HTML photos on Flickr

Некоторое время назад в связи с моей работой церковь направила меня жить в принимающей семье. Когда я впервые общался с братом и сестрой в этой семье, они сказали: «Мы больше всего боимся молиться во время общения. Мы знаем, что говорить, когда молимся самостоятельно, но когда дело доходит до молитвы на собрании, мы просто не знаем, что сказать». Услышав это, я подумал: «Если мы не будем молиться во время общения, мы не сможем принять работу Святого Духа, и наше общение будет неэффективным. Нам необходимо молиться!» Но затем я передумал, полагая, что если они действительно боятся молиться, то не создастся ли у них обо мне неблагоприятное мнение, если я буду настаивать на их молитве? Чтобы выполнить свои обязанности по редактированию статей, мне необходимо было прожить в принимающей семье долгое время. Что если они составят обо мне превратное мнение и не захотят принимать меня, потому что я не прислушиваюсь к их пожеланиям? Думаю, мне следует просто согласиться с их пожеланиями. Поэтому в течение следующего месяца мы никогда не молились во время общения. Из-за этого беседы о Божьих словах стали скучными и вялыми, в них абсолютно отсутствовало просвещение Святого Духа. Мы также часто отклонялись от темы. Постепенно состояние брата и сестры перестало быть нормальным, они уже не особо хотели беседовать. Даже когда у нас было общение, они постоянно впадали в дремоту, а в повседневной жизни не уделяли внимания питанию Божьим словом. Они смотрели телевизор, когда у них было свободное время, они уже не были так радушны со мной, иногда даже не хотели разговаривать. Столкнувшись с этим, я почувствовал боль и смятение: я прислушался к их пожеланиям во всем, я не обижал их. Почему они так себя ведут?

И когда я был совсем озадачен такой ситуацией, Божьи слова просветили меня: «Если у тебя нет правильных отношений с Богом, то независимо от того, что ты будешь делать для поддержания своих отношений с другими людьми, независимо от того, насколько усердно ты будешь работать или сколько усилий вы к этому приложишь, это по-прежнему будет иметь отношение к человеческой жизненной философии. Ты сохраняешь свою позицию среди людей, задействовав человеческую точку зрения и человеческую философию, дабы они восхваляли тебя. Ты не устанавливаешь правильные отношения с людьми на основании Божьего Слова. Если ты не сосредотачиваешься на своих отношениях с людьми, но поддерживаешь правильные отношения с Богом, если ты готов отдать свое сердце Богу и научиться быть Ему послушным, вполне естественно, что твои отношения с людьми тоже станут правильными… Правильные отношения между людьми устанавливаются на основе того, что сердце человека отдано Богу; это не достигается с помощью человеческих усилий» («Очень важно установить правильные отношения с Богом» в книге «Слово является во плоти»).……

Может вам понравятся следующие:

Евангелие на каждый день «Познание Бога – путь к богобоязненности и удалению от зла» (Отрывок 1)

Image Source: Церковь Всемогущего Бога

Solitude thickens with the light by Rob Hudson

31 27

Islands have a powerful collective image, of a sanctuary, an escape and of freedom. Yet this island isn’t a peaceful haven. It’s minute, jammed at the end of the human world before the rule of wilderness takes complete control; teetering here it is impenetrable and mysterious. Blasted by the feral mountain weather; shrill winds through pining trees, running fingers of disturbed water varnish the lake, swaying branches and a cloud scudded sky. There is never stillness; but there is the prospect of shelter amongst the trees on the wall-topped isle.

This is a paradoxical wilderness, the reservoir and even I suspect the island itself is man made, set here to hide it’s human origins in this wildest of settings. It is somehow outside the human world, more than simple geography would dictate. Maybe that’s where that stab of uncertainty comes from; spirits seem to haunt this place. I can’t seem to comprehend the essential mixture of what I see and what I know There are no roads in sight, no traffic, no lights and no voices, save the faint whistles of a farmer rounding sheep, a soft white question mark on a distant yellow hill. It’s lonely and at dusk the solitude thickens with the light.

I wonder if serenity could be found on a summer night sleeping in the enclosure while the shimmering stars press down, if the universe would infiltrate my sacred retreat. One day, one rare warm summer night, if bravery allows, I might sample that delight, but with the possibility of a sleepless, jittery night. What ghosts might emerge from the drowned valley, hanging vaguely against the sky, like a faint, fleet-footed cloud, a dark-shrouded branch, the moan of wind in a creaking tree.

Classical references for light and dark abound, they are often unsophisticated, but universal metaphors for good and evil. But here, at night, universal is turned on its head as uncountable stars spike the sky; it is a colander to a different world.

When we reach the totality of night, the circle of experience narrows like bands around the chest. The circle is so limited; pale and indistinct even within, beyond a few feet - black, missing, lays an unknown, only guessed world. Moonless just the faintest glimmering from southern sodium lights, away past the dam, through twisted narrow valleys, the light creeps incestuously with her black, mad cousin.

Then I can only but question my rational mind, the world of understanding, of knowledge, of sight and matter. As my senses adapt sounds unexpectedly seem to take on a new life - the volume switch gets turned up, noises become alive and swift like the wind. Now I am the wild creature, alert, listening, smelling, feeling the cold wind and the wet, the brush of the trees and the ground beneath my feet, but seeing very little.

This is where the journey really starts. Not the drive out of the city, through the old industrial valleys. Not the walk past one reservoir and through the storm ravaged line of pine trees encircling this place. This journey forces me inside, inside my circle and inside my mind. This is the journey of an island of light into an encircling dark.

Historic Architecture, Aspen, Colorado by Thaddeus Roan

35 15

Water Fountain and Flowers grace this historic building with Fall Foliage in the background, Aspen, Colorado.

When the Wheeler Opera House first opened its doors to theatergoers on April 23, 1889, the building symbolized prestige, progress and culture for the citizens of Aspen. Only ten years earlier, the first pioneer prospectors had come over the continental divide from Leadville and into the Roaring Fork Valley. Soon Aspen boomed from a muddy camp with three prospectors into a town with brick and stone businesses and an opera house that was among the largest, most-substantial and best-furnished buildings.

From the start of construction in 1888 to the end of World War II, the Wheeler Opera House saw good times, dark times, and quiet times. Construction on the Wheeler Block begun in early June 1888 by Jerome Byron Wheeler. Wheeler had already made his name in Aspen history as the man who finally completed a working smelter for reduction of silver ore, finally making silver mining profitable and realizing the dream of Aspen's many mine-holding interests. Designed as an urban, multi-use building, the Wheeler Opera House was to reflect Aspen's meteoric growth during the 1880s into a full-fledged city. Its basement was to house a barber shop and storage space; the main floor a large clothing store, bank and ticket booth; the second floor six offices; and the third floor, the opera house.

As stone cutters worked at "dressing up the corners" of the building, townspeople noticed that the east wall looked strange, with an apparent concavity. During the rebuilding of that wall, as a swinging scaffold twenty-five feet above the sidewalk gave way, four workmen fell. As a result of this accident, an editorial in the Aspen Daily Times started a campaign to build Aspen's first hospital, which was completed in September 1891.

The opening of the Wheeler on April 23, 1889, was hailed as "one of the most notable events in the history of Aspen's most eventful year." Every seat in the house was sold as first-nighters in full dress took their places. Shortly after eight o'clock the curtain was raised and the big, glamorous, and elegantly costumed Conried Company presented a comic opera, The King's Fool. When the performance ended, celebrations of the theater opening continued through the night.

To reach the auditorium of the Wheeler, patrons used the main entrance on Hyman Avenue. The ticket office was located on the ground floor under the wide stairway, which was finished with a highly-polished wood balustrade. On the third floor at the top of the stairs was the ladies retiring room and cloakroom adjoining the auditorium. Modern and dazzling lighting equipment enhanced the house. The chandelier, a work of art, was suspended for the handsomely frescoed ceiling by a wire rope. This chandelier was the crowning glory of the house, hand-made of hammered brass, trimmed with silver and set with three dozen incandescent lights, each with an opalescent shade, flaring out at the end in the form of a flower. The sloped floor and padded seats permitted visual and physical comfort. The splendid surroundings of fine woodwork, elegant draperies and frescoed walls all superbly lighted by the handsome chandelier created an aesthetic atmosphere to remove patrons for the work-a-day world of the mining town.

The Wheeler stage offered what a modern city theater of the time might have had: eight dressing rooms, the finest obtainable scenery produced by professionals, the very latest lighting equipment and appliances and, finally, a technician to handle the equipment and build any new stage mechanism needed.

