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Titian -
Allegory of Time governed by Prudence [~1550]
London NG
wikipedia
Here you will find an exhaustive article on possible interpretions:
www.artinsociety.com/titian-prudence-and-the-three-headed...
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Connected to Titian's late portraits is the Allegory of Time governed by Prudence. This is an exceptional portrait which depicts the aged Titian on the left above a wolf's head, his son Orazio in the centre above the head of a lion, and his nephew Marco above a dog's head. The wolf, the lion and the dog, symbolize the past, present and future. In the upper part of the painting there is an inscription which is the key to the complex allegorical meaning of the work: "EX PRAETERITO PRAESENS PRUDENTER AGIT, NI FUTURUM ACTIONE DETURPET" ("From the (experience of the) past, the present acts prudently, lest it spoil future action").
Though it was common enough during the Renaissance to use three human heads to symbolize the ages of man, and to use three animal heads to symbolize prudence, it was very unusual to use them as the theme of a painting. As Titian used personal motifs, it can be assumed that he chose the subject matter himself.
ttps://www.wga.hu/frames-e.html?/html/t/tiziano/10/3/5allegor.html
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The Allegory of Prudence (c. 1550–1565) is an oil-on-canvas painting attributed to the Italian artist Titian and his assistants. The painting portrays three human heads, each facing in a different direction, above three animal heads (from left to right, a wolf, a lion and a dog). It is in the National Gallery, London.[1]
The painting is usually interpreted as operating on a number of levels.[2][3] At the first level, the different ages of the three human heads represent the three ages of man (from left to right: old age, maturity and youth), a subject that Titian had depicted 50 years earlier in his The Three Ages of Man. The different directions in which they are facing reflect a second, wider concept of time itself as having a past, present and future. This theme is repeated in the animal heads: an animal with three heads (wolf, lion, dog) to represent the passage of time (past, present, future) is associated with Serapis in Macrobius's Saturnalia, and associated with Apollo by Petrarch, and the iconography is repeated for example in the Hypnerotomachia Poliphili of Francesco Colonna (1499), the Hieroglyphica of Pierio Valeriano (1556), and the Iconologia of Cesare Ripa (1643). The third level, from which the painting has acquired its present name, is suggested by a barely visible inscription above the portraits: EX PRÆTE/RITO // PRÆSENS PRVDEN/TER AGIT // NI FVTVRA / ACTIONĒ DE/TVRPET (Latin for "from the experience of the past, the present acts prudently, lest it spoil future actions".)
It has been argued that the human faces are actual portraits of the aged Titian, his son Orazio, and his young nephew, Marco Vecellio, who, like Orazio, lived and worked with Titian.[4] Erwin Panofsky, in his classic exposition, suggests that the painting is specifically associated with the negotiations associated with the passing on of Titian's property to the younger generations, in the light of his approaching death. The painting therefore acts as a visual counsel to the three generations to act prudently in the administration of the inheritance. Nicholas Penny is, however, highly sceptical of this, and points out discrepancies between the human heads and other evidence of the individuals' appearance. He doubts it was a personal project of any sort and feels that is "surely more likely that the painting was commissioned".[5] Others are also of the opinion that the three heads are not Titian and his family. One reason is that there are no portraits of Orazio or Marco, so confirmation that they are the figures is difficult.[6]
More recently the painting has been explained in quite different ways. Instead of an allegory of prudence, it has been seen as an allegory about sin and penitence. On this view, it amounts to an admission by Titian that his failure to act prudently in his youth and middle age has condemned him to lead a regretful old age.[7]
At the other extreme, the painting has been explained as asserting that the prudence which comes with experience and old age is an essential aspect of artistic discrimination and judgement. On this interpretation, the painting therefore acts as a rebuttal of the view that old age is the enemy of artistic achievement. On a more general level, the painting's depiction of Titian with his assistants Orazio and Marco is also intended as a defence of the prudence of the continuity of the Venetian workshop tradition.[8]
en.wikipedia.org/wiki/Allegory_of_Prudence
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Kaithleen's - Paula Loungewear - Tres Chic Event
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Virginia Bluebell Wildflowers & Spring Growth
Loudoun County, Northern Virginia
Accessed via Bull Run Regional Park
Date taken: April 17, 2014
Unsigned prints are available for purchase at Fine Art America.
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The saying “all knees and elbows” is often attributed to someone who has yet to mature or fully grow into their frame. Nature, likewise, goes through a similar stage in spring when the forest has yet to mature into its summer greens and much of what you see is all branches and mud and chaos. This can be a huge challenge during the seasonal shift for landscape photographers considering one of the primary goals of the craft is to reduce nature’s chaos and confusion into one, easily readable, so-called “clean” frame, free from distractions. Being somewhat naturally inclined to question guidelines and to gently poke at their limits, I often shoot scenes that I know at the moment of capture are not going to be received well by those who find comfort in the well-worn confines of the sandbox or who otherwise like to position themselves as the gatekeepers to the status quo. Most of my attempts in this vain are failures, rightfully so, but fun nonetheless. Some, on the other hand, come out personally satisfying, although still largely rejected by the critics and powers that be who stand between an image and its ability to reach market. This photograph is one that appears to be falling into the latter category.
The Occoquan Stream Valley accessed via the Occoquan-Bull Run National Recreational Trail comes alive in the spring season with Virginia Bluebells, a seasonal ephemeral wildflower that paints the forest floor with a carpet of blues and light pink hues. Being an ephemeral though, these guys have to sneak in before the canopy leafs out and steals all of the sunshine from the forest floor. By late May these flowers are all but completely gone, like an illusion, only to return again next spring. Thus, when the Bluebells poke through the ground in early spring much of the surrounding environment is scraggly branches, ample boot-sucking mud, and otherwise nature’s awkward early-season “knees and elbows.” Macro opportunities abound for the small-scene inclined, but contextual landscapes are complicated at best. A few things I learned this season, my first concertedly chasing a few photographs of these wildflowers: my initial thought that overcast and calm weather would provide the most optimal conditions for getting a pop of color were somewhat misguided. I found that late evening or early morning sun on a clear day made for the most dramatic spring scenic, as looking into the light provided for beautiful backlit spring green leaves. Once I thought about this it made perfect sense: sunlight is the driver of spring growth and thus an essential element in any composition that speaks towards the story of the season. However, any light on the bluebells would cause blowouts with exposure and thus, I went in search for late evening light that would make the newly minted spring green understory dance, while also being at such an angle as to mostly shade the delicate bluebells to maintain an even single-exposure. This proved to be a strategy that I continued to follow at both sun-up and sun-down for several days with mild to moderate success.
The resultant shot, what you see above/below, has been confirmed thus far by the critics and gatekeepers as poor composition and of little value to the commercial photography market. However, I find it honest and authentic to the chaos that is spring, and thus, for me personally, a satisfying take-away from a week of shooting. It could certainly be better, but then again, what photograph have you ever really taken that couldn’t be improved?
Have a wonderful weekend folks! Get outside if you can and enjoy the season!
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For Her
Vanilla Bae - Florentina Dress
For Him
[Mazzaro] - Edilson Set
Backdrop : The Bearded Guy -09 So Good Backdrop - Gacha Arcana
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The Smith Family Log Cabin Home - where Joseph Smith lived in 1820, near Palmyra, NY. (This re-creation of the Smith family cabin stands on the same location as the original.) The forest behind the cabin is know as the "Sacred Grove."
The large Sugar Maple tree in the foreground is believed to be older than the original cabin. It was struck by lightning in the summer of 2008, and is no longer standing! The Smiths tapped about 1,500 maple trees each season to produce an average of 1,000 pounds of sugar; and most of those maple trees grew in this grove.
This photograph was taken in May. No fancy, HDR software manipulation--just general photoshop adjustments and good photography skills.
You can also view a slide show of the Sacred Grove and the Smith Farm (lots of information, maps and other details) at www.thefirstvision.com/.
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(Orig: 05/27/2009 13:45:00 825v 4c 4f)
May 7, 2016 - Hwy 385 Northbound / North of Wray Colorado
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Watch the Video from this day on Flickr Click Here
I was seriously late the game on this storm. But I was never out of the game. I had missed a few of the other tornados that afternoon in Northern Yuma County. Coming from south to north I had to position myself correctly. Chaser Convergence was also in full swing so there were not may open areas to choose from.
For best pics of a Tornado and to be safe about it a storm such as this was moving North by Northeast... strategically, you want to be to the south east, southwest for the best light... Behind the RFD (Rear Flank Downdraft) It's all about timing, and I honestly didn't think it would produce a tornado til it was well west of my location. That was going to be the wrong guess... Though when I went due north of Wray I had a good viewing point but not in the safest location as you see.
I got lucky this day as...In my opinion, I found a perfect view, looking due south southeast. I ended up on the northwest side of the rotation. Dangerous yes...but this will eventually give me one excellent view of this tornado and all her glory.
Staying as safe as I could I wouldn't bail till it was about a mile away then I would head north again to a safer / better viewing position.
