconstruction de la France après la Seconde Guerre mondiale www.dailymotion.com/video/xuxrii?playlist=x34ije , Quelques mois après la fin de la Seconde Guerre mondiale, un triste constat s'impose : 5 944 passages sont coupés, soit plus de 110 km de brèches ; de nombreuses villes se trouvent isolées.Les chantiers s'activent dans toute la France pour "gagner la bataille des communications routières". Mais outre la pénurie de main d’œuvre, il faut faire face au manque de matériaux (béton, métal) et donc déployer des trésors d'imagination pour reconstruire les ponts détruits. Si le savoir faire des tailleurs de pierre est exploité, le plus spectaculaire est le relevage des ponts, comme le pont de Galliéni à Lyon, où 7 à 800 tonnes d'acier sont sorti de l'eau avec des moyens de l'époque. En avril 1945, il reste 5 700 ponts à reconstruire soit 200 000 tonnes d'acier, 600 000 tonnes de ciment, 250 000 m3 de bois, 10 millions de journées d'ouvrier, prix de l'effort de reconstruction.1945
Auteurs / réalisateurs : images : G.Delaunay, A.Pol, son : C.Gauguier Production : Direction Technique des Services des Ponts et Chaussées / Ministère des Travaux Publics et des Transports Support original : 16 mm noir et blanc Durée : 14 min Thèmes principaux : infrastructures-ouvrages d'art Mot clés : chantier, pont, Reconstruction, restauration, béton précontraint, ministère des travaux publics et des transports
Lieux : Lyon, Tournon, Caen - Le Bosquel, un village renait 1947 l'album cinématographique de la reconstruction, réalisation Paul de Roubaix production ministère de la Reconstruction et de l'Urbanisme, village prototype, architecte Paul Dufournet, www.dailymotion.com/video/xx5tx8?playlist=x34ije - Demain Paris 1959 dessin animé présentant l'aménagement de la capitale dans les années 60, Animation, dessin animé à vocation pédagogique visant à promouvoir la politique d’aménagement suivie dans les années 60 à Paris. Un raccourci historique sur l’extension de Paris du Moyen Âge au XIXe siècle (Lutèce, œuvres de Turgot, Napoléon, Haussmann), ce dessin animé retrace la naissance de la banlieue et de ses avatars au XXe siècle. Il annonce les grands principes d’aménagement des villes nouvelles et la restructuration du centre de Paris (référence implicite à la charte d’Athènes). Le texte est travaillé en rimes et vers. Une chanson du vieux Paris conclut poétiquement cette vision du futur. Thèmes principaux : Aménagement urbain / planification-aménagement régional Mots-clés : Banlieue, extension spatiale, histoire, quartier, ville, ville nouvelle Lieu géographique : Paris 75 Architectes ou personnalités : Eugène Haussmann, Napoléon, Turgot Réalisateurs : André Martin, Michel Boschet Production : les films Roger Leenhardt
www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije , Film d'archive actualités de 1952 Reconstruction de la France sept ans après la fin de la seconde guerre mondiale état des lieux de la crise du logement , Actualités de 1952. Sept ans après la fin de la seconde guerre Mondiale état des lieux de la reconstruction de la France et de la crise du logement à l’œuvre, pénurie de logement, logements insalubres. Les actualités montrent des images d'archives de la destruction de la France, les Chars de la division Leclerc qui défilent sur les Champs Elysees. Le commentaire dénonce la lenteur de la reconstruction et notamment des manifestations qui ont eu lieue à Royan afin d''accélérer la reconstruction de la ville détruite.Le film montre à Strasbourg, Mulhouse, des réalisation moderne de grands ensembles et des images d'archive de la reconstruction du Havre de Saint Nazaire.
Le film se termine à Marseille sur les réalisation nouvelles autour du vieux port puis on assiste à l'inauguration de la Cité Radieuse par le ministre de la Reconstruction et de l'Urbanisme Eugène Claudius-Petit en présence de son architecte Le Corbusier à qui le ministre remet la cravate de commandeur de la légion d'honneur. www.dailymotion.com/video/xk1g5j?playlist=x34ije Brigitte Gros - Urbanisme - Filmer les grands ensembles 2016 - par Camille Canteux chercheuse au CHS -Centre d'Histoire Sociale - Jeanne Menjoulet - Ce film du CHS daté de 2014 www.youtube.com/watch?v=VDUBwVPNh0s … L'UNION SOCIALE POUR L'HABITAT le Musée des H.L.M. musee-hlm.fr/ union-habitat.org/ - EXPOSITION :LES 50 ANS DE LA RESIDENCe SALMSON POINT-Du JOUR
www.salmsonlepointdujour.fr/pdf/Exposition_50_ans.pdf - Sotteville Construction de l’Anjou, le premier immeuble de la Zone Verte sottevilleaufildutemps.fr/2017/05/04/construction-de-limm... - www.20minutes.fr/paris/diaporama-7346-photo-854066-100-an... - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962-9... missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695...
Image donated to SDASM from Convair/General Dynamics-- ---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
www.bmw.fr/fr/new-vehicles/M/m4-coupe/2014/apercu.html La haute performance visible dès le premier regard : la BMW M4 Coupé perpétue la tradition des automobiles M en alliant un look sportif et musclé à un design captivant. La ligne athlétique et la silhouette étirée soulignent l’esthétique puissante et le dynamisme de cette voiture de sport charismatique. L’intérieur est au diapason : conçu sur mesure pour le conducteur, le poste de conduite séduit par son ergonomie parfaite et son cachet résolument sportif.
Dynamisme
Efficience
Services & Apps
Aides à la conduite
Sécurité et confort
M Power World
Images et vidéos
Caractéristiques techniques
CONÇU POUR LA PERFORMANCE.
Le moteur M TwinPower Turbo de la BMW M4 Coupé.
Le cœur de la BMW M4 Coupé : le tout nouveau 6 cylindres en ligne essence BMW M TwinPower Turbo. Une puissance phénoménale et une sonorité inimitable. Une interaction parfaitement orchestrée de technologies issues du sport automobile permet d’atteindre 431 ch (317 kW) avec un déploiement de puissance immédiat.
6 cylindres en ligne essence M TwinPower Turbo
Le 6 cylindres en ligne essence M TwinPower de 3,0 l associe une capacité à monter haut dans les tours, jusqu’à 7 600 tr/min, à une puissance souveraine avec un couple maximal de 550 Nm. 4,1 secondes suffisent au moteur M de 431 ch (317 kW) pour accélérer la voiture de 0 à 100 km/h. Grâce à l’injection directe bi-turbo et à un réglage fin typiquement M, le moteur réagit directement à la moindre injonction sur l’accélérateur avec une poussée phénoménale et des reprises souveraines. Un concept de refroidissement digne de la compétition ainsi qu’un couvercle de carter d’huile et une pompe à huile supplémentaires permettent à ce moteur M de relever tous les défis. De nombreuses innovations telles que l’architecture avec des cylindres non chemisés ou un vilebrequin forgé plus léger s’inscrivent dans le cadre du concept de construction allégée intelligente, améliorent le dynamisme et les accélérations, réduisent la consommation et permettent une répartition optimale de la charge entre les essieux. Résultat : une agilité inédite soulignée par la sonorité inimitable du moteur M.