The famous "Olio" curtain, a representation of the Brooklyn Bridge, was designed by two New Yorkers, world famous for their scenic art, and painted by no less than Chicago's opera house scene painter Burke. It pictured not only the bridge and the East River, but ships from over the world.

With the opening of the opera house, Aspen became part of what was known as the Silver Circuit - mining towns that drew big-name entertainment. Offerings at the Wheeler from 1889 through early 1894 included traveling companies that brought Shakespeare, minstrels, vaudeville, comic opera, extravaganza, burlesque, melodrama, concerts, lecturers, and even boxers. Home talent performers presented concerts, musical programs, and some plays and operettas.

The glory days of the Wheeler Opera House were short-lived. With the demonetizing of silver in 1893, the Wheeler became a place of town meetings and benefits for a city that was struggling to survive in a world that had deemed silver worthless.

Although the Wheeler didn't close, it made little news until 1912 when two fires ripped through the three-story building in one week, gutting the opera house. The first fire occurred after a moving picture show at 10:30 p.m. on November 12, presumably caused by defective electric wiring.

The second fire, attributed to arson, occurred only nine days after the first. It was devastating. The ¾" headline of the town paper exclaimed, "Fiendish Firebugs Again Rampant in Our City, Wheeler Opera House Partially Destroyed, the Prettiest Little Structure of Its Kind Between Pueblo and Salt Lake City is Sacrificed to the Venom of a Degenerate Unfit to Remain Upon Earth."

The fire was actually started in three places; in or near the box seats; among the scenery on the stage; and in the locked ushers' room, originally the ladies' retiring room. It was discovered a few minutes past 2am and the Fire Department did not have it controlled until 4am. On stage a chimney effect developed due to the unfortunate positioning of a skylight directly above the stage. Flames were pulled upwards through all the sets and scenery and then spread out over the auditorium into the attic between the roof and ceiling. The heavy timber trusses became charred, but remained structurally sound. The auditorium ceiling's wooden lath burned next and the plaster, having lost its support, fell in chunks covering the specially fabricated opera chairs. Heat became so intense that the steel support cable for the beautiful electric chandelier melted and it too came crashing down.

The Wheeler had a special place in the hearts of Aspenites and its destruction was particularly lamented by the town newspapers:

"It makes one almost sick to go through the main entrance, the door through which all of us have passed so many times to be amused and to enjoy a few happy hours. May the Lord help the one who started the fire in this magnificent structure - the people of Aspen won't, that is sure." - November 22, 1912 Aspen Democrat Times

After the fires, the opera house sat vacant. To stop the vandalism and protect the public, the space was closed off from the rest of the building. The street-level spaces, mostly undamaged, continued to be occupied by local businesses. But the laughter and applause of an audience didn't ring through that third floor again until more than 30 years later.

Wheeler 1930'sDuring the Wheeler's dark decades, the children of Aspen used it as their playground. One of Glenn Beck's fondest memories of childhood, was playing in the Wheeler Opera House. The top-floor windows were broken out. And flocks of pigeons lived up in the theater. "We could go up the back stairway of the store and finally crawl out right under the stage. We played cops and robbers. There was a rope from the top of the ceiling. We could get on the balcony and swing clear over the stage. It was a long way across."

In June 1946, the Aspen Company leased the opera house and other unrented portions of the Wheeler building from the City with the required intention to improve and repair the building. It had "fallen into disrepair and (was) rapidly deteriorating due to the financial inability of the City of Aspen."

Lilian Gish 1984Elizabeth Paepcke, often cited as the "matriarch of modern Aspen" and, with her husband Walter, a major force behind the town's renaissance as a cultural center, decided that the opera house must be restored. But this renovation did not even attempt to recapture the grandeur of the original. "The seats were plain wooden benches," says Jim Markalunas, "and you had to watch where you sat because of pigeon droppings."

Over the years, the improvements continued on a piecemeal basis. Around 1960, seats were put in and the walls became a rich red with stenciled gold fleurs de lis. Elizabeth Paepcke bought a crystal chandelier to replace the one lost in the fires of 1912. Through the 1960s and '70s, the Wheeler was used mostly as a movie house. By the late '70s the City of Aspen, which had acquired the building for back taxes during the early part of the century, started to grapple with the question of whether to sell or renovate the theater. The council decided on renovation. A committee was appointed to explore how the job should be done, and finally an election was held and voters were asked to approve a real estate transfer tax that would fund the restoration and pay the theater's maintenance and operating costs. The tax was approved by the voters in 1979. The $4.5 million restoration was completed in 1984.

The Wheeler Opera House reopened with a Gala Public Opening on Friday, May 25, 1984 with a performance of George Bernard Shaw's Arms and the Man. The following night featured a modern dance program by Moses Pendleton, a founder of the Pilobolus Dance Company, who was hailed as one of the country's most innovative choreographers. Sometime-Aspenites James Levine, conductor and director of the Metropolitan Opera, and Lynn Harrell, internationally renowned cellist, played a special concert on Sunday, with Levine on piano and Harrell on cello. The gala concluded with a salute to the silent film, The Wind, which stared Lillian Gish. Miss Gish was on hand for the screening, with Denver ragtime and jazz pianist Hank Troy and violinist Becky Burchfield accompanying the silent film.

Some of the names that have graced the Wheeler's intimate stage since the 1984 opening include: Harry Connick Jr., Lily Tomlin (she workshopped her Broadway show "Signs Of Intelligent Life" over the course of many weeks here!), The Eagles (twice), Lyle Lovett (too many times to count), Jewel, Sugar Ray, INXS, George Carlin, Dave Chappelle, Sheryl Crow, Tony Bennett, Faith Hill, Burt Bacharach, Bernadette Peters, Linda Eder, Art Garfunkel, the PBS shows "A Prairie Home Companion" and "Wait Wait ... Don't Tell Me!", Pat Metheny & Brad Mehldau, Linda Ronstadt, James Taylor, and of course Aspen's own adopted son John Denver (and whose life is still celebrated here every October).

Twenty four years after its latest renovation the Wheeler continues to serve Aspen as a world class theater, performance venue and town meeting place and is still considered not only the crown jewel of the town, but indeed the art and soul of Aspen.

Giorgio Armani Samsung luxury mobile phone by Paul Gates

37 27

Giorgio Armani, one of the world’s leading fashion and lifestyle design companies, and Samsung Electronics, a leading producer of mobile phones and telecommunications systems, today unveiled the new Giorgio Armani-Samsung luxury mobile. Giorgio Armani presented the new mobile phone at a press briefing in his Armani/Teatro in Milan before his Spring Summer 2008 Women’s fashion show.

Auto World Museum by lukedrich_photography

Source: www.autoworldmuseum.com/about.html

Why build an automotive museum? Because one way or another, our lives are touched by the automobile. We remember our parents’ cars, the ones we traveled in with family, the ones we borrowed for our first car date, the first ones we bought. The fast cars, the junkers, the modified ones and the ones we rebuilt—all of them are tied to us in memory. We even dream of cars.

William E. Backer, former owner of Backer Potato Chip Company in Fulton, Missouri, looked back in time and found that a vintage automobile was a thing of fascination. His memories were of old country roads and two lane highways. Bill Backer was an engineer and a builder who loved to tinker. Having built a successful potato chip company, he looked back at the cars that were part of his childhood. Shortly after, he owned a Canadian 1924 Dodge Touring. Dark blue with black fenders and a cloth top. Bill drove his family around the back country roads of Callaway County, Missouri and felt himself touching fading memories.

Not long after he collected the Dodge, Bill had a 1909 Ford Model T. Soon after that, a 1930 Model A. Then a 1929 Cord, a 1931 Rolls Royce Phantom II, a 1957 Chevy Bel Air, and so on. By the mid 1990’s, the number of classic autos in the collection neared 100. Bill found a home for many of his classic cars in an old retail building in Fulton. The Auto World Museum Foundation was formed and a classic car museum was opened to the public. Ten years later, in 2006, the automobile museum was moved to its current home at 200 Peacock Drive in Fulton. It is a building dedicated to the history of vintage and modern automobiles as well as the history of Callaway County and Fulton, Missouri.

After his passing in 2008, his daughter, Vicki McDaniel, assumed leadership of the museum and the collection of cars. Since then, the collection of vintage autos has changed a little. However, her primary passion is for the presentation of antique cars and modern ones in a place that everyone can visit.