*** Editor Notes ***
Greetings Everyone, I haven't posted many new pics since last chase season and the 2020 Severe Weather Season is upon us. Looking for our first set of storms in the coming weeks and I'll be streaming live and of course some of the best storm photography one could ask for.
2020 Update...I've been revamping how I do things. One of those things is to go back and correct how I did my post processing of images. Several Years of over Colorizing over Saturation Adding color... etc. Yes I'm guilty of doing so and I have been going back and replacing thousands of images in hundreds of sets over these past few months here on Flickr my Fine Arts America Site.
The May 7, 2016 Colorado Tornado Event was by far one of my favorite chase days to date. I was able to capture the full genesis of a tornado. From birth to death. It was a quest of mine to do this in a photography medium. Epic severe weather structure, like once in a lifetime structure to capture. But post processing was a nightmare. The images came out well ... Defined but over colored over saturated etc.
Instead of replacing the images this will be a whole new set with a few hundred new images that I didn't post on the original set back in 2016. I've thought about re-editing these images for a long time and they are finally done. No Altercations what so ever. No Added Light, Color, Contrast.
I've brought them directly from RAW. Simply the way I should have done it in the first place!
*** Please NOTE and RESPECT the Copyright ***
Copyright 2016
Dale Kaminski @ NebraskaSC Photography
All Rights Reserved
This image may not be copied, reproduced, published or distributed in any medium without the expressed written permission of the copyright holder.
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::House of Pain:: - Mandala Bolero tattoo Esperia - MP
-[ Vagrant ]- - Danica Top
AZARAN - Necromance Skull
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For Her
Dead Dolls - We who are not as others Tattoo EvoX 4KHD - TOKYO ZERO Event
Tiny Blep - Summer Stripe Kini - TOKYO ZERO Event
For Him
IMPACTS - Short Billi
ENZO/JAKE/GIAN/ATHL/KARIO
Pose :
Lush Poses - Stoner GF -Couple Bento Pose
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Skin : Midori's - Laisa Skin - EVOX - Gothcore
[ VelvetVue ] - Sanguinia Eyes - Gothcore
Dead Dolls - Dark Reflections EvoX 4KHD - Gothcore
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For Her
Leven Ink - Cryptic Tattoo - Astrophe Event
Vanilla Bae - Rochelle Dress 2.0
CODEX - Lady Gloves
For Him
[Mazzaro] - Emanuel Set
Backdrop : The Bearded Guy - Metal Jungle Backdrop PBR
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Hefang Street is the most famed street in Hangzhou City. With brilliant culture and long history, it is regarded as a typical symbol of ancient Hangzhou. Vising this busy but interesting street, you can catch a glimpse of antique buildings and long-survived stores, taste local snacks as well as savor the beautiful artifacts.
www.chinadiscovery.com/zhejiang/hangzhou/hefang-street.html
La calle Hefang es la más famosa de la ciudad de Hangzhou. Con una cultura brillante y una larga historia, se considera un símbolo típico de la antigua Hangzhou. Recorriendo esta concurrida pero interesante calle, podrá echar un vistazo a edificios antiguos y tiendas que han sobrevivido durante mucho tiempo, degustar aperitivos locales y saborear bellas cosas.
Hangzhou léase Jang-Zhóu es la capital y la ciudad más grande de la provincia de Zhejiang en la República Popular China. Está situada en las riberas del río Qiantang, cerca de su desembocadura, y a la cabeza de la bahía de Hangzhou, que separa Shanghái y Ningbo. Hangzhou cobró relevancia al ser el extremo sur del Gran Canal, y ha sido una de las ciudades chinas con más renombre durante el último milenio.
La ciudad de Hangzhou yace en el delta del río Yangtsé y hace frontera al este con la bahía de Hangzhou. Dentro de la ciudad se ubica el lago del Oeste, el cual fue nombrado Patrimonio de la Humanidad en el 2011. El río Qiantang divide la ciudad en norte y sur, siendo el norte el de mayor población.
La ciudad ganó importancia gracias a la construcción durante la dinastía Sui del Gran Canal de China. Durante ese periodo se construyó la muralla de la ciudad. Fue la capital de la dinastía Song del sur (1127-1279). A partir del año 1138 se convirtió en un importante centro de comercio. La industria de la ciudad se especializó en la porcelana y los textiles.
El explorador Marco Polo visitó Hangzhou a finales del siglo XIII y dijo de ella que era “la ciudad más suntuosa y elegante del mundo”. Hasta la dinastía Ming, fue un puerto importante. A partir de ese periodo, y como consecuencia de los continuos ataques de los piratas japoneses, Hangzhou perdió importancia. En 1555 la ciudad fue saqueada por los piratas. En 1861 sufrió el ataque de los rebeldes del Reino Celestial de los Taiping que tomaron y saquearon la ciudad. Hangzhou no fue recuperada por las tropas imperiales hasta 1863. Este conflicto entre rebeldes y tropas imperiales causó más de medio millón de bajas entre la población.
Las industrias tradicionales de Hangzhou son la de la seda, maquinaria y textil pero la industria electrónica se ha desarrollado con rapidez en la zona, sobre todo después del cambio en el sistema económico del país ocurrido en 1992. La ciudad se ha convertido también en uno de los destinos turísticos más visitados del país, lo que ha generado que una parte de la economía se dedique al sector servicios. En la zona se produce té verde; el té de la zona de Hangzhou es apreciado en todo el país por su alta calidad.
Cabe destacar que esta ciudad vio nacer al empresario Jack Ma, fundador de Alibaba, y actualmente el hombre más rico de China. La empresa que creó también vio la luz por primera vez desde el departamento de Ma en Hangzhou, en los años 1990. La sede del corporativo sigue estando en la ciudad de Hangzhou con un campus de enormes proporciones, similar al de sus pares estadounidenses en Silicon Valley.
es.wikipedia.org/wiki/Hangzhou
lostraveleros.com/que-hacer-en-hangzhou/
Hangzhou (Chinese: 杭州, Hangzhounese pronunciation: [ɦɑ̃.tse], Standard Mandarin pronunciation: [xǎŋ.ʈʂóʊ]), also romanized as Hangchow, is the capital and most populous city of Zhejiang, China. It is located in the northwestern part of the province, sitting at the head of Hangzhou Bay, which separates Shanghai and Ningbo. Hangzhou grew to prominence as the southern terminus of the Grand Canal and has been one of China's most renowned and prosperous cities for much of the last millennium. It is a major economic and e-commerce hub within China, and the second biggest city in Yangtze Delta after Shanghai. Hangzhou is classified as a sub-provincial city and forms the core of the Hangzhou metropolitan area, the fourth-largest in China after Guangzhou-Shenzhen Pearl River agglomeration, Shanghai-Suzhou-Wuxi-Changzhou conurbation and Beijing. As of 2019, the Hangzhou metropolitan area was estimated to produce a gross metropolitan product (nominal) of 3.2 trillion yuan ($486.53 billion), making it larger than the economy of Nigeria (the largest in Africa). As of the 2020 Chinese census, it had a total population of 11,936,010 inhabitants. However, its metropolitan area, populated by 13.035 million people over an area of 8,107.9 km2 (3,130.5 sq mi), consists of all urban districts in Hangzhou and 3 urban districts of the city of Shaoxing.
Hangzhou has been repeatedly rated as the best commercial city in mainland China by Forbes and the Chinese city with the highest growth potential by the Economist Intelligence Unit, and it boasts the eighth largest GDP among cities in mainland China with a GDP of around 1.8 trillion RMB ($280 billion). Home to the headquarters of large global tech companies such as the Alibaba Group, Ant Group and NetEase, Hangzhou is known for attracting professionals and entrepreneurs who work in information technology. Since 2014, its rapid population growth has led to a steady increase in local housing prices. According to the 2020 Hurun Global Rich List, Hangzhou ranks 11th in the world and 6th in China (after Beijing, Shanghai, Hong Kong, Shenzhen and Guangzhou) in the number of resident billionaires.
Hangzhou is a major city for scientific research in the Asia-Pacific, ranking 19th globally by scientific outputs. It hosts several notable universities, including Zhejiang, Zhejiang University of Technology, Hangzhou Normal, Hangzhou Dianzi, Zhejiang A&F, Zhejiang Sci-Tech, Zhejiang Chinese Medical, Westlake, China Jiliang and Zhejiang University of Finance and Economics. In September 2015, Hangzhou was awarded the 2022 Asian Games. Its West Lake, a UNESCO World Heritage Site west of the city, is among its best-known attractions.[7] A study conducted by PwC and China Development Research Foundation ranked Hangzhou first among "Chinese Cities of Opportunity". According to the Globalization and World Cities Research Network (GaWC), the city is classified as Beta (global second-tier) city, together with Chongqing, Nanjing and Tianjin in China. Hangzhou is also one of the world's top 100 financial centers, according to the Global Financial Centres Index. It will be the third Chinese city to host the Asian Games, after Beijing 1990 and Guangzhou 2010. Hangzhou also hosted the 11th G20 summit in 2016.