Émissions de CO2 en g/km 204,0 [194,0]
Consommation en cycle mixte en l/100 km 8,8 [8,3]
Cylindres/soupapes 6/4
Cylindrée en cm³ 2979
Course/alésage (mm) 89,6/84,0
Puissance en kW (ch) à t/min. 317 (431)/5500-7300
Couple max (Nm) à t/min. 550/1850-5500
Taux de compression: 1 10,2 Les 431 ch n’attendent que vos instructions. Propulsée jusque dans la zone rouge en quelques secondes par son moteur 6 cylindres en ligne essence M TwinPower Turbo, la BMW M4 Coupé délivre une puissance immédiatement perceptible. La poussée est très finement dosée même dans les plus hauts régimes. Des technologies de compétition adaptées telles que le différentiel actif M transmettent la puissance du moteur M directement à la route et assurent un contrôle sûr et optimal en toutes circonstances. Hautes performances, technologies d’exception et sensations sportives se résument en une lettre : M. Le M Power World propose des informations exclusives sur les automobiles hautes performances M. C’est aussi un lieu de rencontre pour tous les passionnés de la lettre la plus puissante du monde.
Le M Power World est tout aussi unique que les modèles signés M. Les fans de BMW M peuvent ici s’informer sur tout ce qui touche aux voitures de sport hautes performances de BMW.
Mais ils profitent de bien d’autres choses encore, du coup d’œil dans les coulisses de BMW M GmbH à l’espace service qui les met en contact direct avec leur Concessionnaire BMW, en passant par un forum en ligne pour échanger des expériences avec d’autres conducteurs de BMW M.
Vous souhaitez découvrir BMW M sur un mode direct et authentique ? Alors rejoignez l’univers virtuel de BMW M Power.
BMW M Power World
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總統府燃燒一天一夜
台灣在日治時期被捲入第二次世界大戰，全台飽受戰爭洗禮，死傷人數達一萬五千多人，讓老台北人刻骨銘心，莊永明表示，空襲當天包括龍山寺、大稻埕、台北橋、台大醫院都受到美軍投彈轟炸，密集毀掉都市機能，滿地都是殘磚破瓦，二二八公園當時還被炸彈炸得坑坑洞洞，一下雨就變成池塘，當時許多建物毀壞後，再也沒有重建，如二女中被迫廢校，總統府也因燒了一天一夜而受損重修。
昨天特展首日隆重開幕，邀請國寶級建築師李重耀現場解說重修總統府的歷程，八十多歲的李重耀回憶，「陳儀當時接收台灣後，原需四萬萬元經費只給三萬萬元，修不好就槍斃，經費不足加上物價波動，工程真的很難做。」
李重耀說，光是清理總統府的殘磚破瓦就需要一萬台牛車，八萬多個工人，因為經費不足，總統府原本有橢圓拱頂和精美的泥塑，修建後變成平頂，屋頂的通風孔、室內柱子的柱頭式樣也簡單
• World War II, under the Special Exhibition of Taipei's air raid
Show Time: October 2007 to December 23 Venue: 228 Memorial Hall, the basement galleries special exhibition: This exhibition from the 1930s under Japanese colonial rule of Taiwan's how to get the background to cut into the war system, describing the host defense the case of exercise, as well as Government House, the Administration's air defense education. In order to prevent air strikes, the buildings will be conducted in Taipei camouflage, and have smoke drills. In addition, the Government House to inform the public on how to implement blackouts, as well as lighting control, life in Taipei. Will also display the type of alarm and air-raid sirens, as well as anti-aircraft shelter and a bomb shelter situations. In 1938, in Taipei for the first time subjected to air raids, in 1941 Japan launched the Pacific War, in October 1944, the United States and Japan broke out in Taiwan over the tragic air off the coast of the U.S. aircraft major cities in Taiwan large-scale air strikes. The loss of air after the Japanese air superiority early in 1945, the United States landed the Philippines, the United States military aircraft such as the unhindered, indiscriminate bombing of cities in Taiwan. May 31, 1945 in Taipei's air strike was the previous Allied air raids, the U.S. military aircraft sorties, the largest bomb of the most intensive and largest number of casualties in the action, but also many of the common experience of older people in Taipei. Many important landmarks including the Governor House (now the Presidential Palace), National Taiwan University Hospital, the new parks and other places and become the tragic scene of devastation, memoirs, or visit the exhibition supported by the record as evidence. Finally, the show summed up in wartime air raids in Taipei, the cost, such as the air raid casualties, air raid damage to buildings and other situations. There is destruction there is rebirth, this exhibition also describes Taipei recovery after reconstruction, including the buildings disappear due to air strikes, such as the railway hotel, the second highest female, the Central Research Institute, Prefectural Library, Taiwan Power Co., Weights and Measures The Taiwan Shrine, the General Executive's official residence and so on, the use of images before and after the bombing of past and present, and Chan, so have not experienced major air strikes people in Taipei have the opportunity to learn about this important process in modern history, but also to tell prior to the events 228, Taiwan war Qianlei condition.
Cashtown Inn. Gettysburg, Pennsylvania. April 2008.
From cashtowninn.com/history.html
On the Road to Gettysburg
by George F. Skoch
Stand on the front porch of the Cashtown Inn and let your eyes roam along the gentle grade of Old Chambersburg Pike as it rises past apple orchards and open fields toward the wooded slope of Cashtown Gap in South Mountain. Then let your mind wander back to the Gettysburg Campaign in the summer of 1863, when Confederate troops filled this roadway.
To an unwary observer who stood in front of Cashtown Inn on June 29 of that year, it must have looked as if the whole Rebel army had emerged from the rough, forested ridgeline when the van of Lt. Gen. A.P. Hill's Third Corps suddenly swung into view. Their crimson banners swayed with the liquid motion of marching soldiers, who were dressed in ragged butternut and gray. A gentle breeze carried with it the noise of rattling mess tins, the clanking of swords and bayonets, and the cheerful bantering of confident veterans on parade. To Cashtown Innkeeper Jacob Mickley, who witnessed the spectacle, it appeared as if “the entire force under Lee...passed within twenty feet of my barroom.”
Including a brief occupation by Confederate cavalry under Jeb Stuart in October 1862, this was the second time in less than a year that the Rebels had invaded Cashtown* (*Cashtown Inn gave its name to the peaceful crossroads village where the inn was built circa 1797. The name Cashtown was derived from the business practices of the first innkeeper, Peter Marck, who had insisted on cash payments for the goods he sold and the highway tolls he collected.)
During the Gettysburg Campaign, Robert E. Lee's Army of Northern Virginia had surged across southern Pennsylvania at will until June 28. Late that day scouts informed Lee that the Union army was north of the Potomac River and coming his way. Quickly Lee ordered his scattered army to concentrate at Cashtown, which stood strategically on his supply line back to Virginia. Within hours, legions of lean Rebel soldiers descended from Cashtown Gap and shuffled past Jacob Mickley's Inn.
As one of the oldest hostelries in the region, Cashtown Inn had served “for the entertainment of strangers and travelers” since 1815. That fateful summer of 1863, however, Cashtown Inn served hundreds of unwelcome strangers, including Confederate Gens. A.P. Hill, Henry Heth, and John D. Imboden. Suffering from a chronic ailment when he arrived at Cashtown at the head of his corps on June 29, the 37-year old Hill set up his headquarters in the relative comfort of Cashtown Inn. It was a good choice. For decades Cashtown Inn had been touted for its “healthy neighborhood; pure mountain air” and “daily bath” in fine waters from a natural spring flowing through the cellar. The cellar also included two giant brick ovens where Confederate commissaries could bake bread in abundance. (The spring and evidence of the brick ovens are visible today).
Cashtown itself was transformed into an armed camp for several days in late June and early July 1863, while the battle of Gettysburg raged just eight miles to the east. It was from there that the pivotal battle was launched when A.P. Hill sent Maj. Gen. Henry Heth's division to Gettysburg for shoes and supplies. Cashtown Inn bustled with activity during this time while Confederate officers and their staffs were quartered here. A stable located next to the Inn (but no longer standing) was used to shelter the wounded, as were many of the homes in the vicinity. Also dotting the orchards and meadows surrounding the village were hundreds of Lee's supply wagons and the cannons and carriages belonging to his artillery reserve.