The presentation of cars and staging of the museum is the vision of Tom K. Jones, Artistic Director of TKJ Designs in Fulton, Missouri. His concept for the museum was a movement through time and a portrayal of the history of Callaway County, Missouri. Auto World Museum is a stage—a movement through history. Its deep black curtains, scenes from back when, panels of advertising and memorabilia will take you through a history of motion in time. At first, you will visit a period not that long ago, although some say 100 years is a long time. As you move in a clockwise direction through the museum, you will find enticing displays. The simplicity of family drives in the convertible. The decadence of Hollywood and its fancy cars. The sights and sounds of the drive-in as you watched from the comfort of your Studebaker or Corvair. You will ponder when gas prices were really, really low. Finally, you will find yourself nearing the future, with displays of alternative fuel vehicles.

Auto World Museum will spark your curiosity. We hope that you will find that our collection of vintage and modern automobiles fascinates you the way that it did Bill Backer. We hope you will continue the journey with us as we add to the collection over time. We would like to thank William Harrison for his dedication to the research on the autos in the museum.

372 by Nhebus Resident

13 1

slfashionweekl.blogspot.com.es/2016/02/372.html

The Loft - Hayward Deck Snow / Scarlet Creative - The Arcade Dec 15 Campbell House MT RARE by ▓▒░ TORLEY ░▒▓

zikiquesti.blogspot.com/2015/12/kingshaven.html

Kingshaven ist eine Insel an der Ostküste der Usa ,sie ist der geheimtip für reiche die nach entspannung in der Natur suchen.Das Hotel " Independence Inn" erfüllt seinen Gästen fast alle wünsche. Doch ist dies nur die eine Seite von Kingshaven....

Visit this location in Second Life

29 Sede de la SGAE A. García Abril Interior pórtico pétreo al jardín 5402 by Javier

23 11

flickriver.com/photos/javier1949/popular-interesting/

Sede de la SGAE en Santiago de Compostela

Rúa das Salvadas 2, Finca Simeón, Parque de Vista Alegre. Santiago de Compostela

ARQUITECTO: Antón García-Abril -Ensamble Studio- Proyecto 2005 Construcción 2006-08

Tras la inauguración de la Escuela de Altos Estudios Musicales en la Finca Simeón, Antón García Abril y el Ensamble Estudio recibieron el encargo de proyectar y construir, en el mismo recinto, la nueva sede en Galicia de la Sociedad General de Autores de España. La nueva sede compostelana de la SGAE es un ejercicio arquitectónico de alto riesgo, cuyo resultado construido ofrece toda una lección de las posibilidades significativas y sensoriales de la arquitectura contemporánea. La concepción arquitectónica del edificio es fiel al espíritu de la ciudad de Santiago, al desarrollo de una identidad singular y un diálogo con la historia y la memoria del lugar, así como una estrecha relación con el lenguaje contemporáneo. La parcela es bastante conflictiva, al estar ubicada al borde del parque de Vista Alegre, obliga a tomar una decisión trascendental: generar una transición entre la calle y el parque, o un muro que separe ambos. Se adopta la segunda opción, y se lleva ese carácter de muro a ambos lados de la edificación.

Ocupa una superficie de 4000 m2 y consta de cuatro áreas funcionales: Formación con diversas aulas; Administrativa con oficinas; Difusión con un auditorio con un aforo de 200 butacas y laboratorio de audio y vídeo digital, un estudio de grabación y un plató multiusos; y finalmente un espacio dedicado a la Exhibición y a la promoción. Organiza su programa en un sistema espacial complejo, definido por dos planos curvados dispuestos en paralelo, el de vidrio impreso que sigue la alineación de la calle, y el de las moles pétreas, que se presenta al interior de la finca, entre los que se dispone una fina membrana perfectamente tensa. Entre este plano interior y la piel de vidrio se dispone todo el programa menudo de despachos y áreas administrativas. Entre el mismo plano y la fachada de grandes piedras se abre en toda la altura y longitud del edificio un gran vestíbulo-pasillo de acceso. El auditorio, los espacios de formación y los laboratorios se disponen en el volumen bajo rasante en la finca y abiertos hacia la rúa das Salvadas.

El edificio presenta el enfrentamiento de tres muros que corren a lo largo de un espacio longitudinal. Un muro de piedra cóncavo mirando al jardín interior de la finca, una pared interior plana hecha de fundas de CD, y una pared convexa de cristal translúcido a la calle, sobre la alineación exterior de la finca. Todos ellos trabajan como filtros de las distintas situaciones urbanas delimitar y organizar el programa en franjas funcionales. La pared interior, construida con 500.000 carátulas de CD, es un plano situado en medio de los elementos exteriores curvos, muro de piedra y pared de cristal. La pared de cristal transparente ofrece un rostro discreto a la calle, el control de la luz y las vistas de los espacios según su actividad y necesidades. Su composición material y calidad lo hacen aparecer como una ventana de cristal con diferentes grados de transparencia, una pared hecha de luz y color, en claro contraste con la pared de piedra del lado contrario, al interior de la finca, formada con gigantescas piezas de granito apenas elaboradas. Cada una de las piedras irregulares que construyen ese muro pesa unas 22 toneladas y mide alrededor de 2 m de altura por 0'2 m de ancho y 1,60 m de fondo, en posición inestable, quedan engarzadas en una estructura metálica calada. Se ha buscado ligar la tradición gallega del uso de la piedra desde un lenguaje muy contemporáneo, utilizando losas de piedra apilada para crear un espacio intermedio con luz filtrada, buscando la abstracción de un muro en Galicia: mampuestos de granito colocados a hueso. El muro adquiere un carácter agresivo y refleja la fuerza del material, evocando la belleza y poética de las construcciones megalíticas.

arquitecturaespectacular.blogspot.com.es/2010/06/sede-de-...

www.santiagoturismo.com/programadores-culturais/sede-sgae

www.santiagoturismo.com/arquitecturas-de-autor/470

compostimes.com/2012/12/arquitectura-en-compostela-sede-d...

es.wikipedia.org/wiki/Ant%C3%B3n_Garc%C3%ADa-Abril

www.ensamble.info/

Stone Mask by Moko

Stone Mask from JOJO'S BIZARRE ADVENTURE.

For more details.

blog.livedoor.jp/legolego05/archives/52516387.html

Battersea Power Station by Skip Plitt

14 2

I took this from the Gatwick Express train on our way back home. It was interesting to learn about the redevelopment of Battersea. See below for a description of the project.

From New York Magazine

Written by: Justin Davidson

nymag.com/intelligencer/2019/10/review-of-the-redeveloped...

“If you were going to anoint a single great temple to the deity of fossil fuel, you might choose the Battersea Power Station, just across the Thames from some of the costliest real estate in London. From the 1930s through the ’70s, it sucked up coal and pumped out electricity. Now it’s burning through £9 billion ($11.5 billion) in the hope of generating much, much more, and that process of transformation is an awesome, troubling thing to behold. Bristling with cranes, it hulks over the river like some rough beast, slouching toward Westminster. Londoners know it from a distance — the quartet of chimneys jabbing at clouds, its mountainous brick bulk — but few have been inside. That will soon change, along with everything else about it.

I recently toured the construction site with Sebastien Ricard, an architect at the firm Wilkinson Eyre who is in charge of disemboweling, shoring up, and rebuilding the structure for use as a zone of white-collar lifestyle and work. Even when I stand inside the shell, the great fluted columns of the turbine hall rising toward a distant ceiling, the scale of the place is hard to fathom. One of the two boiler houses is filled with an impenetrable thicket of scaffolding. In the other, fresh armatures of concrete and steel have grown up beneath a new roof. Not long ago, Battersea Power Station was a ruin, left exposed by a developer who went bankrupt before he made good on a plan for an open-air amusement park. For years, only the rain and the odd nocturnal creature penetrated the decaying interiors.

Now, money is flowing again, thanks to a consortium of the Malaysian development group Setia, Sime Darby Property, and Employees Provident Fund. Ricard points out a vast slab of raw concrete that one day will host cocktail parties, with expansive views onto the Thames. Beyond, an undergrowth of apartment blocks is already growing around the outer walls, supplemented by an esplanade, a riverboat stop, and a couple of still-quiet cafés. Leisure is on the move.

There’s something simultaneously exciting, a little sad, and bracingly preposterous about the rehabilitation: exciting because the project brings fresh life to a central city tract that has been forlorn for a couple of generations; sad because that life consists of a narrow and familiar set of ways to make and spend money. Preposterous because the task of converting a huge machine for the postindustrial era means treating it as a precious relic. To satisfy Historic England, the body that oversees “listed” buildings, the developers had to demolish and rebuild four of those graceful but useless smokestacks, match thousands of damaged tiles, and order a million hand-made bricks from the same workshops that furnished the originals. It’s a multibillion-dollar fixer-upper.