Yuan China was very open to foreign visitors, and several returned west describing Hangzhou—under the names Khinzai, Campsay, etc. - as one of the foremost cities in the world. The Venetian merchant Marco Polo supposedly visited Hangzhou in the late 13th century. In his book, he records that the city was "greater than any in the world" and that "the number and wealth of the merchants, and the amount of goods that passed through their hands, was so enormous that no man could form a just estimate thereof." Polo's account greatly exaggerates the city's size, although it has been argued that the "hundred miles" of walls would be plausible if Chinese miles were intended instead of Italian ones and that the "12,000 stone bridges" might have been a copyist error born from the city's 12 gates. In the 14th century, the Moroccan traveler Ibn Battuta arrived; his later account concurred that al-Khansā was "the biggest city I have ever seen on the face of the earth." He visited Hangzhou in 1345 and noted its charm and described how the city sat on a beautiful lake and was surrounded by gentle green hills. He was particularly impressed by the large number of well-crafted and well-painted Chinese wooden ships with colored sails and silk awnings in the canals. He attended a banquet held by Qurtai, the Yuan Mongol administrator of the city, who according to Ibn Battuta, was fond of the skills of local Chinese conjurers.
Tugboat Bruce A. McAllister downbound on the Hudson River Passing under the Bear Mountain Bridge.
Bruce A. McAllister was involved in the historic New York City 9-11 maritime rescue. Over half million people were rescued by boat that day on September 11th 2001...
List of boats that rescued thousands of people during 9-11
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Unorthodox - Scalpz UNITS v2.2
Unorthodox - Gabby Hair w/ All Scalpz
Unorthodox - Edges- Madi Front
eXxEsS - Top No.11
Cazimi - Love Bites Earrings - Available at the Love Bites hunt only.
::House of Pain::. - Japan Neko Tattoo
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For Her
GASET & "CATARSIS" - Chihiro Set - Level Event
For Him
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[ZOS x KOUD] - Licy Eyes FATPACK (LeL EvoX, BoM) - Gothcore
SLAUGHTER - Vampur EvoX Face (Ears + Veins) - Gothcore
coquille. - Moon Lashes for Megalash - Planet 29
coquille. - Luna Lips (EVOX HD) - Planet 29
[SG] - Hello Munchkin Gauged - Planet 29
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Biennalist :
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
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links about Biennalist :
Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
—--Biennale from wikipedia —--
The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.
Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).
Characteristics[edit]
According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]
The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.
A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.
The Venice Biennale as an archetype[edit]
The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.
The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.
Biennials after the 1990s[edit]
The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.
International biennales[edit]
In the term's most commonly used context of major recurrent art exhibitions:
Adelaide Biennial of Australian Art, South Australia
Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Athens Biennale, in Athens, Greece
Bienal de Arte Paiz, in Guatemala City, Guatemala[4]
Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)
Bamako Encounters, a biennale of photography in Mali
Bat-Yam International Biennale of Landscape Urbanism
Beijing Biennale
Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)
Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no
Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China
Bienal de Arte de Ponce in Ponce, Puerto Rico
Biënnale van België, Biennial of Belgium, Belgium
BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.
Biennial of Hawaii Artists
Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]
Biwako Biennale [ja], in Shiga, Japan
La Biennale de Montreal
Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola
Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal
Bucharest Biennale in Bucharest, Romania
Bushwick Biennial, in Bushwick, Brooklyn, New York
Canakkale Biennial, in Canakkale, Turkey
Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]
Changwon Sculpture Biennale in Changwon, South Korea
Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal
Documenta, contemporary art exhibition held every five years in Kassel, Germany
Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France
EVA International, biennial in Limerick, Republic of Ireland
Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]
Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan
Gwangju Biennale, Asia's first and most prestigious contemporary art biennale
Havana biennial, in Havana, Cuba
Helsinki Biennial, in Helsinki, Finland
Herzliya Biennial For Contemporary Art, in Herzliya, Israel
Incheon Women Artists' Biennale, in Incheon, South Korea
Iowa Biennial, in Iowa, USA
Istanbul Biennial, in Istanbul, Turkey
International Roaming Biennial of Tehran, in Tehran and Istanbul
Jakarta Biennale, in Jakarta, Indonesia
Jerusalem Biennale, in Jerusalem, Israel
Jogja Biennale, in Yogyakarta, Indonesia
Karachi Biennale, in Karachi, Pakistan
Keelung Harbor Biennale, in Keelung, Taiwan
Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India
Kortrijk Design Biennale Interieur, in Kortrijk, Belgium
Kobe Biennale, in Japan
Kuandu Biennale, in Taipei, Taiwan
Lagos Biennial, in Lagos, Nigeria[10]
Light Art Biennale Austria, in Austria
Liverpool Biennial, in Liverpool, UK
Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]
Manifesta, European Biennale of contemporary art in different European cities
Mediations Biennale, in Poznań, Poland
Melbourne International Biennial 1999
Mediterranean Biennale in Sakhnin 2013
MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada
MOMENTUM [no], in Moss, Norway[12]
Moscow Biennale, in Moscow, Russia
Munich Biennale, new opera and music-theatre in even-numbered years
Mykonos Biennale
Nakanojo Biennale[13]
NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia
October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]
OSTEN Biennial of Drawing Skopje, North Macedonia[15]
Biennale de Paris
Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]
São Paulo Art Biennial, in São Paulo, Brazil
SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]
Prospect New Orleans
Seoul Biennale of Architecture and Urbanism
Sequences, in Reykjavík, Iceland[18]
Shanghai Biennale
Sharjah Biennale, in Sharjah, UAE
Singapore Biennale, held in various locations across the city-state island of Singapore
Screen City Biennial, in Stavanger, Norway
Biennale of Sydney
Taipei Biennale, in Taipei, Taiwan
Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.
Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]
Dream city, produced by ART Rue Association in Tunisia
Vancouver Biennale
Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]
Venice Biennale, in Venice, Italy, which includes:
Venice Biennale of Contemporary Art
Venice Biennale of Architecture
Venice Film Festival
Vladivostok biennale of Visual Arts, in Vladivostok, Russia
Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA
Web Biennial, produced with teams from Athens, Berlin and Istanbul.
West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.
WRO Biennale, in Wrocław, Poland[22]
Music Biennale Zagreb
[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.
—---Venice Biennale from wikipedia —
The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]
Organization[edit]
Art Biennale
Art Biennale
International Art Exhibition
1895
Even-numbered years (since 2022)
Venice Biennale of Architecture
International Architecture Exhibition
1980
Odd-numbered years (since 2021)
Biennale Musica
International Festival of Contemporary Music
1930
Annually (Sep/Oct)
Biennale Teatro
International Theatre Festival
1934
Annually (Jul/Aug)
Venice Film Festival
Venice International Film Festival
1932
Annually (Aug/Sep)
Venice Dance Biennale
International Festival of Contemporary Dance
1999
Annually (June; biennially 2010–16)
International Kids' Carnival
2009
Annually (during Carnevale)
History
1895–1947
On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]
A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]
The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.
The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).
During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.
1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.
In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.
In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.
During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]
1948–1973[edit]
The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.
1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.
In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.
1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.
The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]
In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").
Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]
1974–1998[edit]
1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.
On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]
In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.
In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]
The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.
For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]
1999–present[edit]
In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.
In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).
The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.
The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.
In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.
Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".
The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".
The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]
Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]
The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]
The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]
The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]
The Biennale has an attendance today of over 500,000 visitors.[30][31][32]
Role in the art market[edit]
When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]
Central Pavilion and Arsenale[edit]
The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.
Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]
A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi.[37]
National pavilions[edit]
Main article: National pavilions at the Venice Biennale
The Giardini houses 30 permanent national pavilions.[13] Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Giardini are occupied by a further 29 pavilions built at different periods by the various countries participating in the Biennale. The first nation to build a pavilion was Belgium in 1907, followed by Germany, Britain and Hungary in 1909.[13] The pavilions are the property of the individual countries and are managed by their ministries of culture.[38]
Countries not owning a pavilion in the Giardini are exhibited in other venues across Venice. The number of countries represented is still growing. In 2005, China was showing for the first time, followed by the African Pavilion and Mexico (2007), the United Arab Emirates (2009), and India (2011).[39]
The assignment of the permanent pavilions was largely dictated by the international politics of the 1930s and the Cold War. There is no single format to how each country manages their pavilion, established and emerging countries represented at the biennial maintain and fund their pavilions in different ways.[38] While pavilions are usually government-funded, private money plays an increasingly large role; in 2015, the pavilions of Iraq, Ukraine and Syria were completely privately funded.[40] The pavilion for Great Britain is always managed by the British Council[41] while the United States assigns the responsibility to a public gallery chosen by the Department of State which, since 1985, has been the Peggy Guggenheim Collection.[42] The countries at the Arsenale that request a temporary exhibition space pay a hire fee per square meter.[38]
In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czechia and Slovakia, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, eleven new participant countries developed national pavilions for the Biennale: Angola, Bosnia and Herzegowina, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada,[43] Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[44] In 2019, four countries participated in the Art Biennale for the first time: Ghana, Madagascar, Malaysia, and Pakistan.[45]
As well as the national pavilions there are countless "unofficial pavilions"[46] that spring up every year. In 2009 there were pavilions such as the Gabon Pavilion and a Peckham pavilion. In 2017 The Diaspora Pavilion bought together 19 artists from complex, multinational backgrounds to challenge the prevalence of the nation state at the Biennale.[47]
The Internet Pavilion (Italian: Padiglione Internet) was founded in 2009 as a platform for activists and artists working in new media.[48][49][50] Subsequent editions were held since,[51] 2013,[51] in conjunction with the biennale.[52]
-----
وینسVenetsiya
art umjetnost umění kunst taideτέχνη művészetList ealaínarte māksla menasartiKunst sztuka artăumenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism
Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia
--------key words
headband protest fashion protestfashion artistic intervention performance artformat action installation critical critic critique institutional critic choregraphy scenography
#venicebiennale #biennalist #artformat #biennale #artbiennale #biennial
#BiennaleArte2024 #artformat
www.nbcbayarea.com/news/local/Yerba-Buena-Fire-Closes-Two...