Lee used many of these same vehicles to transport his wounded back to Virginia following his defeat at Gettysburg. Commander of the 17-mile long wagon train of misery, Brig. Gen. John Imboden made his headquarters at Cashtown Inn. On July 4, Imboden wrote, “About 4 pm the head of the column was put in motion near Cashtown and began the ascent of the mountain in the direction of Chambersburg.” It wasn't until the next day when Imboden passed over South Mountain with the last of the wagons that peace returned to Cashtown.
(In previous) decades Cashtown Inn has been on the declining end of almost two centuries of service. In 1948 a by-pass constructed on a segment of the Lincoln Highway (Route 30) relegated Cashtown Inn to the backwash of tourist traffic. The Inn fell to disrepair and some ill-repute. Not long ago, for example, a previous owner of this Civil War landmark had considered sub-dividing it into low-income apartments.
Preservationists take heart, though. (t)hanks to the tireless efforts of ... (former) owners Charles “Bud” Buckley and his wife Carolyn, Cashtown Inn is back, and is once again providing for the “entertainment of strangers and travelers.”... - George F. Skoch
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
Open Trip Bromo Puncak B29/P30, Air Terjun Tumpak Sewu dan Goa Tetes Lumajang, Open Trip Bromo kali ini adalah yang sangat berbeda dengan lainnya, saking terlalu mainstreamnya foto Bromo dari Puncak Pananjakan di Puncak Songolikur atau Puncak B29 (Bromo 2.900 mdpl) dan Puncak P30 (Puncak 3000 mdpl) Kamu pasti akan tau bedanya, sudut pandang panorama Bromo dari atas awan.
Dan satu lagi lainnya yang jadi pembeda adalah di Air Terjun Tumpak Sewu atau Coban Sewu Lumajang, disebut-sebut sebagai Niagaranya Jawa Timur karena Tumpak Sewu memiliki aliran yang melebar seperti tirai.
*harga perorang sekali perjalanan, terjadwal tiap bulan dari Kota Surabaya
13-14 April
4-5 Mei
22-23 Juni
13-14 Juli
16-17 Agustus
14-15 September
12-13 Oktober
16-17 November
7-8 Desember
LIHAT PDF | DOWNLOAD PDF | PESAN SEKARANG VIA WHATSAPP
Puncak Bromo B29 dan P30, kawasan lautan pasir di area Gunung Bromo terlihat cantik dan indah dari ketinggian 2900 mdpl, maka nama lokalnya adalah Puncak Songolikur (terjemahan Jawa=puncak dua puluh sembilan) yang saat ini lebih populer dengan nama Puncak B29 (Bromo 2900 mdpl).
Lokasi Puncak B29/P30 bisa dicapai dari pintu masuk kota Lumajang, berada di Desa Argosari Kecamatan Senduro, Kabupaten Lumajang Jawa Timur. Area B29 merupakan bagian Taman Nasional Bromo Tengger Semeru (TNBTS) yang sedang giatnya diorbitkan oleh pemerintah daerah Kabupaten Lumajang.
Wisata Bromo Puncak B29/P30, Tumpak Sewu dan Goa Tetes dari Surabaya
+ Pengen menikmati keindahan Bromo dari atas awan puncak tertinggi B29/P30, cari yang mudah, murah dan gak ribet, satu orang bisa daftar dan gabung dengan peserta lainnya, berangkat dari meeting point Stasiun Gubeng Baru Surabaya terjadwal setiap bulan tanpa minimal kuota.
+ Menyambut pagi Golden Sunrise Bromo dari sudut pandang berbeda di Puncak B29/B30 Lumajang.
+ Menikmati keindahan alam Air Terjun Tumpak Sewu atau Coban Sewu di Lumajang
+ Menyusuri terjal menuju Goa Tetes Goa Eksotik berikut air terjunnya
+ Menikmati sisi lain dari Gunung Bromo dari Lumajang, rute perjalan ke Gunung Bromo kali ini tidak singgah ke Kawah Bromo, Savanah, Pasir Berbisik dan Bukit Teletubbies, Anda cukup puas dengan menyaksikannya dari ketinggian puncak B29 dan P30.
Air Terjun Tumpak Sewu atau Coban Sewu Lumajang, lokasinya berada di perbatasan Kabupaten Lumajang dan Malang, Jawa Timur. Dengan air yang jatuh dari ketinggian ± 120 meter dan menjangkaunya berada di lebah curam memanjang dengan elevasi 500 mdpl.
Air Terjun Tumpak Sewu memiliki formasi unik dengan aliran air yang jatuh melebar layaknya tirai, bentukan seperti ini tergolong air terjun dengan tipe Tiered persis dengan Air Terjun Niagara di Amerika. Layak Coban Sewu juga digadang-gadang sebagai Niagaranya Jawa Timur.
Apa itu Open Trip Bromo Midnight?
Open Trip Bromo, sendiri atau minimum pemesanan satu orang Kamu sudah bisa daftar dan bergabung dengan paket Wisata Gunung Bromo. TANPA MINIMAL KUOTA, Tapi kamu gak bener-bener sendirian diatas Jeep Bromo dengan drivernya aja, akan kami gabungkan dengan kawan perjalanan yang lainnya dan kita bareng-bareng menuju gunung Bromo dari kota Malang. Jadi gak perlu susah mengumpulkan banyak orang dan patungan kalo hanya buat nyari harga murah.
Bromo Midnight, perjalanan dengan penjemputan dari kota Surabaya ini tanpa menginap, tidak harus menginap kalo cuma pengen liat pesona Golden Sunrise di Gunung Bromo.
Air Terjun dan Goa Tetes Lumajang, perpaduan antara goa dan air terjun. Goa Tetes sendiri memiliki keunikan yaitu memiliki beraneka ragam warnanya yang membuatnya terlihat eksotis. Dan di tambah lagi tebing-tebing batu yang terbentuk di Goa Tetes ini berlapis belerang sehingga menghasilkan warna kuning keemasan sehingga terlihat mencolok keindahannya juga unik. Apalagi dipadu dengan hijaunya lumut sehingga terlihat alami dan kontras
4 Alasan Kenapa Harus ke Bromo?
Meski dalam paket wisata “Open Trip Bromo Midnight” ini hanyalah perjalanan wisata selama 12 jam, tapi bukan berarti Kamu bisa gampang melupakan semuanya tentang keistimewaan gunung Bromo di Taman Nasional Bromo Tengger Semeru.
1# Golden Sunrise Bromo, berburu dan mengejar matahari pagi, fenomena saat fajar di Bromo ini sudah mendunia, coba aja cek di mesin pencari, foto-foto fenomena tentang pagi di Bromo bukan hanya jepretan dari wisatawan Nusantara aja… mendunia Brooo..
2# Kawah Gunung Bromo, pengetahuanmu tentang vulkanik di kawasan gunung Bromo pasti akan bertambah setelah menyaksikan dari dekat letupan asap dan abu dari Kawah Bromo.
3# Pura Luhur Poten, bukan hanya fenomena dan pesona alam dari Gunung Bromo yang akan lengket diingatanmu. Setidaknya Kamu juga akan tau kalo di sekitar kawasan Bromo bermukim suku Tengger yang memegang teguh keyakinannya sebagai pemeluk agama Hindu yang taat.
4# Lautan Pasir, Savana dan Bukit Teletubbies, beberapa spot lainnya di Bromo yang dipopulerkan oleh televisi atau film layar lebar, Pasir Berbisik dan Bukit Teletubbies juga akan jadi tujuan berfoto asik di alam bebas, tersimpan dalam kenangan dan sosial mediamu.
Bagaimana Dengan Biaya Wisata ke Bromo?
Bagaimana dengan biaya?, pasti lebih murah, tidak perlu kuatir karena wisata ke Bromo juga pasti perlu biaya, masih lebih mahal dari biaya jajanmu yang kamu keluarkan dalam sebulan.