The largest brick building in Europe, it inspired awe in the kingdom of energy. The architect was Giles Gilbert Scott, who brought a classicizing finesse to tough utilitarian structures like the Bankside Power Station that later became Tate Modern, and the U.K.’s famous red telephone booth. (The booth has an exquisite architectural pedigree: It’s based on the 19th-century architect Sir John Soane’s mausoleum, which in turn got its characteristic shallow dome from the breakfast room in Soane’s own house.) As if to guard against inevitable obsolescence, Scott encrusted the Battersea colossus with Art Deco flourishes, including the opulent control room with coffered ceilings. (In the next incarnation, that will become an event space.)

The power station burned a million tons of coal a year, hewn from the ground under Northumberland and Wales, hauled by train or loaded on barges, and transferred from a jetty on the Thames. When the facility was first proposed, Londoners objected to the idea of spitting so much coal smoke into the air of their city center. Not to worry, the journal Nature chirped in 1932: Recent technological advances had “proved conclusively that the emission of sulphur fumes can be reduced to a negligible quantity.” That was partly true: An innovative process scrubbed the gases of their most noxious ingredients by “washing” them with water — which was then dumped into the Thames. Keeping the lights on amounted to a choice between visibly poisoning the air and invisibly poisoning the river. Eventually, though, coal did both. In 1952, a thick cloud laden with toxins settled over London, and by the time it dissipated five days later, it had killed 12,000 people. Battersea’s B section was still under construction.

It was the album cover of Pink Floyd’s 1977 album Animals that gave the almost-retired plant a global profile and a reputation for mayhem that continued through rock concerts, festivals, and raves. (Algie, the inflatable pink pig tethered to one of the chimneys for the photo shoot, broke free and soared into the Heathrow Airport flight path; police helicopters chased it for miles until it alighted in a field in Kent.) The powerhouse glowered over the banks of the Thames, but it loomed even more impressively in the lives of commuters, who passed its great brick cliffs on the train just before pulling into Victoria Station. “It looked like a gate, or a castle,” says the aptly named Peter Watts in his book Up in Smoke: the Failed Dreams of Battersea Power Station. “When it came into view, that was the moment you were entering the city, which was always so much more exciting than whatever town in Surrey you were coming from. It looked primal and permanent. I fantasize that at the end of days, everything else will be gone and the power station will remain.”

And yet the apparently eternal hulk was supremely fragile. In 2004, it cropped up on the World Monuments Fund’s endangered list. Dozens of schemes, each more grandly harebrained than the last, were rolled out, threatening various combinations of rescue and destruction. The New York–based architect Rafael Viñoly contributed several idas: A decade ago, a group of Irish developers hired him to design a new ostensibly “clean” power plant tucked below ground and topped with a new 1,000-foot chimney, next to an office park that would have been covered by a plastic “eco-dome.” That dream went the way of so many others in the 2008 financial crisis. Later, the Chelsea Football Club recruited Viñoly to design a soccer stadium there, though what he really wanted was a concert hall. The architect Terry Farrell suggested stripping the carcass down to four chimneys and two walls and enshrining it in parkland as an immense, evocative ruin. That proposal addressed the central conundrum of its redevelopment. Preserving the structure’s mysterious isolation, its sheer brooding strangeness, meant leaving the land around it vacant or, at most, scattering it with low-rise buildings the way a medieval village huddles around its cathedral. But builders don’t make money by not building, and the quantities of cash needed to preserve the thing, never mind reinvigorate the area, were inconceivably enormous. By 2014, the station was back on the WMF’s watch list again.

When Setia and its partners landed the site, Viñoly returned, this time with a plan that wrapped the brick monolith in glass apartment complexes (one designed by Frank Gehry, another by Norman Foster), close-cropped lawns, and fountains with the usual dancing jets of water. A year and a half from now, a new Northern Line Underground stop will stitch a long-inaccessible area back into Central London.

The power station itself will contain an immense indoor shopping center and rentable party spaces, topped by crow’s-nest penthouses. Apple has scooped up most of the offices that will crown the structure. Wilkinson Eyre’s design reclaims the site’s history and smooths it over at the same time, inserting an elegantly generic lattice of black steel, glass walls, and airy voids. Where once generators roared, now milk will be foamed, code written, and brand identities polished.

One detail captures the ethos of spectacular silliness that pervades almost every huge development project these days: a sightseeing elevator that glides up through one of the pristine chimneys and pops out the top, giving passengers a quick 360-degree vista, before dropping back inside. Let’s hope that a metamorphosis on this imperial scale yields something more solid and meaningful than a soap bubble with a view. Still, if this all seems more like a default option than a thrilling destiny, consider the imaginative alternatives that failed because of the site’s sheer scale and the possible squandered fortunes. The current future isn’t ideal, but it’s probably the least bad solution — far better than just letting the whole thing collapse into a disconsolate pile of rubble.”

Source: New York Magazine

Hot off the press — the latest D-Wave wafer of quantum processors and TIME cover story by Steve Jurvetson

23 13

I took this photo of the latest hot lot of processor chips of various sizes at the spook shop summit (InQTel CEO Summit). Pretty shiny bling.

I am in the D-Wave board meeting now, and we just got a peek of next week's TIME Magazine cover (below). And it made the Charlie Rose show.

Here are some excerpts:

"The Quantum Quest for a Revolutionary Computer

The D-Wave Two is an unusual computer, and D-Wave is an unusual company. It's small, just 114 people, and its location puts it well outside the swim of Silicon Valley. But its investors include the storied Menlo Park, Calif., venture-capital firm Draper Fisher Jurvetson, which funded Skype and Tesla Motors. It's also backed by famously prescient Amazon founder Jeff Bezos and an outfit called In-Q-Tel, better known as the high-tech investment arm of the CIA. Likewise, D-Wave has very few customers, but they're blue-chip: they include the defense contractor Lockheed Martin; a computing lab that's hosted by NASA and largely funded by Google; and a U.S. intelligence agency that D-Wave executives decline to name.

The reason D-Wave has so few customers is that it makes a new type of computer called a quantum computer that's so radical and strange, people are still trying to figure out what it's for and how to use it. It could represent an enormous new source of computing power--it has the potential to solve problems that would take conventional computers centuries, with revolutionary consequences for fields ranging from cryptography to nanotechnology, pharmaceuticals to artificial intelligence.

That's the theory, anyway. Some critics, many of them bearing Ph.D.s and significant academic reputations, think D-Wave's machines aren't quantum computers at all. But D-Wave's customers buy them anyway, for around $10 million a pop, because if they're the real deal they could be the biggest leap forward since the invention of the microprocessor. …

Physicist David Deutsch once described quantum computing as "the first technology that allows useful tasks to be performed in collaboration between parallel universes." Not only is this excitingly weird, it's also incredibly useful. If a single quantum bit (or as they're inevitably called, qubits, pronounced cubits) can be in two states at the same time, it can perform two calculations at the same time. Two quantum bits could perform four simultaneous calculations; three quantum bits could perform eight; and so on. The power grows exponentially.

The supercooled niobium chip at the heart of the D-Wave Two has 512 qubits and therefore could in theory perform 2^512 operations simultaneously. That's more calculations than there are atoms in the universe, by many orders of magnitude. "This is not just a quantitative change," says Colin Williams, D-Wave's director of business development and strategic partnerships, who has a Ph.D. in artificial intelligence and once worked as Stephen Hawking's research assistant at Cambridge. "The kind of physical effects that our machine has access to are simply not available to supercomputers, no matter how big you make them. We're tapping into the fabric of reality in a fundamentally new way, to make a kind of computer that the world has never seen."

Naturally, a lot of people want one. This is the age of Big Data, and we're burying ourselves in information-- search queries, genomes, credit-card purchases, phone records, retail transactions, social media, geological surveys, climate data, surveillance videos, movie recommendations--and D-Wave just happens to be selling a very shiny new shovel. "Who knows what hedge-fund managers would do with one of these and the black-swan event that that might entail?" says Steve Jurvetson, one of the managing directors of Draper Fisher Jurvetson. "For many of the computational traders, it's an arms race."

One of the documents leaked by Edward Snowden, published last month, revealed that the NSA has an $80 million quantum-computing project suggestively code-named Penetrating Hard Targets. Here's why: much of the encryption used online is based on the fact that it can take conventional computers years to find the factors of a number that is the product of two large primes. A quantum computer could do it so fast that it would render a lot of encryption obsolete overnight. You can see why the NSA would take an interest. …

For its first five years, the company existed as a think tank focused on research. Draper Fisher Jurvetson got onboard in 2003, viewing the business as a very sexy but very long shot. "I would put it in the same bucket as SpaceX and Tesla Motors," Jurvetson says, "where even the CEO Elon Musk will tell you that failure was the most likely outcome." By then Rose was ready to go from thinking about quantum computers to trying to build them--"we switched from a patent, IP, science aggregator to an engineering company," he says. Rose wasn't interested in expensive, fragile laboratory experiments; he wanted to build machines big enough to handle significant computing tasks and cheap and robust enough to be manufactured commercially. With that in mind, he and his colleagues made an important and still controversial decision.