A few weeks ago I was taking pictures on Yerba Buena Island (treasure island), out in the San Francisco bay. As the sky began to light up for what would be a spectacular sunset, two photographers scampered down the trail next to my friend and I, making their way down to the bottom. We kept on shooting the sunset as it progressed into one of the most spectacular that either of us had ever seen
As I was shooting this image (a three shot vertical panorama), when I got to the bottom frame, the shower of sparks that you see started up. Both my friend and I commented to each other that it was very stupid to be doing that down there because the hillside was completely covered in ultra-dry grass, brush, and leaves!!! The spinning of steel-wool that we witnessed continued for about 1/2 hour...
As the sunset wound down, I packed up my gear and began hiking out ... a few minutes later a wall of flames raced up the hill. If we had been any slower, or waited for even a couple of minutes later, it would have been a very ugly scene for us As it turned out, we are ok .... but this fire did not have to happen, and that makes me angry!
~joe
#azure #yerbabuenafire #sf #sanfrancisco #wildfire #fire
Image copyright by Joe Azure - All Rights Reserved
Mother bear and her three kids. Photographed from a hide in Finland.
If you would like to join me on one of our photo tours and workshops, please check out my website for more information:
Squiver Photo Tours & Workshops
Marsel
©2013 Marsel van Oosten, All Rights Reserved. This image is not available for use on websites, blogs or other media without the explicit written permission of the photographer.
NASAViz Story Solar Continuum on the iPad
Download video:
svs.gsfc.nasa.gov/vis/a010000/a011400/a011418/index.html
NASA Visualization Explorer Now Available For All iOS Devices
The popular NASA Visualization Explorer app, first launched for the iPad in July 2011, is now available for the iPhone and all devices running iOS 5.1+
A new universal version of the app is now available for download in the iTunes app store. Click here: svs.gsfc.nasa.gov/nasaviz/ to download the app
The app, which features the data visualization work of NASA's Scientific Visualization Studio, Earth Observatory and others, publishes two stories per week about the full range of NASA's astrophysics, planetary, heliophysics and Earth science missions.
Read more:
Join the NASAViz Community on Facebook: www.facebook.com/NasaViz
Follow us @NASAViz: twitter.com/#!/nasaviz
NASA's Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.
Credit: NASA/Goddard
NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.
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JOSE' LUIS PERALES - QUE CANTEN LOS NINOS
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OXFAM ITALIA - www.oxfamitalia.org/
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OXFAM CANADA - www.oxfam.ca/
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OXFAM QUEBEC - oxfam.qc.ca/fr/accueil
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OXFAM AMERICA - www.oxfamamerica.org/
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OXFAM MEXICO - www.oxfammexico.org/oxfam/
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OXFAM AUSTRALIA - www.oxfam.org.au/
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OXFAM NEW ZELAND - www.oxfam.org.nz/
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OXFAM FRANCE - www.oxfamfrance.org/
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OXFAM DEUTSCHLAND - www.oxfam.de/
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OXFAM GB/UK - www.oxfam.org.uk/index-b.html
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OXFAM ESPANA - www.intermonoxfam.org/es/page.asp?id=1
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OXFAM RUSSIA
www.oxfam.org.uk/oxfam_in_action/where_we_work/russia.html
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OXFAM HONG KONG - www.oxfam.org.hk/en/default.aspx
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OXFAM INDIA - www.oxfamindia.org/
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OXFAM INDIA - www.oxfamindia.org/
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OXFAM IRELAND - www.oxfamireland.org/
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OXFAM NETHERLAND - www.oxfamnovib.nl/
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OXFAM JAPAN - www.oxfam.jp/
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LA LOTTA DELLE MADRI DEL CORNO D'AFRICA .
Namanakwee Ngamor
Ho sempre creduto che sotterrare un figlio o una figlia sia la più traumatica esperienza che possa accadere a una madre, in quanto è una violazione dell’ordine naturale della vita. Ma se, nel peggiore dei casi, tuo figlio muore perché non sei in grado di fornirgli il cibo, il tuo dolore è aggravato per non essere in grado di rispondere all’istinto materno basilare: nutrirlo.
Ecco perché, quando Namanakwee Ngamor mi confida che meno di un mese fa suo figlio è morto di fame, nei suoi occhi affranti ho letto molto più che semplice dolore. “Mio figlio aveva cinque anni. Non abbiamo mangiato per intere settimane, ma lui non ce l’ha fatta a sopravvivere”, spiega la donna, mentre tiene in mano un sacco vuoto che utilizzerà per raccogliere la propria porzione di cibo distribuita oggi da Oxfam a Kanukurdio.
Questo piccolo villaggio nel nord del Kenya, è solo uno dei tanti colpiti dalla grave crisi alimentare del Corno d’Africa che minaccia più di 12 milioni di persone nella regione.
La fame non perdona, sta addosso ai più deboli, uccidendo soprattutto vecchi e bambini, ma è talmente devastante che colpisce anche gli adulti.
Le madri, dopo anni di avversità, hanno i corpi fragili e sono sempre più deboli: potrebbero soccombere da un momento all’altro.
Mary Nsaniana ha da poco seppellito sua figlia, madre dei suoi nipoti, morta a seguito di una malattia che, secondo la sua saggezza di donna cinquantenne, era dovuta al perdurare costante di fame e sete. La fame e la sete, infatti, sono due fattori che violano il naturale ordine della vita.
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La popolazione locale non può comprendere le ragioni di questa siccità, il perché non piova da oltre cinque anni e nemmeno dove possano trovare la forza per andare avanti dopo aver perduto circa il 60% del loro bestiame. Le loro capre, le pecore, il bestiame, e anche i loro cammelli stanno morendo. E con la loro scomparsa sta venendo meno la loro unica fonte di reddito. “Nel momento in cui gli animali muoiono, capiamo che le persone seguiranno lo stesso destino ”, afferma Mary con un’espressione che tradisce un sentimento di rabbia e disperazione.
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Un sentimento di disperazione, ma anche una determinazione a cercare un’alternativa alla morte. “Abbiamo bisogno di grano, così possiamo preparare le pappe per i nostri bambini prima che sia troppo tardi”, esclama Aite Eknba mentre tenta di sorreggere le sue bimbe, Apùa e Evei, i cui piccoli corpi stanno cedendo al tremendo peso della fame.
Dopo tre settimane in cui l’unico alimento a disposizione dei bambini è stato l’ edapal, uno dei frutti selvatici che cresce nella regione, i piccoli sono talmente deboli che per molto tempo non potranno digerire cibo solido. Nel caso in cui le madri non trovino al più presto del cibo appropriato per nutrirli, un’altra violazione dell’ordine naturale della vita minaccerà anche il villaggio di Nakimnet, dove più di 4.400 persone dipendono totalmente dagli aiuti umanitari.
In questo villaggio già sono stati seppelliti quattro bambini, vittime della fame e altri 626 stanno soffrendo a causa della malnutrizione. È impossibile misurare il sentimento di impotenza di queste madri, che sono obbligate ad aspettare per giorni gli aiuti umanitari per poter sfamare i propri figli.
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Aite, Mary e Namanakwee sono solo tre delle migliaia di madri della regione che non hanno niente da mangiare e tantomeno hanno cibo da dare ai propri figli. I loro mariti, che una volta erano fieri pastori nomadi, oggi possono solo aspettare che cada finalmente la pioggia di cui hanno disperato bisogno.
La carenza di pascoli e i conflitti etnici che hanno colpito alcune aree al confine della regione un tempo fertili, sottopone i villaggi ad un virtuale stato di assedio, obbligando le persone a restare in questa drammatica attesa.