Diluar jadwal Liburan Panjang (Lebaran dan Tahun Baru), Liburan Sekolah, Peak Season atau Hight Season kami berikan harga terbaik yang bisa terjangkau oleh kantong kamu
Berangkat setiap hari, dari Batu dan Malang, serta setiap Minggu dari Surabaya. Gak perlu lagi ditanya ini untuk tanggal berapa? weekend aja yah? Harga dari Explore Bromo cuma ada satu aja, berlaku untuk semua kondisi, mau hujan, panas, hari kerja atau hari nganggur semuanya sama. Kami bedakan hanya dari dimana Kamu berangkat, kota Malang atau Surabaya?
IDR 275K/orang - pemesanan minimal 1 (satu) orang. Ketemu di meeting point kota Malang. Berangkat dari Malang dan Pulang juga ke kota Malang. Lewat jalur Tumpang - Gubukklakah - Bromo.
IDR 325K/orang - pemesanan minimal 5 (lima) orang. Ketemu dan di jemput di Hotel Surabaya dan sekitarnya. Berangkat dari Surabaya dan diantar Pulang ke Surabaya. Lewat jalur Probolinggo - Tosari - Bromo
Itinerary - Rencana Perjalanan Open Trip Bromo B29/P30, Tumpak Sewu dan Goa Tetes
Hari 1. Penjemputan di Kota Surabaya
22.00-23.00 Berkumpul di Meeting Point Stasiun Gubeng Baru Surabaya
00.00-02.00 perjalanan menuju puncak B29 Lumajang
Hari 2. Explore B29/P30, Tumpak Sewu dan Goa Tetes
03.00-04.00 Persiapan sholat Subuh
04.00-04.30 Menuju puncak P30 dengan Ojeg motor
03.30-06.00 Menyaksikan Golden Sunrise dari Puncak tertinggi 3000 mdpl P30
06.00-07.00 Memandang Lansekap unik Bromo dari B29, 2.900 mdpl
07.00-08.00 Bersih-bersih badan
08.00-11.00 Menuju Coban Sewu atau air terjun Tumpak Sewu Lumajang
07.00-07.30 Menyaksikan langsung dari bibir kawah, kemegahan alam Kawah Bromo
11.00-15.00 Menikmati pesona Air Terjun Tumpak Sewu dan Goa Tetes Lumajang
15.00-22.00 Perjalanan kembali ke Surabaya
22.30 Open Trip Bromo B29 - Tumpak Sewu selesai, Sampai Jumpa di destinasi GO EXPLORE INDONESIA
Kontak Tour Operator
memoiresdepierre.pagesperso-orange.fr/alphabetnew/c/capbl...
Source : Wikipédia
Cap Blanc Nez (literally "Cape White Nose" in English) was a cape on the Côte d'Opale, in the Pas-de-Calais département, in northern France. The cliffs of chalk are very similar to the white cliffs of Dover at the other side of the Channel in England. Cap Blanc Nez is no longer a cape but a cliff that is topped by an obelisk commemorating the Dover Patrol which kept the Channel free from U-boats during World War I.
FRENCH :
fr.wikipedia.org/wiki/Cap_Blanc-Nez
Le cap Blanc-Nez est un cap situé à Escalles dans le Pas-de-Calais, à 10km de la ville de Calais. C'est la falaise la plus septentrionale de France.
Il est constitué de falaises escarpées, constituées de craie et de marne. Ces falaises s'élèvent jusqu'à 134 m de haut (151 m selon le Conservatoire du littoral) au-dessus d'un estran rocheux.
C'est un des sites emblématiques du Parc naturel régional des Caps et Marais d'Opale, qui constitue l'un des lieux-phare du « Grand Site des Deux Caps ». La falaise supporte une lande herbeuse, d'une qualité liée au sol et aux vent et embruns salés. Ces pelouses herbeuses sont entourées de grandes cultures et sont localement marquées par des séquelles de guerre (cratères de bombes de la Seconde Guerre mondiale).
Par temps clair, on peut y observer distinctement les falaises des côtes anglaises, le Cap Gris-Nez et la baie de Wissant au sud-ouest, la plaine flamande au nord, les collines du Boulonnais à l'est.
L'orthographe actuelle n'est pas conforme aux anciennes dénominations. Au xviie siècle, on l'appelait le Blannest. Si la première partie du nom désigne bien la couleur, la seconde partie -ness ou -nes est issue du vieux saxon naes qui signifie promontoire.
Obélisque : Dover Patrol
Ce monument rend hommage au sacrifice des soldats français et britanniques qui ont défendu les eaux du détroit du Pas-de-Calais au cours de la première Guerre mondiale. Le détroit du Pas-de-Calais était alors un endroit hautement stratégique par lequel transitaient les lignes de ravitaillement alliées. La surveillance et la protection du détroit était l'affaire de la Dover Patrol.
Un obélisque identique se dresse de l'autre côté du détroit sur les côtes anglaises à St Margaret-at-Cliffe.
Le monument d'origine a été détruit par l'armée allemande au cours de la deuxième guerre mondiale. Il a été reconstruit et inauguré en 1962. De juin à septembre 2007, le monument a bénéficié d'une restauration financée par le département du Pas-de-Calais dans le cadre de l'opération Grand Site (réaménagement du site des caps). L'opération a necessité l'intervention de véritables acrobates pour remettre en état ce grand obélisque.
Source: www.autoworldmuseum.com/about.html
Why build an automotive museum? Because one way or another, our lives are touched by the automobile. We remember our parents’ cars, the ones we traveled in with family, the ones we borrowed for our first car date, the first ones we bought. The fast cars, the junkers, the modified ones and the ones we rebuilt—all of them are tied to us in memory. We even dream of cars.
William E. Backer, former owner of Backer Potato Chip Company in Fulton, Missouri, looked back in time and found that a vintage automobile was a thing of fascination. His memories were of old country roads and two lane highways. Bill Backer was an engineer and a builder who loved to tinker. Having built a successful potato chip company, he looked back at the cars that were part of his childhood. Shortly after, he owned a Canadian 1924 Dodge Touring. Dark blue with black fenders and a cloth top. Bill drove his family around the back country roads of Callaway County, Missouri and felt himself touching fading memories.
Not long after he collected the Dodge, Bill had a 1909 Ford Model T. Soon after that, a 1930 Model A. Then a 1929 Cord, a 1931 Rolls Royce Phantom II, a 1957 Chevy Bel Air, and so on. By the mid 1990’s, the number of classic autos in the collection neared 100. Bill found a home for many of his classic cars in an old retail building in Fulton. The Auto World Museum Foundation was formed and a classic car museum was opened to the public. Ten years later, in 2006, the automobile museum was moved to its current home at 200 Peacock Drive in Fulton. It is a building dedicated to the history of vintage and modern automobiles as well as the history of Callaway County and Fulton, Missouri.
After his passing in 2008, his daughter, Vicki McDaniel, assumed leadership of the museum and the collection of cars. Since then, the collection of vintage autos has changed a little. However, her primary passion is for the presentation of antique cars and modern ones in a place that everyone can visit.
The presentation of cars and staging of the museum is the vision of Tom K. Jones, Artistic Director of TKJ Designs in Fulton, Missouri. His concept for the museum was a movement through time and a portrayal of the history of Callaway County, Missouri. Auto World Museum is a stage—a movement through history. Its deep black curtains, scenes from back when, panels of advertising and memorabilia will take you through a history of motion in time. At first, you will visit a period not that long ago, although some say 100 years is a long time. As you move in a clockwise direction through the museum, you will find enticing displays. The simplicity of family drives in the convertible. The decadence of Hollywood and its fancy cars. The sights and sounds of the drive-in as you watched from the comfort of your Studebaker or Corvair. You will ponder when gas prices were really, really low. Finally, you will find yourself nearing the future, with displays of alternative fuel vehicles.