Up until then, most quantum computers followed something called the gate-model approach, which is roughly analogous to the way conventional computers work, if you substitute qubits for transistors. But one of the things Rose had figured out in those early years was that building a gate-model quantum computer of any useful size just wasn't going to be feasible anytime soon. …

Adiabatic quantum computing may be technically simpler than the gate-model kind, but it comes with trade-offs. An adiabatic quantum computer can really solve only one class of problems, called discrete combinatorial optimization problems, which involve finding the best--the shortest, or the fastest, or the cheapest, or the most efficient--way of doing a given task.

This is great if you have a really hard discrete combinatorial optimization problem to solve. Not everybody does. But once you start looking for optimization problems, or at least problems that can be twisted around to look like optimization problems, you find them all over the place: in software design, tumor treatments, logistical planning, the stock market, airline schedules, the search for Earth-like planets in other solar systems, and in particular in machine learning.

Google and NASA, along with the Universities Space Research Association, jointly run something called the Quantum Artificial Intelligence Laboratory, or QuAIL, based at NASA Ames, which is the proud owner of a D-Wave Two. "If you're trying to do planning and scheduling for how you navigate the Curiosity rover on Mars or how you schedule the activities of astronauts on the station, these are clearly problems where a quantum computer--a computer that can optimally solve optimization problems--would be useful," says Rupak Biswas, deputy director of the Exploration Technology Directorate at NASA Ames. Google has been using its D-Wave to, among other things, write software that helps Google Glass tell the difference between when you're blinking and when you're winking.

Lockheed Martin turned out to have some optimization problems too. It produces a colossal amount of computer code, all of which has to be verified and validated for all possible scenarios, lest your F-35 spontaneously decide to reboot itself in midair. "It's very difficult to exhaustively test all of the possible conditions that can occur in the life of a system," says Ray Johnson, Lockheed Martin's chief technology officer. "Because of the ability to handle multiple conditions at one time through superposition, you're able to much more rapidly--orders of magnitude more rapidly--exhaustively test the conditions in that software." The company re-upped for a D-Wave Two last year.

Another challenge Rose and company face is that there is a small but nonzero number of academic physicists and computer scientists who think that they are partly or completely full of sh-t. Ever since D-Wave's first demo in 2007, snide humor, polite skepticism, impolite skepticism and outright debunkings have been lobbed at the company from any number of ivory towers. "There are many who in Round 1 of this started trash-talking D-Wave before they'd ever met the company," Jurvetson says. "Just the mere notion that someone is going to be building and shipping a quantum computer--they said, 'They are lying, and it's smoke and mirrors.'"

Seven years and many demos and papers later, the company isn't any less controversial. Any blog post or news story about D-Wave instantly grows a shaggy beard of vehement comments, both pro- and anti-. …

But where quantum computing is concerned, there always seems to be room for disagreement. Hartmut Neven, the director of engineering who runs Google's quantum-computing project, argues that the tests weren't a failure at all--that in one class of problem, the D-Wave Two outperformed the classical computers in a way that suggests quantum effects were in play. "There you see essentially what we were after," he says. "There you see an exponentially widening gap between simulated annealing and quantum annealing ... That's great news, but so far nobody has paid attention to it." Meanwhile, two other papers published in January make the case that a) D-Wave's chip does demonstrate entanglement and b) the test used the wrong kind of problem and was therefore meaningless anyway. For now pretty much everybody at least agrees that it's impressive that a chip as radically new as D-Wave's could even achieve parity with conventional hardware.

The attitude in D-Wave's C-suite toward all this back-and-forth is, unsurprisingly, dismissive. "The people that really understand what we're doing aren't skeptical," says Brownell. Rose is equally calm about it; all that wrestling must have left him with a thick skin. "Unfortunately," he says, "like all discourse on the Internet, it tends to be driven by a small number of people that are both vocal and not necessarily the most informed." He's content to let the products prove themselves, or not. "It's fine," he says. "It's good. Science progresses by rocking the ship. Things like this are a necessary component of forward progress."

Are D-Wave's machines quantum computers?

For now the answer is itself suspended, aptly enough, in a state of superposition, somewhere between yes and no. If the machines can do anything like what D-Wave is predicting, they won't leave many fields untouched. "I think we'll look back on the first time a quantum computer outperformed classical computing as a historic milestone," Brownell says. "It's a little grand, but we're kind of like Intel and Microsoft in 1977, at the dawn of a new computing era."

Contaminación by Benita Jose

8 3

Palabra de Dios：“Entre las personas, los eventos y las cosas de nuestro entorno que podemos ver y con los que entramos en contacto, ¿qué otras cosas corrompe Satanás mediante el uso de la ciencia? (El entorno natural.) Tenéis razón. Parece que se os ha dañado profundamente con esto, y que también estáis afectados por ello en lo más hondo. Aparte de usar la ciencia para engañar al hombre, usando los diversos descubrimientos y las conclusiones de esta, Satanás también se sirve de ella para llevar a cabo una destrucción y una explotación desenfrenada del entorno vital que Dios le concedió al ser humano. Lo realiza bajo el pretexto de que, si el hombre lleva a cabo una investigación científica, su entorno vital mejorará cada vez más, sus estándares de vida seguirán siendo mejores y, además, que ese desarrollo científico se realiza para atender las necesidades materiales diariamente en aumento y la necesidad continua de elevar su calidad de vida. Si no es por estas razones, entonces hay que preguntarse qué estás haciendo con desarrollar del todo la ciencia. Esta es la base teórica del desarrollo de la ciencia por parte de Satanás. ¿Qué consecuencias tiene, sin embargo, la ciencia para la humanidad? ¿En qué consiste nuestro entorno inmediato? ¿Acaso no ha sido contaminado el aire que respira la humanidad? ¿Sigue siendo verdaderamente pura el agua que bebemos? (No.) Y qué de la comida que comemos, ¿es natural en su mayoría? (No.) ¿Qué es, pues? Se cultiva con fertilizantes, modificación genética, y también se producen mutaciones mediante el uso de métodos científicos, de modo que hasta los vegetales y la fruta que consumimos ya no son naturales. No es fácil ahora que las personas encuentren productos alimenticios no modificados para comer. Ni los huevos saben ya como solían, ya que han sido procesados por la pretendida ciencia de Satanás. Contemplando la imagen panorámica, toda la atmósfera ha sido destruida y contaminada; los montes, los lagos, los bosques, los ríos, los océanos y todo, encima o debajo de la tierra, se ha estropeado con los supuestos logros científicos.”

De "La Palabra Manifestada en carne"(Continuación)-Dios mismo, el único VI"

Recomendación : Reflexiones cristianas

Check out the new dress on my eBay shop :) http://www.ebay.com/usr/eifeldolldress by eifel 85

23 1

Check out the new dress on my eBay shop :) www.ebay.com/sch/eifeldolldress/m.html?item=261672350654&...

صور حصرية لحفيدة الفنانة نجلاء فتحي " زين " by Arab Lady

صور حصرية لحفيدة الفنانة نجلاء فتحي " زين "

www.arab-lady.com/38122.html

Free Spirit by Karine Mazloumian

16 16

In color version here karinian.aminus3.com/image/2013-10-03.html

Eau de fraises by Edda Onorato

14 1

Story and recipe on Un déjeuner de soleil

Snow Field by Frank Titze

ID: 003332

It may NOT be reproduced, copied, edited, published, transmitted or uploaded in any way without my permission.

See more pictures on frank-titze.art.

------------------------------------------------

Exposure: Digital

Developing: ---

Enlarging: ---

Scanning: ---

Processing: Digital

------------------------------------------------

Exposure: 01/2015

Processing: 02/2015

Published: 07/2015

------------------------------------------------

Flickr "taken" date set as actual publish date.