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Tuttavia, per molte di queste donne, la sosta obbligata è stata l’occasione per prendere delle iniziative. Nel villaggio di Mila Matatu, ho parlato con Alice Atabo, l’agente designata da Oxfam per favorire la distribuzione del cibo. Questa donna intraprendente si è occupata di metter su un piccolo negozio di alimentari e può così aiutare la comunità a rifornirsi di cibo.
“Tutto cominciò quando decisi di investire una piccola somma, che Oxfam mi aveva donato, perché partecipai a un progetto che prevedeva dei finanziamenti per avviare attività. Io comprai prodotti come latte, farina e zucchero. Non appena le persone vennero a sapere del mio negozio, iniziarono a comprare gli alimenti basilari da me. Nel corso del tempo”, spiega Alice, “sono stata in grado di rientrare economicamente con le spese e anche di fare richiesta di un ulteriore credito per espandere la mia attività. Inoltre, mi venne data una parte di cibo da distribuire gratuitamente alle famiglie più bisognose che venivano a prenderlo nel mio negozio”.
“Oggi il cibo arriva dal centro di distribuzione e le persone, che possiedono dei buoni d’acquisto, sono impazienti di comprarlo, perché scarseggia e sta per finire”, afferma la donna mentre tiene in braccio il più piccolo dei suoi otto figli, un bimbo sorridente che, mentre la madre parla, gioca con la sua collana.
Alice è consapevole di essere una madre fortunata, perché ha abbastanza cibo per nutrire i suoi bambini.
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Con i fondi raccolti, Oxfam Italia porterà alle popolazioni del sud dell’Etiopia cibo, acqua e servizi igienici, e creerà posti di lavoro retribuiti (programma cash for work) per far ripartire l’economia locale. L’Etiopia è uno dei paesi più colpiti dalla crisi. Con il suo intervento Oxfam assisterà circa 15mila persone e 750 famiglie.
“In questo momento il Corno d’Africa è la priorità assoluta. Basti pensare che con tutta probabilità le Nazioni Unite dichiareranno lo stato di carestia in tutta la Somalia.
COME DONARE
Dal 19 settembre al 5 ottobre è possibile donare 1 € tramite SMS da rete mobile TIM, Vodafone, WIND, 3, Poste Mobile, CoopVoce al 45592 o 2 € chiamando il 45592 da rete fissa Telecom Italia, Infostrada, Fastweb, TeleTu.
E’ inoltre possibile donare tramite:
carta di credito su questo sito o al numero verde 800.99.13.99
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bonifico bancario sul conto n. 000000102000 di Banca Etica (iban IT03Y05018002800000000102000)
___________________________________________________________________________
Irina Fuhrmann, Media e Policy officer di Intermon Oxfam
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ESPANOL
La lucha de una madre en el Cuerno de África
10 Agosto, 2011| Blog channel: Conflicto y Desastres
Siempre he pensado que enterrar a un hijo es la experiencia más traumática que puede ocurrirle a una madre, una alteración del orden natural de la vida. Pero si además, tu hijo muere porque no has podido alimentarle, a ese dolor se añade la impotencia de no haber podido responder al más básico de los instintos maternales: nutrir a los hijos.
Por ello, cuando Namanakwee Ngamor, me cuenta que hace menos de un mes el hambre mató a su hijo, sus ojos abatidos expresan más que dolor. “Mi hijo tenía 5 años. Estaba cada vez más débil y yo no tenía nada más para darle qué frutos silvestres. Llevábamos semanas sin comer y mi hijo no pudo aguantar”, explica la mujer mientras sostiene entres sus manos un saco vacío, que utilizará para recoger la parte que le corresponde de la distribución de alimentos que hoy está realizando Oxfam en Kanukurdio. Esta aldea del norte de Kenia, es una más de las afectada por la grave crisis alimentaria en el Cuerno de África, que amenaza a más de 15 millones de personas en la región.
Namanakwee Ngamor, instalada en Kanukurdio, en el norte de Kenia, ha perdido a su hijo de 5 años. Foto: Irina Fuhrmann /Oxfam
El hambre se mece lentamente sobre los más débiles, adormeciendo primero a los niños y a los ancianos, pero sus estragos empiezan a alcanzar también a los adultos. Las madres, con sus cuerpos ya frágiles por años de penuria, se están debilitando cada vez más y en cualquier momento ellas también pueden caer. Mary Nsaniana enterró hace poco a su hija, la madre de sus dos nietos, tras una enfermedad que según la experiencia de esta mujer de 50 años, fue una acumulación de hambre y sed. Hambre y sed que alteran el orden natural de la vida.
Tampoco los habitantes de la zona comprenden por qué hay sequia, por qué ya hace más de cinco años que no llueve ni cómo van a poder seguir adelante cuando han perdido cerca del 60% de su ganado. Las cabras, ovejas, vacas, e incluso ahora los camellos, se están desvaneciendo y con ellos su única fuente de ingresos. “Cuando mueren los animales sabemos que los siguientes somos nosotros, los humanos”, explica Mary, con ademanes que muestran el enojo de su desesperanza.
Desesperanza y urgencia para que no mueran más personas. “Necesitamos cereales para poder darles papilla a los niños, antes de que sea demasiado tarde” clama Aite Eknoba, tratando de sostener erguidos a sus dos hijos, Apúa y Evei, cuyos cuerpecitos se doblegan ante la fuerza del hambre. Tras haber pasado tres semanas comiendo edapal, uno de los frutos silvestres que se encuentra en la zona, los niños están tan débiles que ya no retienen ningún alimento sólido. Si su madre no encuentra algo adecuado para alimentarles rápidamente, otra nueva alteración del orden natural de la vida se cernirá sobre Nakinomet, una aldea dónde más de 4.400 personas dependen totalmente de la ayuda humanitaria.
Esta comunidad ya ha enterrado a cuatro niños víctimas del hambre y otros 626 sufren desnutrición. Según las recientes evaluaciones que se han llevado a cabo en la región de Turkana, 37 niños de cada 100 muestran signos de desnutrición. Lo que no podemos medir todavía es el grado de impotencia de sus madres, obligadas a esperar que llegue la ayuda humanitaria para poder alimentar a sus hijos unos días más.
Aite, Mary y Namanakwee son sólo tres madres entre miles de mujeres afectadas en la región, que no tienen nada con qué alimentarse, ni ellas ni sus hijos. Sus maridos, antes orgullosos pastores trashumantes, sólo esperan que llegue la tan ansiada lluvia. La falta de pasto y el conflicto interétnico que afecta ciertas zonas de pastoreo fronterizas han sitiado a estas comunidades, obligándolas a permanecer en esta dramática espera.
Alice Atabo abrió una pequeña tienda de comestibles de su comunidad, Mila Matatu, en el norte de Kenia. Foto: Irina Fuhrmann /Oxfam
Sin embargo, para algunas de estas madres, la espera no carece de iniciativa. En Mila Matatu, otra aldea de la zona, me encuentro con Alice Atabo, la agente de intercambio designada por Oxfam para apoyar la distribución de alimentos. Esta emprendedora mujer ha hecho crecer una pequeña tienda de alimentación que provee a la comunidad. “Todo empezó cuando decidí invertir una pequeña cantidad, que me había dado Oxfam al participar en un proyecto al cash x work, en comprar productos como leche, harina, azúcar. Tan pronto supieron que en mi tienda podían abastecerse de lo básico, empezaron a venir de todos lados. Y con el tiempo, pude volver a pedir otro crédito y ampliar mi aprovisionamiento. Ahora además, recepciono los alimentos de la distribución gratuita y las familias más necesitadas vienen a recogerlos a mi tienda” explica Alice.
“Hoy han llegado los alimentos de la distribución y la gente ya está impaciente con sus tarjetas de intercambio preparadas, pues ya no les queda nada para comer”, nos explica mientras sostiene en sus brazos al último de sus ocho hijos, un bebé sonriente que juega con los collares de su madre. Alice sabe que es una madre afortunada pues tiene con qué nutrir a sus hijos.
Oxfam interviene en la región del norte de Kenia, distribuyendo alimentos a más de 200.000 personas. La organización trabaja desde hace años con las comunidades de pastores, apoyando la habilitación de puntos de agua, interviniendo con programas de dinero a cambio de trabajo y acompañando en el desarrollo de nuevos medios de vida alternativos para las comunidades de pastoralistas.
Más información
Crisis alimentaria en el Cuerno de África
Apoya el trabajo de Oxfam: Haz un donativo
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FRANCAIS
Le combat quotidien des mères dans la Corne de l'Afrique
15 Août, 2011| Blog channel: Conflits et Urgences
Devoir enterrer son enfant m'a toujours semblé être l'expérience la plus traumatisante que pouvait vivre une mère, une sorte de bouleversement de l'ordre naturel de la vie. Mais si en plus, cet enfant meurt car vous n'avez pas été en mesure de le nourrir, alors vient s'ajouter à la douleur de la perte d'un enfant celle de ne pas avoir pu répondre à un des instincts maternels primaires : celui de nourrir ses enfants.