Auto World Museum will spark your curiosity. We hope that you will find that our collection of vintage and modern automobiles fascinates you the way that it did Bill Backer. We hope you will continue the journey with us as we add to the collection over time. We would like to thank William Harrison for his dedication to the research on the autos in the museum.
sw.kingdomsalvation.org/testimonies/breaking-off-the-shac...
Kuibuka Kutoka Kwenye Ukungu
Zhenxi Jijini Zhenzhou, Mkoani Hena
Miaka kumi iliyopita, nikiendeshwa na asili yangu ya kiburi, sikuweza kamwe kutii kikamilifu mipangilio ya kanisa. Ningetii ikiwa ilinifaa, lakini iwapo haingenifaa ningechagua iwapo ningetii au la. Hili lilisababisha kukiuka sana mipangilio ya kazi wakati wa kutimiza wajibu wangu. Nilifanya jambo langu mwenyewe na kuichukiza tabia ya Mungu, na hivyo baada ya hapo nilitumwa nyumbani. Baada ya miaka kadhaa ya kujitafakari, nilikuwa kwa kiwango fulani na maarifa ya asili yangu mwenyewe, lakini kuhusu kipengele cha ukweli ambacho ni kiini cha Mungu bado sikuwa na maarifa mengi. Baadaye, kanisa lilinipangia kusimamia kazi ya injili, nilianza kuwa na shaka kumhusu Mungu: Mimi ni mpotovu sana na pia nilikuwa nimeichukiza tabia ya Mungu. Ni kwa nini Mungu angenitumia mimi? Je, Ananidanganya? Je, nitaondolewa baada ya kudanganywa? Aa! Kwa kuwa kanisa lilinipa nafasi nitaitunza, hata kama ni lazima niwe mtenda huduma. Kuanzia wakati huo kuendelea, nilitimiza wajibu wangu nikiwa na akili kama hiyo, lakini bila kutafuta lengo la juu—kufanywa mkamilifu na Mungu.
Wakati fulani, nilipokuwa nikitenda ibada ya roho, niliona maneno haya ya Mungu: “Leo hii, huwezi tu kuridhika na jinsi wewe umeshindwa, lakini lazima pia uzingatie njia ambayo utatembelea siku zijazo. Lazima uwe na matarajio na ujasiri wa kufanywa mkamilifu, na hupaswi daima kufikiria kwamba huwezi. Je, ukweli una maonevu? Je, ukweli huwapinga watu kwa makusudi? Kama wewe utaufuata ukweli, je unaweza kukushinda? Kama wewe utasimama imara kwa ajili ya haki, je utakuangusha chini? Kama ni hamu yako kwa kweli kufuata maisha, je, maisha yanaweza kukuhepa? Kama wewe huna ukweli, si kwamba ukweli unakupuuza, lakini ni kwa sababu wewe unakaa mbali na ukweli; kama huwezi kusimama imara kwa ajili ya haki, hiyo si kwa sababu kuna kitu kibaya na haki, lakini ni kwa sababu unaamini kuwa ni kinyume na ukweli; kama hujapata maisha baada ya kuyatafuta kwa miaka mingi, si kwa sababu maisha hayana dhamira kwako, bali ni kwa sababu wewe huna dhamira kwa maisha, na kuwa umeyafukuzilia mbali maisha…. Kama huwezi kufuata, basi inaweza kusemwa kwamba wewe ni taka usiye na maana, na huna ujasiri katika maisha yako, na huna roho ya kupinga nguvu za giza. Wewe ni mdhaifu mno! Huwezi kutoroka nguvu za Shetani ambazo zimekuzingira, na kuwa uko tayari tu kuishi haya maisha ya usalama na kufa katika ujinga. Kile unachopaswa kufanya ni kutekeleza azma yako ya kuwa mshinde; huu ni wajibu wako uliokushikilia. Kama wewe umeridhika na kushindwa, basi unafukuza kuwepo kwa mwanga” (“Matukio Aliyopitia Petro: Ufahamu Wake wa Adabu na Hukumu” katika Neno Laonekana katika Mwili). Baada ya kula na kunywa kifungu hiki cha neno la Mungu, niliguswa sana ndani. Niliona kwamba nia ya Mungu ni kuwaruhusu watu wote kutafuta kufanywa wakamilifu na wanaofaa kutumiwa na Mungu. Kisha nilifanya uamuzi: Nitaweka mbali wasiwasi wangu mwenyewe na nisiwe tena hasi na baridi. Nitaamini katika maneno ya Mungu na nifanye bidii ili nikamilishwe na Mungu. Lakini pole pole, kwa sababu bado sikujua kiini cha uaminifu wa Mungu, nilianza kuacha kuamini katika maneno ya Mungu tena, kila mara nikiamini kuwa maneno haya yalilengwa kwa mtu mwingine, na kwa mtu kama mimi yangetoa tu faraja na kutia moyo kwa kiasi kidogo. Nilizidi kukumbuka jinsi wakati mmoja nilivyoikosea tabia ya Mungu, kwamba asili yangu ni potovu sana, kwamba wakati mwingine hata nilifichua tabia yangu potovu huku nikitimiza wajibu wangu, kwamba singeweza kukamilishwa haijalishi jinsi nilivyofuatilia, na kufikiri kwamba ninapaswa kuridhika tu na kuwa mtenda huduma. Kwa namna hiyo tu, bila kujua nilianza kuishi katika ubaridi tena. Mpaka siku moja nilipokuwa nikila na kunywa neno la Mungu, niliona maneno yafuatayo ya Mungu: “Kiini cha Mungu ni uaminifu; Yeye hufanya Anachosema, na chochote Afanyacho hutimizwa …” (“Kipengele cha Pili cha Umuhimu wa Kupata Mwili” katika Kumbukumbu za Maongezi ya Kristo). Wakati huu, ilionekana kana kwamba wazo lilieleweka ndani mwangu kwa ghafla, kana kwamba ukungu uliokuwa umetanda juu ya moyo wangu ulitawanyika mara moja. Miaka mingi ya kutoelewa na wasiwasi kwa ghafla iliisha. Kisha tena nikakumbuka kile kifungu cha neno la Mungu ambalo nilikuwa nikila na kunywa: “Kama ni hamu yako kwa kweli kufuata maisha, je, maisha yanaweza kukuhepa? Kama wewe huna ukweli, si kwamba ukweli unakupuuza, lakini ni kwa sababu wewe unakaa mbali na ukweli; kama huwezi kusimama imara kwa ajili ya haki, hiyo si kwa sababu kuna kitu kibaya na haki, lakini ni kwa sababu unaamini kuwa ni kinyume na ukweli; kama hujapata maisha baada ya kuyatafuta kwa miaka mingi, si kwa sababu maisha hayana dhamira kwako, bali ni kwa sababu wewe huna dhamira kwa maisha, na kuwa umeyafukuzilia mbali maisha.” Wakati huu, nilihisi upitishaji wa haki ya ajabu na upendo usio na mipaka kutoka katikati ya mistari ya maneno ya Mungu, niliona kwamba Mungu ni mwema na mkuu, huku wakati uo huo niliona upweke wangu mwenyewe, akili yangu finyu, na uoza. Mungu ni mwaminifu. Hili ni bila shaka na lisiloweza kushukiwa. Mungu ana kiini cha uaminifu, Yeye ni wa kuaminika, na Anajaribu kumwokoa binadamu kwa kiasi kikuu iwezekanavyo. Mradi tu binadamu anafuatilia ukweli na mabadiliko katika tabia kulingana na mahitaji ya Mungu, Mungu atamfanya mwanadamu kamili, kwa sababu kile asemacho Mungu atafanya, Atakifanya na kile Afanyacho kitafanyika! Badala yake, nilishuku kuwa Mungu alikuwa kama binadamu na Angenitupilia mbali mara tu ningekoma kuwa mwenye maana. Sikulichukulia neno la Mungu kama ukweli hata kidogo, na zaidi ya hayo sikuamini katika Mungu kwa kweli na kwa uzuri. Badala yake, niliishi katika fikira na shaka katika mawazo yangu, nikikosa ujasiri mbele ya ukweli na kwa woga kukubali ushawishi wa giza, nisiweze kutetea haki. Ilikuwa ni hapo ndipo nilifahamu kwa kweli kuwa kufuatilia maarifa ya kiini cha Mungu ni muhimu sana. Kama ningekuwa tayari nimekuwa makini kufuatilia ufahamu wa tabia ya Mungu na kiini Chake kabla, nisingeliishi miaka mingi vile katika wasiwasi, nikichelewesha kuendelea kwa maisha yangu mwenyewe.