------------------------------------------------

CoffeePannaCotta02small by Alena Kogotkova

10 10

See it in my blog: alenakogotkova.livejournal.com/39704.html

SHIBUYA SKY｜Shibuya scramble square by 里卡豆 Ricardo

SHIBUYA SKY拍攝地點

FaceBook｜Blogger ｜Instagram ｜500PX

You can licence images through My Getty image

All of My Reviews｜心得文：

DJI Mavic Air Review

Olympus PEN-F Review Part.1

Olympus PEN-F Review Part.2

Olympus PEN-F Review Part.3

Olympus MZD 17mm f/1.2 PRO Review

Olympus MZD 25mm f/1.2 PRO Review

Olympus MZD 45mm f/1.2 PRO Review

Olympus MZD 75mm f/1.8 Review

Panasonic LEICA DG 12mm f/1.4 Review

Panasonic LEICA DG 8-18mm f/2.8-4 Review

A Five-Year Photographic Journey with the M4/3 Series.

¿Qué es la verdad? by Domiciano Murillo Quesada

4 4

Devocional diario | ¿Qué es la verdad?

Dios dice: “La verdad viene del mundo del hombre, pero la verdad entre los hombres es transmitida por Cristo. Se origina en Cristo, es decir, en Dios mismo, y es inalcanzable para el hombre”.

“La verdad es el más real de los aforismos de la vida, y el más alto de tales aforismos en toda la humanidad. Debido a que es el requisito que Dios hace al hombre, y es la obra realizada personalmente por Dios, que esta es la razón por la que se llama el aforismo de la vida. No es un aforismo que se resume de algo, ni tampoco es una famosa cita de una gran figura; sino que es la declaración del Soberano de los cielos y la tierra y de todas las cosas, a la humanidad, y no algunas palabras resumidas por el hombre, sino que es la vida inherente de Dios. Y por ello es que se le llama el más alto de los aforismos de la vida”.

“Ya sea que las palabras habladas por Dios sean sencillas o profundas en apariencia, todas ellas son verdades indispensables para el hombre cuando entra en la vida; son la fuente de aguas vivas que le permiten sobrevivir tanto en espíritu como en carne. Proveen lo que el hombre necesita para seguir vivo; el dogma y el credo para conducir su vida cotidiana; la senda, la meta, y la dirección por donde debe pasar a fin de recibir la salvación; toda verdad que él debería poseer como un ser creado delante de Dios y toda verdad sobre cómo obedece y adora el hombre a Dios. Son la garantía que asegura la supervivencia del hombre, el pan diario del hombre, y también el apoyo robusto que le permite ser fuerte y mantenerse en pie. Son ricas en la realidad de la verdad de la humanidad normal tal como la viven los seres humanos creados, ricas en la verdad por la cual los seres humanos se liberan de la corrupción y eluden los lazos de Satanás, ricas en la enseñanza, la exhortación, el aliento y el consuelo diligentes que el Creador da a la humanidad creada. Son el faro que guía y esclarece a los hombres para que comprendan todo lo que es positivo, la garantía que asegura que los hombres vivirán y tomarán posesión de todo lo que es justo y bueno, el criterio por el que personas, acontecimientos y objetos son todos medidos, y también el indicador de navegación que lleva a los hombres hacia la salvación y la senda de la luz”.

Extracto de “La Palabra manifestada en carne”

Say you're sorry... by Assay Rez

a-world-in-a-grain-of-sand-sl.blogspot.com/2014/10/say-yo...

La mejor musica cristiana | Canción de los Vencedores by Conocer la Iglesia de Dios Todopoderoso

La mejor musica cristiana | Canción de los Vencedores

El reino crece en este mundo.

Se forma entre los hombres.

Se erige entre los hombres.

No hay fuerza que destruya el reino de Dios.

Él camina entre Su pueblo y vive con Su pueblo.

Todos los que aman a Dios, ¡qué benditos son!

¿Has aceptado las bendiciones de Dios

y buscado las promesas que Él dio?

Con Su luz guiándote te librarás de la oscuridad y te salvarás.

En el mundo sumido en la oscuridad,

no perderás la luz que te guía.

Serás un amo de toda la creación,

¡un vencedor ante Satanás!

Benditos son los que se entregan a Dios.

Vivirán en Su reino.

Benditos son los que lo conocen.

A ellos les dará poder del reino.

Benditos son los que lo buscan.

Se librarán de Satanás.

Para los que dejan todo atrás,

la riqueza del reino obtendrán.

¿Has aceptado las bendiciones de Dios

y buscado las promesas que Él dio?

Con Su luz guiándote te librarás de la oscuridad y te salvarás.

En el mundo sumido en la oscuridad,

no perderás la luz que te guía.

Serás un amo de toda la creación,

¡un vencedor ante Satanás!

III

Cuando caiga el gran dragón, tú estarás de pie,

y darás testimonio de la victoria de Dios.

En la tierra de Sinim, tú estarás firme de pie,

heredarás las bendiciones de Dios por tus sufrimientos.

¡El universo en ti verá la gran gloria de Dios!

¿Has aceptado las bendiciones de Dios

y buscado las promesas que Él dio?

Con Su luz guiándote te librarás de la oscuridad y te salvarás.

En el mundo sumido en la oscuridad,

no perderás la luz que te guía.

Serás un amo de toda la creación,

¡un vencedor ante Satanás!

¡Un vencedor ante Satanás!

De “La Palabra manifestada en carne”

Fuente: www.kingdomsalvation.org/es/videos/song-of-the-overcomers...

Fuente de la imagen: Iglesia de Dios Todopoderoso

Adriaen Coorte - Still life with a Butterfly, Apricots, Cherries, and a Chestnut 3b [1685] - London, Richard Green Fine Paintings by Peter

www.sothebys.com/de/catalogues/ecatalogue.html/2011/impor... Sotheby's

www.sothebys.com/de/ecat.pdf.N08712.html/f/144/N08712-144... by Sotheby's (PDF)

ADRIAEN COORTE

MIDDELBURG (?) 1660 (?) - AFTER 1707

STILL LIFE WITH A BUTTERFLY, APRICOTS, CHERRIES, AND A CHESTNUT

signed and dated lower right: A: Coorte, i685,

oil on canvas

40.6 by 34.9 cm

PROVENANCE

With Van Pappelendam & Schouten, Amsterdam;

Their sale, Amsterdam, Frederik Muller & Cie, 11-12 June 1889, lot 207;

Anonymous sale, Boston, Skinner, Inc., 17 November 2006, lot 1 (as Dutch School, 17th Century Style), to Green;

With Richard Green, London, 2007;

By whom sold to a private collector.

1 by RiCArdO JorGe FidALGo

13 42

Cardozo lesionou-se num lance com Carriço e foi assistido. Pediu para sair. Jesus aguentou-o em campo mas fez aquecer Kardec. Faltava menos de meia hora para o final e o empate ameaçava estender-se. O paraguaio respirou fundo e permaneceu, ainda mais estático do que tinha sido até aí – e foi crucial. Ter ficado quieto na pequena área permitiu-lhe dar uso ao seu letal pé esquerdo, depois do remate falhado de Coentrão. A Luz explodiu com o 21.º golo do avançado

________

Bola na trave não altera o placar

Bola na área sem ninguém pra cabecear

Bola na rede pra fazer o gol

Quem não sonhou em ser um jogador de futebol?

A bandeira no estádio é um estandarte

A flâmula pendurada na parede do quarto

O distintivo na camisa do uniforme

Que coisa linda, é uma partida de futebol

Posso morrer pelo meu time

Se ele perder, que dor, imenso crime

Posso chorar se ele não ganhar

Mas se ele ganha, não adianta

Não há garganta que não pare de berrar

A chuteira veste o pé descalço

O tapete da realeza é verde

Olhando para bola eu vejo o sol

Está rolando agora, é uma partida de futebol

O meio campo é lugar dos craques

Que vão levando o time todo pro ataque

O centroavante, o mais importante

Que emocionante, é uma partida de futebol

O meu goleiro é um homem de elástico

Os dois zagueiros tem a chave do cadeado

Os laterais fecham a defesa

Mas que beleza é uma partida de futebol

Bola na trave não altera o placar

Bola na área sem ninguém pra cabecear

Bola na rede pra fazer o gol

Quem não sonhou em ser um jogador de futebol?

O meio campo é lugar dos craques

Que vão levando o time todo pro ataque

O centroavante, o mais importante

Que emocionante, é uma partida de futebol !

Skank | É Uma Partida de Futebol

Giấc mơ có a nơi đó!!! by Lai Little!

25 12

mp3.zing.vn/bai-hat/Yeu-Anh-Bang-Tat-Ca-Nhung-Gi-Em-Co-La...

Chia tay A, E học được nhiều điều. E biết thế nào là đau . E biết cảm giác nghẹn ngào, là nỗi đau mà E đã chịu đựng. E khóc rất to và rất nhiều, sau lúc ấy, E thấy khá hơn khi bên cạnh E luôn có người chia sẻ cùng. E cũng hiểu ra một điều, chỉ những người ở bên cạnh E lúc khó khăn, mới là những người bạn thật sự.