Namanakwee Ngamor, installée à Kanukurdio, au nord du Kenya, a perdu son fils, âgé de 5 ans. Photo : Irina Fuhrmann /Oxfam
Quand Namanakwee Ngamor m'explique comment, il y a moins d'un mois, elle a perdu son fils, mort de faim, ses yeux trahissent bien plus que de la douleur. "Mon fils avait 5 ans. Il était de plus en plus faible, et je n'avais rien d'autre à lui donner que des baies. Nous sommes restés des semaines sans manger et il n'avait plus assez d'énergie pour se tenir debout", m'explique-t-elle, en tenant dans ses mains le sac vide qui lui servira à garder la ration distribuée plus tard par Oxfam à Kanukurdio. Cette zone du nord du Kenya est une des plus gravement touchées par la crise dans la Corne de l'Afrique, qui menace à terme plus de 15 millions de personnes.
La faim s'installe lentement parmi les populations les plus faibles, frappant en priorité les enfants et les personnes âgées, mais ses effets sont également de plus en plus visibles chez les adultes. Les mères, dont les corps ont déjà été éprouvés par des années de pénuries, sont très affaiblies et peuvent succomber à tout moment. Mary Nsaniana a enterré il y a peu sa fille, la mère de ses deux petits-enfants, morte de complications qui, selon cette femme de 50 ans, sont consécutives à la faim et la soif persistantes. Cette faim et cette soif qui bouleverse l'ordre naturel de la vie.
Les habitants de ces régions ne savent pas non plus d'où vient cette sécheresse, pourquoi il n'a pas plu suffisamment depuis cinq ans, ni comment ils vont pourvoir continuer à vivre en ayant perdu presque 60% de leurs réserves de grain. Chèvres, moutons, vaches et maintenant également les chameaux périssent lentement, et avec eux l'unique source de revenus des populations. "Quand les animaux commencent à mourir, nous savons que nous, les humains, sommes les suivants", explique Mary, désespérée.
Il est urgent d'intervenir, pour éviter que davantage de personnes ne perdent la vie. "Nous avons besoin de céréales, pour préparer des bouillies pour les enfants, avant qu'il ne soit trop tard", demande Aite Eknoba, tout en essayant de maintenir debout ses deux enfants, Apúa et Evei, dont les petits corps sont meurtris par la faim. Après avoir mangé de l'edapal, une baie locale, pendant trois semaines, les enfants étaient tellement faibles qu'ils n'arrivaient plus à digérer des aliments solides. Si leur mère ne trouve pas rapidement de quoi les nourrir, l'ordre naturel de la vie sera une nouvelle fois bouleversé à Nakinomet, où 4 400 personnes dépendent entièrement de l'aide humanitaire.
Cette communauté a déjà dû enterrer quatre enfants des suites de la famine, et 626 autres souffrent de malnutrition. Selon des évaluations récentes effectuées dans la région de Turkana, 37% des enfants sont sous-alimentés. Il est à l'heure actuelle encore impossible d'évaluer ce taux chez les mères, obligées d'attendre l'arrivée de l'aide humanitaire pour pouvoir nourrir leurs enfants un jour de plus.
Alice Atabo a ouvert un petit magasin d'alimentation pour sa communauté, à Mila Matatu, au nord du Kenya. Photo : Irina Fuhrmann /Oxfam
Aite, Mary et Namanakwee ne sont que trois des milliers de femmes touchées par la crise et qui ne trouvent plus de quoi s'alimenter, ni pour elles, ni pour leurs enfants. Leurs maris, de fiers bergers itinérants, en sont réduits à attendre l'arrivée tant espérée de la pluie. Le manque de pâturages et le conflit ethnique qui touche certaines zones de la région ont coincé ici ces communautés, les obligeant à poursuivre cette attente dramatique.
Cependant, pour certaines de ces mères, l'attente n'exclut pas la prise d'initiatives. À Mila Matatu, une autre zone de la région affectée, j'ai rencontré Alice Atabo, désignée par Oxfam comme agente de liaison pour aider à la distribution de nourriture. Cette femme entreprenante a mis en place un petit magasin d'alimentation pour la communauté. "Tout a commencé quand j'ai décidé d'investir une petite partie de l'argent reçu par Oxfam dans le cadre d'un projet 'argent-contre-travail' pour acheter des produits comme du lait, du sucre et de la farine. Dès que le bruit s'est répandu qu'on pouvait trouver des produits dans mon échoppe, les gens ont commencé à affluer. Peu de temps après, j'ai pu demander un autre crédit et ainsi remplir mon magasin. Je reçois également les rations alimentaires des familles les plus faibles, qui peuvent ensuite venir les retirer chez moi", explique Alice.
"La distribution de nourriture a eu lieu aujourd'hui, et les gens attendent avec impatience, leur carte d'approvisionnement à la main, car il ne leur reste plus rien à manger,", nous raconte-t-elle en tenant à la main le dernier de ses huit enfants, un bébé souriant qui joue avec les colliers de sa mère. Alice sait qu'elle a de la chance, car elle possède de quoi nourrir ses enfants.
Oxfam intervient dans la région du nord du Kenya en distribuant des produits alimentaires pour 200 000 personnes. L'organisation travaille depuis des années avec les communautés pastorales, en appuyant l'installation de points d'eau, en mettant en place des programmes "argent-contre-travail" et en les accompagnant dans le développement de moyens de subsistance alternatifs.
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MEDJUGORIE -
WEB MULTILINGUAL SITE - www.medjugorje.ws/
L'ULTIMO MESSAGGIO DEL 25 SETTEMBRE 2011
Quote of the day ( 25 settembre 2011 )
"Cari figli, Oggi, figlioli, vi invito, ad essere con Gesù attraverso la preghiera, per poter scoprire la bellezza delle creature di Dio tramite l'esperienza personale nella preghiera. Non potete parlare né testimoniare della preghiera se non pregate, perciò, figlioli, nel silenzio del cuore rimanete con Gesù, perché Lui vi cambi e vi trasformi con il Suo Amore."
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IL SANTO DEL GIORNO
OGGI MARTEDI' 26 SETTEMBRE - .S. VINCENZO DE PAOLI .
Cosma e Damiano, medici anàrgiri (gratuiti), secondo un'antica tradizione subirono il martirio a Ciro in Siria e il loro culto fu assai diffuso in tutta la Chiesa fin dal sec. IV. Il 26 settembre è la probabile data della dedicazione della basilica che a Roma porta il loro nome, edificata da Felice IV (525-530). Di loro si fa memoria nel Canone romano
youtu.be/VZOssXaTt4w
LITURGIA DEL GIORNO
www.chiesacattolica.it/cci2009/chiesa_cattolica_italiana/...
✰ Credit ✰
Vanilla Bae - Clary Top
[SG] - Heartache Goggles - Gothcore
[ VelvetVue ] - Cornelia Eyes - Gothcore
Eyeshadow : Moonstone. - Molten Shadow - Gothcore
ASCENT - Maniac Piercing - Unrigged - PBR - Gothcore
NEW ATTITUDE
● Tumblr
● Flickr
● Primfeed
#Home #cozy #decor #art #fashion #style #portrait #homedecor #aesthetic #creative #lifestyle #photography #model #fashionphotography #design #mood #vibrant #people #Vanilla.Bae #Gothcore #Velvetvue #Event #[SG] #Moonstone #Ascent
May 7, 2016 - Hwy 385 Northbound / North of Wray Colorado
Prints Available...Click Here
All Images are also available for...
stock photography & non exclusive licensing...
Watch the Video from this day on Flickr Click Here
I was seriously late the game on this storm. But I was never out of the game. I had missed a few of the other tornados that afternoon in Northern Yuma County. Coming from south to north I had to position myself correctly. Chaser Convergence was also in full swing so there were not may open areas to choose from.
For best pics of a Tornado and to be safe about it a storm such as this was moving North by Northeast... strategically, you want to be to the south east, southwest for the best light... Behind the RFD (Rear Flank Downdraft) It's all about timing, and I honestly didn't think it would produce a tornado til it was well west of my location. That was going to be the wrong guess... Though when I went due north of Wray I had a good viewing point but not in the safest location as you see.
I got lucky this day as...In my opinion, I found a perfect view, looking due south southeast. I ended up on the northwest side of the rotation. Dangerous yes...but this will eventually give me one excellent view of this tornado and all her glory.
Staying as safe as I could I wouldn't bail till it was about a mile away then I would head north again to a safer / better viewing position.
*** Editor Notes ***
Greetings Everyone, I haven't posted many new pics since last chase season and the 2020 Severe Weather Season is upon us. Looking for our first set of storms in the coming weeks and I'll be streaming live and of course some of the best storm photography one could ask for.
2020 Update...I've been revamping how I do things. One of those things is to go back and correct how I did my post processing of images. Several Years of over Colorizing over Saturation Adding color... etc. Yes I'm guilty of doing so and I have been going back and replacing thousands of images in hundreds of sets over these past few months here on Flickr my Fine Arts America Site.