Asante, Mwenyezi Mungu! Ni Wewe uliyenitunza na kunipa nuru na kuniongoza kujitoa katika pingu ambazo zilikuwa zimenidhibiti kwa miaka mingi sana, kuniruhusu kutoka katika ukungu. Zamani, sikukujua Wewe na mara nyingi niliishi katika kutoelewa, nisiweze kuamini neno Lako na kulichukulia kama tu la kuliwaza na kuwatia watu moyo. Sikulichukulia neno Lako kama ukweli na uzima, na zaidi sikukuchukulia wewe kama Mungu. Lakini Ulinivumilia, na Ulikuwa mwenye subira kwangu. Ulinipa nuru na kuangaza mwanga Wako kwangu, ili kwamba niwe na ufahamu kidogo wa kiini Chako cha haki na uaminifu. Hii hasa ni mfano kamili wa upendo Wako kwa mwanadamu. Ee Mungu! Kuanzia sasa kuendelea nitaweka juhudi kubwa katika ukweli kuhusu kumjua Mungu, kufuata kile unachotarajia kutoka kwangu, nifuatilie ufahamu wa kiini Chako, na kutafuta mabadiliko katika tabia hivi karibuni ili niweze kukamilishwa na Wewe!
Image Source: Kanisa la Mwenyezi Mungu
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Recently I blogged about a new project that I am starting called $2 portraits. The idea is that I will offer $2 to anyone who asks me for money from now on in exchange for their portrait.
This afternoon I ran into Sean in front of the Chevy's Restaurant at Van Ness near Golden Gate. Sean was panhandling and asked me for some money for food and so I told him about my $2 portrait project and he agreed to pose.
Sean's 51 and has been in San Francisco for about eight years. He said that he was originally from Maryland. I asked him if he liked San Francisco or Maryland better and he said San Francisco -- he said the weather was warmer.
I asked Sean where his favorite place he ever lived was and he said Las Vegas. He said not for the gambling, but just for the city.
Sean doesn't have any kids. He does have an aunt who lives in San Jose, but he said that she was going through a hard time right now with a divorce.
Sean asked to see my photo of him in my camera after I photographed him. He said, "hey, that's not bad, I do look pretty beat up though." I told him that I thought he looked great and took a great portrait. He asked me if I was going to put a book out of these portraits someday. I told him I wasn't sure but that I didn't have any immediate plans to.
With that Sean said thanks for the $2 and I wished him well and headed on my way.
Source: www.dantestella.com/technical/retina.html
The Retina IIc can be best thought of as the forerunner to the famouns Retina IIIc - just without the meter and projected framelines. Although the viewfinder/rangefinder stayed the same as the IIa, a lot of other things changed:
Configuration: the biggest change with the IIc is that it went to a bottom-lever wind. This turns out to be a lot easier to use if you are left-eyed. It also allows for a much more reliable top-mounted frame counter and a less-fragile shutter-cocking mechanism. The rewind remained by knob. All camera surfaces are rounded ("streamlined,") and the front door is not latched on the bottom, but rather on the edge that opens. The top and bottom, as well as the sides, are rounded, leading to a more pleasing feel in the hand. One at least cosmetically significant difference is the use of an aluminum lens board that wraps back where you would have seen bellows on the IIa. This is largely superficial, since there are real bellows inside it.
Lens: Big change here. The IIc has a 50/2.8 Schneider Retina-Xenon or Rodenstock Heligon (which I believe to be the same as the 50/2.0 lenses, but with an aperture limiters in them). I have not observed the Schneider Xenon to be as sparkling as the 50/2.0, but this may be due to the interchangeability issue, which I believe adds new tolerances to the mix.
The front elements of these 50mm lenses are held into the shutter with a three-prong bayonet. When you bayonet out the front of the 50, you can interchange it with front parts for a 35/5.6 or an 80/4 (Scheider or Rodenstock, depending on what your camera originally came with). These lenses are huge, and none too easy to use. You focus with the rangefinder, and then you convert the distance. There is a squinty 35/80 Retina accessory finder to match. While these are of interest to collectors, they are hard to find in an un-separated state and not really worth the money or trouble for use (although they are neat).
The problem that interchangeability injects is that you may end up with a IIc (or IIIc for that matter) with the front of one 50mm lens and the rear of another. This is not a huge problem, but you will need to have the lens recollimated. The way you can check for danger is to match the lens serial number on the front lens element to the one on the shutter to the one on the back ring inside. Some people make it out to be the end of the world if all three don't match. It's not. Retina guru George Mrus (RIP) was very good at recollimating these lenses. I would recommend skipping a camera where these rings do not match, unless you can test it. Of course if the front and rear rings of the lens match each other, but not the shutter, it is really only a sign that the shutter was replaced at some point. A good repairman would have recollimated it.
Shutter assembly: The shutter is a Compur Synchro-MX #00 EVS, functionally identical to the one on the IIa, but with both settings visible on the top. One big difference is that it has the LVS system, which locks shutter and aperture together (both rings turn together). LVS is pretty useful for fill flash (see article) but is not that much fun for ambient light photos. The LVS disengages via a little lever on the bottom. Of all the Retina shutters, this seems to be the least problematic and the most jewel-like in its finish.
Accessories: The IIc and IIIc shared a neat line of accessories. The ne plus ultra was a brown bakelite box with 3 low-profile filters, the 50mm bayonet-on hood (rectangular) and the snap-on parts for 35 and 80mm hoods. The bayonet hoods are a boon, and a lot easier to deal with than the hard rubber screw-ins. Filter size remailed 30.5mm, so there is some backward and forward compatibility.
jaumefabrega.blogspot.fr/2008/11/caracoles.html
CARACOLES
De Borgoña a Lérida: los caracoles, entre el amor y el odio
La mejor forma de torturar a un inglés medio es haciendole comer "escargots", una palabra (y un producto, al cual ni se atreven a llamar en su idioma, snail) que les produce una profunda repelencia, como a muchos otros pueblos europeos y americanos. Los ingleses, para zaherir a los francesos, en los dichos y en las canciones pop, los llaman "come-caracoles".
Los franceses, naturalmente, los consideran exquisitos y han convertido los Caracoles a la borgoñona en un plato de fama internacional. En muchas tiendas y mercados se pueden encontrar estos caracoles envasados, con sus características grandes conchas. La forma més típica de comerlos es rellenandolos con una pasta ("beurre d' escargot") hecha con mantequilla, escalonia y perejil.
Sobre gustos...O bien, no siempre la fama acompaña la realidad.Los caracoles mediterráneos (llamados "petit-gris" en Francia), perfumados con las hierbas aromáticas que comen, tienen un sabor más pronunciado y, además, admiten una culinaria mucho más rica y variada. El gordo caracol de Borgoña (atención: los franceses lo llaman también "de viña"; no tienen nada que ver con el caracol al que aquí le damos ese nombre), cercano a los pastos crasos y verdes de esta región con un buey tan extraordinario, aunque sea la "aristocracia" gastronómica del caracol, no tiene color.