- E tưởng mình sẽ đau khổ, hối tiếc, nhung nhớ về quá khứ. E tưởng, tình yêu đối với E là tất cả. E nghĩ mình sẽ hận A rất nhều. Nhưng E đã nhầm. E nhận ra mình là người không thù dai và cũng rất mau quên. E không hận A,...vì trông đó E cũng là nguyên nhân để mất A ....vì nhiều thứ khác ..ông trời cho E ..rồi cướp nó đi vì những đồng tiền và cái vật chất trong cái xã hội hiện h

- E đã lớn lên rất nhiều từ những nỗi buồn và giọt nước mắt.Sau nỗi đau,E bắt đầu lại tất cả. E học cách quý trọng bản thân mình, học cách yêu thương đến những người xung quanh. E chĩ khóc khi mất đi 1 người thân. khi bạn của E có chuyện buồn. Đôi lúc, nước mắt lại là cách để E thể hiện niềm vui sướng. E khóc khi mình chiến thắng trong cuộc thi.,khóc khi đạt được điều mình cố gắng. A tin Không ?

- Chia tay A, E học cách chấp nhận và tha thứ. E không đưa ra những câu hỏi “Tại sao” mà E biết có những câu hỏi mãi mãi không có câu trả lời. E sẽ chấp nhận những gì đáng để chấp nhận mà sẽ không thắc mắc vì sao. Tha thứ cũng là cách để E sống thanh thản hơn. E không để bụng những gì không vừa lòng, thấy và cho qua thôi. Đừng nghĩ E hiền lành hay nhu nhược nhé. E chỉ như thế, với những việc E thấy cần thiết phải như thế.

- Xa A, E quan tâm, lo lắng hơn cho gia đình mình, cho bố mẹ và những người thân. E biết có nhiều người cần có E. Nhiều người muốn nhìn E, thấy E cười, đôi lúc là nhìn E khóc. Nhiều người cần trò chuyện, tâm sự cùng E, cần E cho lời khuyên. Và cũng có nhiều người muốn chửi nhau, thậm chí giằng co với E nữa kìa . E vui, vì cuộc sống của E là vậy. Nụ cười và giọt nước mắt sẽ xen lẫn vào nhau như một qui luật tự nhiên vậy A à ....E nhớ A nhiều lắm nhưng chấp nhận sự mất mát đó thôi A à...

- E sẽ sống cho hiện tại và tương lai. Đôi lúc A làm E tưởng mình yếu đuối lắm. Nhưng E phải cám ơn A, vì sau khi chia tay với A, E biết mình mạnh mẽ thế nào. Không có A, E vẫn tươi cười và bước tiếp trên con đường của mình. E là mây, và E đã bay qua cuộc đời A. Mây sẽ trôi, và cuộc sống sẽ tiếp tục. Tình yêu của E và Akhông đẹp, nhưng khó quên. Sau này, E sẽ nhớ về A như một hồi ức tốt đẹp, như một niềm vui nho nhỏ. A sẽ là cả trái tim E... Esẽ giữ nó tới suốt cuộc đồi này. . Dù thế nào, E và A vẫn là bạn. Nếu A ngoảnh mặt về quá khứ, hay đối diện với tương lai mà không thấy ai, thì A hãy nhìn sang bên cạnh, luôn có Ekề bên ủng hộ A.

- A biết vì sao E lại làm được tất cả những điều đó không? Đơn giản thôi, vì E là người bình thường, và hơn hết, vì E không tầm thường.

How do we call this... by Assay Rez

a-world-in-a-grain-of-sand-sl.blogspot.com/2014/08/how-do...

Bryozoa by Lea Lee

10 46

Cristatella mucedo

Very interesting and beautiful moss animal in freshwater.

More info

2022_01Feb"THE AWARENESS MUSCLE HAS TO BE TRAINED EVERYDAY" CARTON by Thierry Geoffroy / Colonel : Artist

8 1

ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE

is the critical run

and other emergency art format

CRITICAL RUN / Debate Format

Critical Run is an Art Format created by Thierry Geoffroy/Colonel

debate while running .

Debate and Run together,Now,before it is too late.

www.emergencyroomscanvas todo .org/criticalrun.html

The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates

New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,

Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...

CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because

a debate was necessary here and now.

In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich

part of Colonel solo show : The Awareness Muscle Training Center

----

Interesting publication for researches on running and art

www.emergencyrooms.org/formats.html

14 Performances. Relation Work (1976 - 1980). Filmed by Paolo Cardazzo. Marina Abramović/ Ulay. Neuer Berliner Kunstverein, Berlin, Germany.

Abramović, Marina. Student Body: Workshops 1979 - 2003: Performances 1993 - 2003. Milano: ed. Charta, 2003.

Bergson, Henri. Creative Evolution. London: Macmillan and Co., 1911.

Bergson, Henri. Key Writings. Edited by Keith Ansell-Pearson and John Mullarkey. New York:

Continuum, 2002.

Bergson, Henri. Matter and Memory. New York: Zone Books, 1988.

Blaikie, William. “Common Sense Physical Training.” In Athletics and Health: Modern Achievement: Advice and Instruction upon the Conduct of Life, Principles of Business, Care of Health, Duties of Citizenship, etc. Edited by Edward Everett Hale. New York: P.F. Collier & Son, 1902.

Blaikie, William. How to Get Strong and How to Stay So. New York: Harper & Brothers Publishers, 1883.

Cunningham, Merce. Changes: Notes on Choreography. New York: Something Else Press, 1969.

de Balzac, Honoré. The Human Comedy. EBook: Project Gutenberg, 2010. de Balzac, Honoré. Théorie de la démarche. 1833, 1853.

de Biran, Maine. “Opposition du principe de Descartes avec celui d’une science de l’homme. Première base d’une division des faits psychologiques et physiologiques. Perception et sensation animale.” In Maine de Biran. Librairie Philosophique J. VRIN, 1990.

de Tocqueville, Alexis. The Old Regime and the Revolution. New York: Harper & Brothers, Publishers, 1856.

Delaumosne, M. L’Abbe. “The Delsarte System.” Translated by Frances A. Shaw. In Delsarte System of Oratory, 4th Ed. New York: Edgar S. Werner, 1893.

Descartes, René. Méditations metaphysiques. 1641.

Gropius, Walter, and Arthur S. Wensinger, eds. The Theater of the Bauhaus: Oskar Schlemmer, Laszlo Moholy-Nagy, Farkas Molnár. Translated by Arthur S. Wensinger. Middleton, Conn.: Wesleyan University, 1961.

Hahn, Archibald. How to Sprint: The Theory of Spring Racing. New York: American Sports Publishing Company, 1923.

Hegel, Georg Wilhelm Friedrich. Phenomenology of Spirit. Translated by A.V. Miller. Oxford: Oxford University Press, 1977.

Helmholtz, Hermann. “On the Facts Underlying Geometry.” In Epistemological Writings: Hermann von Helmholtz. Edited by R.S. Cohen and Y. Elkana. Boston: D. Reidel Publishing Company, 1977.

Helmholtz, Hermann. Théorie physiologique de la musique fondée sur l’étude des sensations auditives. Paris: Masson, 1868.

Helmholtz, Hermann. Treatise of Physiological Optics (Handbuch der physiologischen Optik) 1856. 3 Volumes. Translated by James P.C. Southall. Milwaukee, 1924.

Holmes, Oliver Wendall. Soundings from the Atlantic. Boston: Tickknor and Fields, 1864. James, William. The Principles of Psychology. New York: Henry Holt & Co, 1890, 1918.

James, William. Writings 1902 - 1910. Edited by Bruce Kuklick. New York: Literary Classics of the United States, 1987.

Kandinsky, Vasily. Über Das Geistige in der Kunst. Dritte Auflage. München: R. Piper&Co, 1912.

Kant, Immanuel. “Was ist Aufklärung?” 1784.

Laban, Rudolf. A Life for Dance: Reminiscences. Translated by Lisa Ullmann. London: Macdonald & Evans, 1975.

Laban, Rudolf. Choreographie. Jena: E. Diederichs, 1926.

Laban, Rudolf. Choreutics. Edited by Lisa Ullmann. London: Macdonald & Evans, 1939, 1966.

Laban, Rudolf. Effort: Economy in Body Movement. 2nd Edition. Boston: Plays, 1947, 1974.

Laban, Rudolf. Principles of Dance and Movement Notation. New York: A Dance Horizons Republication, 1956, 1970.

Laban, Rudolf. The Language of Movement: A Guidebook to Choreutics. Edited by Lisa Ullmann. Boston: Plays, Inc., 1974.