The May 7, 2016 Colorado Tornado Event was by far one of my favorite chase days to date. I was able to capture the full genesis of a tornado. From birth to death. It was a quest of mine to do this in a photography medium. Epic severe weather structure, like once in a lifetime structure to capture. But post processing was a nightmare. The images came out well ... Defined but over colored over saturated etc.
Instead of replacing the images this will be a whole new set with a few hundred new images that I didn't post on the original set back in 2016. I've thought about re-editing these images for a long time and they are finally done. No Altercations what so ever. No Added Light, Color, Contrast.
I've brought them directly from RAW. Simply the way I should have done it in the first place!
*** Please NOTE and RESPECT the Copyright ***
Copyright 2016
Dale Kaminski @ NebraskaSC Photography
All Rights Reserved
This image may not be copied, reproduced, published or distributed in any medium without the expressed written permission of the copyright holder.
#ForeverChasing
#NebraskaSC
✰ Credit ✰
For Her
Hoodlem - Music Notes Tattoo
Stylish & Vain - Davina Set 2 - Miix Event
Pose :
BREAK - 191 Love Set - Miix Event
NEW ATTITUDE
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● Flickr
via KrakyLand.net Stickman Wars The Revenge APK MOD Money www.krakyland.net/2016/02/stickman-wars-revenge-apk-mod.html
An impression of the exhibition location of Ziki Questi’s exhibition „Line and Shadow“ at Enoki.
Read more at zikiquesti.blogspot.de/2015/09/line-and-shadow.html
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About Ziki Questi (by exhibition info)
Ziki Questi is a blogger and photographer whose works have been widely featured in Second Life exhibitions.
She was a featured artist at SL12B with her exhibition Matter and Memory. Her works have been exhibited at Amore Perduto (2011-2013), Artists for SL (2012), the Avalon Arts Initiative (2011), Dryland (2012 and again 2013-14 for exhibition Lost Second Life), the Eagle Eye Gallery (2013), Holtwaye ArtSpace (2014-2015), Lollygagger Lane Art Center (2014-2015), Plusia Ars Island (2013), Red Lines Gallery (presented by Tanalois Art and torno Kohime Foundation) (2013), RoHaus (Radio Days tribute to AM Radio, 2011), Serena Imagine Arts Center at Wolves Land (2014), Serenity Gallery (2011), the Skywalk Gallery at The Station (2014), the Town Hall of Dee (2011) and the Virtual Chelsea Hotel Gallery 23 (2013). She maintains a galleries of her work in Dreamworld North and has also maintained galleries at Avalon Town, Aakriti Arts and Babele Fashion, and also has a small gallery of free items at Remood United Portugal.
She participated in the sim-wide "A Rusted Development" (2012-13) at LEA1 with her work "All the Alruses of the Which Ones," at Burn2 (2012) with the installation "lippes in smiling mood, kiss akiss after kisokushk (thank you Mr. Joyce)," and at HaveIt Neox's sim-wide build "Stirring the Dreams" with her installation "The Bridge of Quests" (2012-ongoing). She curated an Avalon Collector's Circle exhibition (2012-2013) at the Avalon Art District Exhibition Hall. With her partner Kinn, she curates AM Radio's The Far Away.
As a blogger, Ziki Questi writes about the arts, destinations and other Second Life subjects. She was a staff writer and photographer for AVENUE Magazine (2012-2013) and serves as an adjudicator for the University of Western Australia (UWA) 3D Art Challenges and Machinima Challenges (2013, 2014, 2015).
As a performing artist in real life, Ziki Questi's human has presented work throughout the United States and Europe, has collaborated with other artists in dance, music, television, film and theatre, and has been published and cited in books, journals and other media.
Blog: zikiquesti.blogspot.com
Gallery:
Flickr: www.flickr.com/photos/zikiquesti/
Vimeo: vimeo.com/zikiquesti
Twitter: twitter.com/zikiquesti
Plurk: www.plurk.com/zikiquesti
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The "Somewhere in sl" picture series (or "The Adventures of WuWai in Second Life") is my guide and bookmark folder to wonderful, artful, curious or in other way remarkably sims of second life with travel guide WuWai Chun.
(More pictures of WuWai's adventures: Follow this link)
You can find more pictures (raw caps) with slurls to sl-destinations at my travel logue
in the photo section of my second life profile (my notebook and private destination guide):
or the same raw pictures in higher resolution following at:
my.secondlife.com/wuwai.chun/snapshots/
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Einwohner: 45.777 - Stand 9. Januar 2017
Entwicklung der Einwohnerzahlen
Landkreis: Esslingen am Neckar
Bundesland: Baden-Württemberg
Postleitzahl: 70794
KFZ-Kennzeichen: ES
Bonlanden 575 ha
Telefonvorwahl:
0711 für Bernhausen, Bonlanden, Plattenhardt
07158 für Harthausen und Sielmingen
Geographische Lage: 9 12' 50" östliche Länge und 48 40' 10" nördliche Breite.
Höchster Punkt: Wasserreservoir Stadtteil Plattenhardt - 474,1 m ü NN
Niedrigster Punkt: Bombachtal, Stadtteil Bonlanden - 327,0 m ü NN
Länge Stadtgrenze: 33,0 Kilometer
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Stadtporträt
Filderstadt ist die zweitgrößte Stadt im Landkreis Esslingen und verkehrstechnisch sehr günstig gelegen: direkt an der B 27, Autobahn A 8, dem Flughafen Stuttgart, der Landesmesse und nahe der Landeshauptstadt Stuttgart.
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Artefakt (aus lateinisch ars (ursprünglich) „Bearbeitung“ und facere „machen, herstellen“) bezeichnet in der Archäologie und der Anthropologie einen von Menschen hergestellten Zustand oder Gegenstand. (Sujet).
Artefakt (Fotografie), Bilddetails, die einen unbeabsichtigten Unterschied* zur Bildquelle darstellen.
Kinetic Art Photography
*Die kinetische Energie des schwarzen Autos verschwindet soeben in einem schwarzen Loch.
siehe notes
Panorama: Der Mitzieh-Effekt holt das Auto ein.
Das Vorderteil des Autos verschmilzt mit dem hinteren Drittel.
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Was ist: 4.0? Industry 4.0 Value Chain?
-
de.wikipedia.org/wiki/Industrie_4.0
:
Im All sind wir schon bei Industrie 5.0, aber auch an Industrie 4.0 arbeiten wir natürlich.
Perfect Industry value chain - Die industrielle Wertschöpfungskette wird optimiert -
Industry 4.0 is the current trend
en.wikipedia.org/wiki/Industry_4.0
of automation and data exchange in manufacturing technologies.
It includes cyber-physical systems, the Internet of things and cloud computing.
The characteristics given for the German government's Industry 4.0 strategy are: the strong customization of products under the conditions of highly flexibilized (mass-) production.
--- gleichnamiges Projekt in der Hightech-Strategie ---
Die Plattform Industrie 4.0 hat zum Ziel, IT-Technologien mit Produktionstechnologien zu verschmelzen.
Es ergeben sich zahlreiche bis heute ungeklärte rechtliche Fragen.
Industrie 4.0 -> 5.0
„Industrie-4.0-ready“ - Next Generation 5.0
Deutschlands naiver Traum von der smarten Fabrik:
Zudem basiert Industrie 4.0 auf dem Denkfehler, dass ein nicht lineares und - soziales System wie eine Fabrik - mit Algorithmen steuerbar ist.
Wo bleibt der Mensch?
www.kuka.com/de-de/technologien/industrie-4-0/industrie-4...
Mensch-Roboter-Kollaboration (Cobotics) und Mobility an. Mobile Cobots reagieren bereits heute intelligent auf ihr Umfeld und sind universell einsetzbar. „Kollege Roboter“ wird bei KUKA Realität.
L'Industrie 4.0?
La robotique industrielle?
Ses bases technologiques sont l'Internet des objets et les systèmes cyber-physiques.
Les robots industriels sont très utilisés en automobile.
Constructeurs
Drapeau de la Suisse Suisse : Stäubli
Drapeau de la Suisse Suisse : ABB Robotics
Drapeau des États-Unis États-Unis : Adept Technology
Drapeau de l'Allemagne Allemagne : Bosch
Drapeau de l'Allemagne Allemagne : Cloos GmbH
Drapeau de l'Allemagne Allemagne : Festo
Drapeau de l'Allemagne Allemagne : Dürr (peinture)
Drapeau de l'Allemagne Allemagne : Roteg
Drapeau de l'Autriche Autriche : IGM
Drapeau de l'Italie Italie : Comau
Drapeau du Japon Japon : DENSO Robotics
Drapeau du Japon Japon : Epson Robots
Drapeau du Japon Japon : FANUC Robotics
Drapeau du Japon Japon : Fuji Yusoki Robotics
Drapeau de la Corée du Sud Corée du Sud : Hyundai Robotics
Drapeau du Japon Japon : Intelligent Actuator (IAI)
Drapeau des États-Unis États-Unis : Intelitek
Drapeau du Japon Japon : Janome
Drapeau du Japon Japon : Kawasaki Heavy Industries
Drapeau de l'Allemagne Allemagne : KUKA Robotics
En 2003, les robots industriels KUKA apparaissent dans Lara Croft Tomb Raider : Le berceau de la vie et en 2005 dans Les Sentinelles de l'air et dans Da Vinci Code avec Tom Hanks en 2006.