No tiene color delante una "vaqueta" catalano-valenciana, un caracol finísmo y perfumado de tomillo, que se vende muy caro (por unidades, ya que es muy escaso) y que caracteriza la Paella genuina. No tiene color delante de los "cargols de vinya" o "vinyal" (caracoles de viña), los "bovers",los "monja", los "sabateres", los diminutos "cargolins"...
Y no tienen color delante preparciones tan prehistóricas como los "cargols a la palla" o " a la brutesca", que se chamuscan, sin limpiar, directamente sobre el fuego. Un poco más evolucionados dentro de la escala gastornómica, tenemos los "cargols a la llauna" tal como se elaboran en Lérida, y particularment en su famosa "Festa del Cargol" en donde se consumen centenares de unidades de ellos. O la "cargolada" de la Cataluña Francesa y el Languedoc, hechos a la brasa, rociados con tocino y degustados con alioli ("allioli" o "aïoli"). En esta zona de Cataluña Norte el caracol da lugar, incluso, a fiestas en les que se intenta batir records dels Guinnes en cuanto a su consumo colectivo (en Tuïr se consumen 20.000 ). El prestigioso R.J. Courtine, comentarista gastronómico de "Le Monde" con el seudónimo La Reynière, comenta el dicho catalán "al juliol, ni dona ni cargol" que, simplemente, alude al hecho de que con el calor el amor y la buena comida no suelen funcionar...Consecuentement, los carcoles suelen constituir comida de invierno -en Euskadi eran típicos de Navidad- y también de Cuaresma. Por eso se suelen aderezar con salsas picantes a base de guindilla o ajo, vinagretas con pimienta,etc. Aunque no hay que olvidar que el caracol puede ser la base de una gastronomía tradicional mucho más sofisticada: se concinan con sepia, con centolla o kabrarroka, , con conejo, arroz, salchichas; incluso se hacen tortas , buñuelos y sopas o caldos cortos (como en Marruecos).
De sus huevos se extrae el carísimo "caviar de caracol". En el mercado se encuentran congelados, procedents del este y centro de Europa, Turquía, norte de Africa e incluso China e Indonesia.Otros proceden de "granjas" españolas.
Para mi la mejor cocina del caracol es la de Xipre y la de los pises catalanes, por la variedad y exquisitez de las recetas.
He aquí algunas de las más populares en el levante ibérico:
-Cargolada amb allioli
-Cargols a la llauna (al horno)
-Cargols a la petarrallada
-Cargols fregits
-Cargols dolços i coents (dulces y picante)
-Cargols amb salsa de tomata i vinagreta
-Arròs amb cargols
-Cargols sense closca (sin caparazón, rellenos)
-Cargols amb pernil (en salsa)
-Caragols amb patata i maonesa
-Cargols amb conill (conejo)
Y aquí entramos en elfant´stico y surrealista mundo del “mar y montaña”:
-Cargols amb conill de bosc i pop (pulpo; recta de mi madre)
-Cargols amb conill i sèpia
-Cargols amb peus de porc (manitas de cerdo)
-Cargols amb llagosta (o centollo, bocas, etc.)
-Cargols amb calamars
-Cargols amb costelló (costilla de cerdo)
-Cargols amb salsitxes i popets (pulpitos)
-Cargols amb botifarra i sèpia
-Cargols amb escorpa (cabracho, escorpeno)
-Cassola de tros amb cargols
-Paella de l´hort
-Caragols amb sobrassada
La mayor parte de estas recetas se pueden encontrar en mi libro La cuina surrealista - Jaume Fàbrega (Pagès Editors, Lleida, 2004).
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
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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.
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Navy Midshipmen V Air Force Falcons-From:-11:30Am
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Middle Tennessee Blue Raiders V East Carolina Pirates-From:-03:30pm
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2013 NCAA College Football Week 6
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Thursday October 3
Iowa State Cyclones V Texas Longhorns-From:-7:30pm
Louisiana-Monroe Warhawks V Western Kentucky Hilltoppers-From:-7:30pm
UCLA Bruins V Utah Utes-From:-10:00pm>>
Friday October 4
Utah State Aggies V BYU Cougars-From:-8:00pm
San Diego State Aztecs V Nevada Wolf Pack-From:-9:00pm
Saturday October 5
Navy Midshipmen V Air Force Falcons-From:-11:30Am
Buffalo Bulls V Eastern Michigan Eagles-From:-12:00pm
Florida State Seminoles V Maryland Terrapins-From:-12:00pm>>
Indiana Hoosiers V Penn State Nittany Lions-From:-12:00pm
Iowa Hawkeyes V Michigan State Spartans-From:-12:00pm
Texas Tech Red Raiders V Kansas Jayhawks-From:-12:00pm>>
Nebraska Cornhuskers V Illinois Fighting Illini-From:-12:00pm
Virginia Cavaliers V Ball State Cardinals-From:-12:00pm
Alabama Crimson Tide V Georgia State Panthers-From:-12:21pm>>
Virginia Tech Hokies V North Carolina Tar Heels-From:-12:30pm
Boston College Eagles V Army Black Knights-From:-01:00pm
Miami (OH) RedHawks V Central Michigan Chippewas-From:-01:00pm
Troy Trojans V South Alabama Jaguars-From:-01:00pm
Akron Zips V Ohio Bobcats-From:-02:00pm
Marshall Thundering Herd V UTSA Roadrunners-From:-02:00pm
Toledo Rockets V Western Michigan Broncos-From:-03:00pm
UAB Blazers V Florida Atlantic Owls-From:-03:00pm
Bowling Green Falcons V Massachusetts Minutemen-From:-03:30pm
Kent State Golden Flashes V Northern Illinois Huskies-From:-03:30pm
Miami (FL) Hurricanes V Georgia Tech Yellow Jackets-From:-03:30pm>>
Michigan Wolverines V Minnesota Golden Gophers-From:-03:30pm>>
Middle Tennessee Blue Raiders V East Carolina Pirates-From:-03:30pm
Oklahoma State Cowboys V Kansas State Wildcats-From:-03:30pm>>
Clemson Tigers V Syracuse Orange-From:-03:30pm>>
Georgia Bulldogs V Tennessee Volunteers-From:-03:30pm>>
Tulane Green Wave V North Texas Mean Green-From:-03:30pm
Tulsa Golden Hurricane V Rice Owls-From:-03:30pm
Wake Forest Demon Deacons V North Carolina State Wolfpack-From:-03:30pm
California Golden Bears V Washington State Cougars-From:-04:00pm
Southern Miss Golden Eagles V FIU Golden Panthers-From:-04:00pm
Fresno State Bulldogs V Idaho Vandals-From:-05:00pm>>
Oregon Ducks V Colorado Buffaloes-From:-06:00pm>>
Ole Miss Rebels V Auburn Tigers-From:-07:00pm>>
Florida Gators V Arkansas Razorbacks-From:-07:00pm>>
Louisiana Ragin' Cajuns V Texas State Bobcats-From:-07:00pm
LSU Tigers V Mississippi State Bulldogs-From:-07:00pm>>
New Mexico Lobos V New Mexico State Aggies-From:-07:00pm
Oklahoma Sooners V TCU Horned Frogs-From:-07:00pm>>
Notre Dame Fighting Irish V Arizona State Sun Devils-From:-07:30pm>>
South Carolina Gamecocks V Kentucky Wildcats-From:-07:30pm>>
UTEP Miners V Louisiana Tech Bulldogs-From:-07:30pm
Vanderbilt Commodores V Missouri Tigers-From:-07:30pm
Baylor Bears V West Virginia Mountaineers-From:-08:00pm>>
Ohio State Buckeyes V Northwestern Wildcats-From:-08:00pm>>
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Thursday October 3
Iowa State Cyclones V Texas Longhorns-From:-7:30pm
Louisiana-Monroe Warhawks V Western Kentucky Hilltoppers-From:-7:30pm
UCLA Bruins V Utah Utes-From:-10:00pm>>
Friday October 4
Utah State Aggies V BYU Cougars-From:-8:00pm
San Diego State Aztecs V Nevada Wolf Pack-From:-9:00pm
Saturday October 5
Navy Midshipmen V Air Force Falcons-From:-11:30Am
Buffalo Bulls V Eastern Michigan Eagles-From:-12:00pm
Florida State Seminoles V Maryland Terrapins-From:-12:00pm>>
Indiana Hoosiers V Penn State Nittany Lions-From:-12:00pm
Iowa Hawkeyes V Michigan State Spartans-From:-12:00pm
Texas Tech Red Raiders V Kansas Jayhawks-From:-12:00pm>>
Nebraska Cornhuskers V Illinois Fighting Illini-From:-12:00pm
Virginia Cavaliers V Ball State Cardinals-From:-12:00pm
Alabama Crimson Tide V Georgia State Panthers-From:-12:21pm>>
Virginia Tech Hokies V North Carolina Tar Heels-From:-12:30pm
Boston College Eagles V Army Black Knights-From:-01:00pm
Miami (OH) RedHawks V Central Michigan Chippewas-From:-01:00pm
Troy Trojans V South Alabama Jaguars-From:-01:00pm
Akron Zips V Ohio Bobcats-From:-02:00pm
Marshall Thundering Herd V UTSA Roadrunners-From:-02:00pm
Toledo Rockets V Western Michigan Broncos-From:-03:00pm
UAB Blazers V Florida Atlantic Owls-From:-03:00pm
Bowling Green Falcons V Massachusetts Minutemen-From:-03:30pm
Kent State Golden Flashes V Northern Illinois Huskies-From:-03:30pm
Miami (FL) Hurricanes V Georgia Tech Yellow Jackets-From:-03:30pm>>
Michigan Wolverines V Minnesota Golden Gophers-From:-03:30pm>>
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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
narradordeimagenes.blogspot.com/2012/03/palabras.html
Nuestros Dioses, esos que rigen nuestra existencia, o tal vez nuestras propias incongruencias decidieron hace unas semanas privar a la humanidad de uno de sus rasgos más característicos: la capacidad de comunicarse mediante el habla.
Los primeros días fueron caóticos, el pánico y la frustración hicieron acto de presencia llenando nuestras vidas de desconcierto. El día a día se convirtió en un infierno en el que parecía que, aparte del habla, casi hubiésemos perdido la cordura. Ya no podíamos usar el teléfono, si nuestros bebés lloraban no podíamos escuchar su llanto, la televisión había perdido la mitad de su sentido… y lo mismo sucedía con millones de cosas que antes eran totalmente rutinarias.
La depresión y la incomprensión ante un hecho tan insólito se instalaron entre nosotros, y los días fueron pasando.
Y según transcurrían los soles y las lunas, el potencial que posee el ser humano para superar momentos apocalípticos se fue imponiendo, y poco a poco nos fuimos acomodando a la nueva situación.
Lo que en un principio veíamos claramente como un hándicap fue transformándose en algo altamente beneficioso. Empezamos a darnos cuenta de lo irreflexivamente que usábamos nuestra voz cuando aún disponíamos de ella, empleando las palabras con total ligereza, sin prestarles ninguna atención.
Nuevas formas de comunicación, mucho más íntimas y conectadas, han empezado a surgir desde entonces. Si escribimos para hacernos entender, lo hacemos poniendo plena conciencia en cada una de las palabras que empleamos en el papel. También hemos comenzado a utilizar nuestro cuerpo a un nivel al que nunca habíamos llegado, creando nuevas formas de interacción con nuestros semejantes. La empatía por quienes nos rodean se ha hecho presente con rapidez, ahora somos capaces de mirar fijamente a los ojos y conectar de verdad con la persona que tenemos en frente.
Ya no nos despedimos diciendo adiós, ahora nos abrazamos de verdad.
La desaparición de las palabras sonoras supuso el génesis de la verdadera comunicación.
---------------------------------------------------------------------------------------------------------------------
Our Gods, those that govern our existence, or maybe our own inconsistencies decided few weeks ago to deprive humanity of one of its strongest features: the ability to communicate through speech.
The first few days were chaotic, panic and frustration made an appearance filling our lives with confusion. Daily life became hell when it seemed that apart from the speech, we had almost lost our minds. We could not use the phone, if our babies cried we could not hear their crying, television had lost half its meaning ... and so did millions of things that were once completely routine.
Depression and incomprehension at an unimaginable event settled between us and the days went by.
And as suns and moons were spent, the potential of the human being to overcome apocalyptic moments was imposed, and step by step we went arranging to the new situation.
What in the beginning we clearly saw as a handicap was transformed into something highly beneficial. We began to realize how thoughtlessly we used our voice when we still had it, using the words with complete lightness, without paying any attention.
New ways of communication, much more intimate and connected, began to emerge. If we write in order to make ourselves understood, we do it putting full awareness in each of the words we use in the paper. We also began to use our body into a level that had never come, creating new forms of interaction with our peers. Empathy for those around us showed up quickly, now we can look straight in the eye and really connect with the person that we have in front of us.
We no longer say goodbye saying goodbye, we hug each other for real now.
The disappearance of audible words meant the genesis of true communication.
Mejor en lightbox
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MOVIE Preview of a 1 Kilometer long Space ship of the GFOL
It is difficult to see the size of the ship, until it has been completed with a texture effect (painted). Here are its current dimensions :
Width : 500 m
Height : 200 m
length : 1000 m (he he yes One kilometer long.
This is just a preview the ship is only partially built, it will be having a Star Trek style Bridge and is also yet to be painted and have details added to the exterior.
This model is being created for my movies, The Adventures of OLeg part's 4 + as a fictional dramatisation of what might happen when the GFL arrives, of coarse this ship is not a true representation as the GFL might hold copyright on their own ships lol
Author of this ship is:
Emmanuel Baranger
From the Flightgear Project
helijah.free.fr/flightgear/hangar.htm
The sky is the limit in model creation!
Spaceship Logo Image copyrighted by: Christian Vazquez
Christian has made this wonderful emblem for the October 14th 2008 ET event.
He has also made various t- shirts that have this emblem on it.
October 14th T-Shirts by Christian Vazquez
Emmanuel has modeled many Flightgear Aircraft including:
Hugues H4 Hercules
Dornier Do 335
Lockheed C 130
Messerschmidt Me262
Sikorsky UH 60 BlackHawk
Sikorsky S 58
Lockheed SR 71
Hornet (autogire)
APM20 Lionceau
Payen 100
de Havilland DH 89
Bell-Boeing V22 Osprey
Beechcraft Starship 1
Bleriot XI
Farman IV
Grob G115
Macchi Costaldi MC 72
FK9 Mark 2
Super Frelon
Blohm & Voss BV 141
Alouette II
Arsenal VG 33
Aeroprakt 24 Viking
Ryan NYP "Spirit of St Louis"
Alphajet
Vickers Vimy
X3 Stiletto
Dornier Do X
Bugatti modèle 100
Zlin 50 lx
HondaJet
DHC 3 Otter
Gee Bee
Supermarine S6b
Bernard HV 220
Stampe SV 4
Rutan Quickie 2
Couzinet 70 Arc en Ciel
Carreidas 160 Jet
de Havilland D.H 91
de Havilland DH 88
Hughes H1 Racer
Grob G109
ARADO AR 234
Hughes XF 11
Tupolev ANT 20 "Maxim Gorky"
Robin DR 400
Skyranger
Rutan Long EZ
SM 55
Santos Dumont 14 Bis
Velocity XL
TBM/TBF Avenger