Vergeblich hatte die Bundesregierung versucht, eine Übernahme von Kuka durch die chinesische Firma Midea
(besitzt offizielle nur 48,5 %) abzuwehren und hatte dafür geworben, dass sich deutsche Unternehmen beteiligen.
Die Robotik gilt als Schlüsseltechnologie des 21. Jahrhunderts und man versuchte zu verhindern, dass zukunftsträchtige Technologie aus Deutschland nach China abwandert.
KUKA Systems (Maschinenbau seit 1898, Augsburg) ist ein internationaler Anbieter für Produkte und Dienstleistungen im Bereich der industriellen Verarbeitung von metallischen und nichtmetallischen Werkstoffen, bedient hier verschiedene Branchen (Automobil, Schienenverkehr, Luft- und Raumfahrt, Photovoltaik, Industrie) und zählt sich selbst zu den Marktführern auf diesem Gebiet.
(Midea (China) dürfte nach der Übernahme Patente, Daten und anderes Know-how aus Kuka herausziehen und selbst nutzen könnte - es fehlt ein europäisches Aussenwirtschaftsgesetz )
Umsatz
2,966 Mrd. Euro 2015
"Es sind echte Charaktere, die bei KUKA die Zukunft der Automatisierung gestalten. Lernen Sie unsere Vordenker kennen!
Born for Industrie 4.0 - Die KUKA Stories"
"Die Industrie 4.0 wird vorangetrieben von Menschen, die die Fähigkeit haben, völlig neue Arten von Verbindungen herzustellen: zwischen realer und digitaler Welt, zwischen Mensch und Maschine, zwischen heute und morgen."
Drapeau de l'Espagne Espagne : Loxin
Drapeau de la France France : Chavériat Robotique
Drapeau de la France France : LUCAS France
Drapeau de la France France : MIP robotics
Drapeau du Japon Japon : Mitsubishi Electric
Drapeau du Japon Japon : Yaskawa-Motoman
Drapeau du Japon Japon : Nachi Robotic Systems Inc.
Drapeau du Japon Japon : Nidec Sankyo
Drapeau du Japon Japon : OTC-Daihen
Drapeau du Japon Japon : Panasonic Corporation
Drapeau de l'Allemagne Allemagne : Reis Robotics
Drapeau de la Corée du Sud Corée du Sud : Samsung
Drapeau de la France France : SCEMI (ex-filiale d'Alsthom) dont l'activité robotique a pris fin dans les années 1980
Drapeau de la France France : SEPRO Group
Drapeau de la Suisse Suisse: Stäubli Robotics
Drapeau des États-Unis États-Unis : ST Robotics
Drapeau du Japon Japon : Toshiba Machine
Drapeau du Japon Japon : Yamaha Motor Company
Drapeau de la France France Drapeau de la Slovaquie Slovaquie France Slovaquie : Robot-Delta
Video
4.0 by Kuka
www.youtube.com/KukaRobotGroup "Hello Industrie 4.0_we connect you," from April 24 to 28, 2017
latinlukrecia.blogspot.mx/2015/10/mdimodarain-afternoon.html
Do not miss this wonderful place to do your own photos!
The Beguinage of Bruges / Bridge maps.secondlife.com/secondlife/Dagger%20Bay/136/238/25
www.rwi.uzh.ch/bibliothek.html
architecture by Santiago Calatrava.
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved.
pt.godfootsteps.org/walking-on-road-to-kingdom.html
Hino da Igreja
Eu estou caminhando na estrada para o Reino
I
Caminhando para o reino,
lendo as Palavra de Deus
, olho para Ele.
Palavras com significados,
profundas e sérias, gravadas em meu coração.
Deus, Te preocupas
que eu seja enganado, destruído por Satanás.
Tuas palavras me guiaram,
deram verdadeira vida a mim
e me colocaram neste caminho.
II
Ó~ ó~
Através da obra de Tuas palavras,
vi deste mundo o mal e a escuridão.
Agredido por tendências vis,
não me pareço com um humano.
Lá vaguei pelo mundo,
nenhuma esperança, coração cheio de escuridão.
Deus, Tu me salvaste!
Envolto em Tuas palavras cresci e fortaleci.
III
Palavras de Deus mostram a verdade,
minha corrupção, minha repulsa.
Egoísta, ganancioso, orgulhoso,
cheio de mentiras, quase desumano!
Aos pés de Deus eu caio,
cheio de remorso, me curvo ao Seu julgamento.
E busco a verdade,
vivo aparência humana
praticando as palavras de Deus.
IV
Caminhando para o reino,
estou feliz, compartilho o evangelho.
O caminho é dificl para andar,
com mais perseguições dia a dia.
Sem conseguir dar um passo a mais.
As palavras de Deus, me guiam, dão fé e coragem.
Sigo a Deus até o fim,
aprovado por Ele, eu morreria feliz.
Ó~ ó~ ó~ ó~
Aprovado por Ele, morreria feliz.
Fonte da imagem：de "Igreja de Deus Todo-Poderoso"
Aviso Legal e Termos de Uso： pt.godfootsteps.org/disclaimer.html
eltactodelalma-alma.blogspot.com/2010/06/todos-los-derech...
Todos los derechos reservados ©
Please don't use this image on websites, blogs or other media without my explicit permission. © All rights reserved
MI PÁGINA ESTA CENSURADA POR LOS MODERADORES DE FLICKR SIN DARME OPCIÓN A CAMBIAR EL NIVEL DE SEGURIDAD DE DE MIS FOTOS, POR ELLO SOLAMENTE PODRE COLGAR FOTOS EN GRUPOS DE CATEGORIA "RESTRINGIDA", POR LO TANTO, SI DESEAS AÑADIR UNA DE MIS FOTOS A TU GRUPO TEN EN CUENTA ESTA RESTRINCION. GRACIAS.
...esto foto se la dedico a esosdos locos, ya no tan bajitos, que como niños disputan...rien... y vuelven a empezar... y que todavía conservan ese halo espacial que da la niñez.....a mis compañaros de afotamientos varios Francisco y Alfredo....
www.youtube.com/watch?v=98AZoTWpsgc&feature=related
(Joan Manuel Serrat: Esos locos bajitos)
Museo del Mar, Vigo, 12 de junio de 2010....un atardecer cualquiera...
....los días así, como este...gris y lluvioso siempre traen a mí memoria...el tiempo en que siendo pequeña salía al jardín de mi casa a cazar gotas de lluvia....y daba igual la parte del cuerpo que de ello se encargaba, lo importante era atraparlas todas....pensaba que tal vez...en cada una de ellas se hallaba uno de mis pequeños sueños....come volver a la playa en pleno invierno con mi perro....o jugar de nuevo sin ir a la escuela....subir al caballo que mi padre nunca me regaló...volar sin alas.....o no hacerme nunca vieja como mi bisabula Florentina Marta.....
Solía descalzar mis pies y caminar por la hierba a saltitos para sentir el "chof chof" del agua, escondiéndome de mi madre....
..de vez en cuando me paraba pra ver los caracoles....las miñocas (lombrices)... y todo bicho viviente que salia , igual que yo, a recoger gotas....
Yo no era la princesa del aquel cuento...yo era la libertadora...la salva vidas inocentes....la india loca con el arco y las flechas que estaba dispuesta a expulsar a cualquier agresor (como si de un vaquero prepotente se tratase) de aquel infimo universo mio....
...yo era libre como nunca después lo he sido.....a saltitos hasta el manzano...sólo me faltaban las plumas y los colores de guerra o de paz....
...y con los pies descalzos y mis manos....me subía al árbol, cuanto más alto mejor....entonces en la rama más fuerte me colgaba cabeza abajo...para ver la copa....para ver de donde venían mis sueños...y con la misma...también divisaba a mi madre mirándome desde la ventana...haciendo que no me veía.....yo bajaba del árbol, recogia mis zapatos, me agachaba poniendo mi cara sobre la hierba mojada y les susurraba a toda mi tropa....."tranquilos, somos invencibles".....Dignamente me levantaba, sacudia mis manos mojadas de deseos y emprendía la retirada....
Entraba en casa y mi madre me tenía preparadas las zapatillas calientes y mi perro dormia al lado de la chimenea, el olor a bica llegaba desde la cocina, mmm....todo estaba bien....fuera seguia lloviendo...el día era gris...pero yo....resplandecía con esa sonrisa inocente y verdadera que tienen los niños.
✰ Credit ✰
For Her
Kaithleen's - Beach Bar Outfit
Hoodlem - Vlone Tattoo
For Him
[Elementtare] - BCalif T-Shirt
[Elementtare] - BCalif Shorts
NEW ATTITUDE
● Tumblr
● Flickr