MacKaye, Percy. “Steele Mackaye, Dynamic Artist of the American Theatre; An Outline of his Life Work,” in The Drama. Edited by William Norman Guthrie and Charles Hubbard Sergel. Chicago: The Dramatic Publishing Company, 1911.

Marey, Étienne-Jules. La Machine Animale: Locomotion Terrestre et Aérienne. Paris: Librairie Germer Baillière, 1873.

Marey, Étienne-Jules. Le Vol des Oiseaux. Paris: Libraire de l’académie de médecine, 1890. Marey, Étienne-Jules. Movement. Translated by Eric Pritchard. New York: D. Appleton and

Company, 1895.

Michelet, Jules. The History of France. Volume I. Translated by Walter K. Kelly. London: Chapman and Hall, 1844.

Morgan, Anna. An Hour with Delsarte: A Study of Expression. New York: Edgar S. Werner Publisher, 1891.

Muybridge, Eadweard. Animal Locomotion: An Electro-photographic Investigation of Consecutive Phases of Animal Movements. Philadelphia: University of Pennsylvania and J. B. Lippincott Company, 1887.

Muybridge, Eadweard. Descriptive Zoopraxography, or the Science of Animal Locomotion. Philadelphia: University of Pennsylvania, 1893.

Muybridge, Eadweard. The Attitudes of Animals in Motion: A Series of Photographs Illustrating the Consecutive Positions assumed by Animals in Performing Various Movements; Executed at Palo Alto, California, in 1878 and 1879 (1881). Albumen, Library of Congress, Washington, D.C., Library of Congress.

Muybridge, Eadweard. The Human Figure in Motion. New York: Dover Publications, 1955. Ramsaye, Terry. A Million and One Nights: A History of the Motion Picture. U.K.: Simon and

Schuster, Inc., 1926, 1954.

Richer, Paul. Physiologie Artistique: De l’Homme en Mouvement. Paris: Aulanier et Cie, 1896.

Sanburn, Frederic. Delsartean Scrap-book: Health, Personality, Beauty, House-Decoration, Dress, etc. New York: United States Book Company, c. 1890.

Schlemmer, Oskar. Briefe und Tagebücher: The Letters and Diaries of Oskar Schlemmer. Edited by Tut Schlemmer. Translated by Krishna Winston. Middletown, Conn: Wesleyan University Press, 1972.

Schlemmer, Oskar, and Heimo Kuchling. Der Mensch, Unterricht am Bauhaus. Nachgelassene Aufzeichnungen. Mainz: F. Kupferberg, 1969.

Schuftan, Werner. Handbuch des Tanzes. Preface by Rudolf von Laban. Mannheim: Verlag Deutscher Chorsänger Verband und Tänzerbund, 1928.

Shearman, Sir Montague. Athletics and Football. London: Longmans, Green, and Co., 1888. Smith, Shawn Michelle. At the Edge of Sight: Photography and the Unseen. Durham: Duke

University Press, 2013.

Stebbins, Genevieve. Delsarte System of Expression, 5th Edition. New York: Edgar S. Werner, 1894; orig. 1885.

Talbot, Frederick A. Practical Cinematography and its Applications. London: William Heinemann, 1913.

Wigman, Mary. The Mary Wigman Book: Her Writings. Middletown, CT: Wesleyan University Press, 1975.

Abramović, Marina, et al. Marina Abramović: Seven Easy Pieces. New York: Charta 2007. Acconci, Vito. Language to Cover a Page: The Early Writings of Vito Acconci. Edited by Craig

Dworkin. Cambridge: MIT Press, 2006.

Adolphs, Volker, and Philip Norten. Gehen Bleiben: Bewegung, Körper, Ort in der Kunst der

Gegenwart. Bonn: Kunstmuseum Bonn, 2007.

Agamben, Giorgio. “Movement.” In Dance: Documents of Contemporary Art. Edited André

Lepecki. London: MIT Press and WhiteChapel Gallery, 2012.

Alberro, Alexander, and Blake Stimson, eds. Institutional Critique: An Anthology of Artists’

Writings. Cambridge: MIT Press, 2009.

Albers, Kate Palmer. “Abundant Images and the Collective Sublime.” Exposure. Volume 46,

Issue 2 (Fall 2013).

Allen, Beverly. Rape Warfare: The Hidden Genocide in Bosnia-Herzegovina and Croatia. Minneapolis: University of Minnesota Press, 1996.

Alloway, Lawrence. The Venice Biennale 1895 - 1968: from salon to goldfish bowl. Greenwich, CT: New York Graphic Society LTD., 1968.

Anderson, Ben. “Affect and Biopower: Towards a Politics of Life.” Transactions - Institute of British Geographers, Issue 1 (2011).

Andras, Edit, and Bojana Pejic, eds. Gender Check: Femininity and Masculinity in the Art of Eastern Europe. Cologne: Buchhandlung Walther König, 2009.

Antliff, Mark. Inventing Bergson: Cultural Politics and the Parisian Avant-Garde. Princeton: Princeton University Press, 1992.

Arendt, Hannah. The Human Condition, Second Edition. Chicago: University of Chicago Press, 1958, 1998.

Arendt, Hannah. On Violence. New York: Harcourt Brace, 1969.

Atkins, Dawn, ed. Looking Queer: Body Image and Identity in Lesbian, Bisexual, Gay, and

Transgender Communities. New York: The Haworth Press, 1998.

Ault, Julie, ed. Alternative Art, New York, 1965-1985: A Cultural Politics Book for the Social

Text Collective. Minneapolis: University of Minnesota Press, 2002.

Auslander, Philip. “Going with the Flow: Performance Art and Mass Culture.” TDR. Volume 33,

Number 2 (Summer 1989).

Auslander, Philip. “The Performativity of Performance Documentation.” PAJ 84 (2006).

Backstein, Joseph, and Daniel Birnbaum, Sven-Olov Wallenstein. Thinking Worlds - The Moscow Conference on Philosophy, Politics, and Art. Berlin: Sternberg Press, 2008.

Badovinac, Zdenka. Body and the East: From the 1960s to the Present. Cambridge, Mass.: MIT Press, 1999.

Baer, Ulrich. Spectral Evidence: The Photography of Trauma. Cambridge: MIT Press, 2002. Baker, George. “Entr’acte.” October. Volume 105 (Summer 2003).

Bale, John. Imagined Olympians: Body Culture and Colonial Representations in Rwanda. Minneapolis: University of Minnesota Press, 2002.

Bale, John. Running Cultures: Racing in Time and Space. London: Frank Cass, 2004. Banes, Sally. Democracy’s Body: Judson Dance Theatre, 1962 - 1964. Durham, NC: Duke

University Press, 1993.

Banes, Sally. Terpsichore in Sneakers: Post-Modern Dance, 2nd edition. Middletown, CT: Wesleyan University Press, 1987.

Bartenieff, Irmgard. Body Movement: Coping with the Environment. New York: Routledge, 2002.

Barthes, Roland. Camera Lucida: Reflections on Photography. Translated by Richard Howard. New York: Hill and Wang, 198, 2010.

Barthes, Roland. Mythologies. Translated by Annette Lavers. New York: Hill and Wang, 1972. Batchen, Geoffrey. Burning with Desire: The Conception of Photography. Cambridge: MIT

Press, 1997.

Baudelaire, Charles. The Parisian Prowler, Le Spleen de Paris Petits Poèmes en Prose. Translated by Edward K. Kaplan. Athens: The University of Georgia Press, 1989.

Bauer, M. W. and G. Gaskell. Biotechnology — the Making of a Global Controversy. Cambridge: Cambridge University Press, 2002.

Bayat, Asef. Life as Politics: How Ordinary People Change the Middle East. Amsterdam: Amsterdam University Press, 2010, 2015.

Belaief, Lynne. “Meanings of the Body.” Journal of the Philosophy of Sport. Volume 4, Issue 1 (1977).

Bell, Catherine. Ritual: Perspectives and Dimensions. New York: Oxford University Press, 1997.

Benjamin, Walter. Charles Baudelaire: A Lyric Poet in the Era of High Capitalism. Translated by Harry Zohn. London: Verso, 1997.

Benjamin, Walter. Selected Writings, Volumes 1 - 4. Edited by Howard Eiland and Michael W. Jennings. Cambridge: Belknap Press of Harvard University Press, 2003 - 2006.

Benjamin, Walter. “The Storyteller: Reflections on the Works of Nikolai Leskov.” In Illuminations. Edited by Hannah Arendt. Translated by Harry Zohn. New York: Schocken Books, 2007.

Bennett, Jill. Empathic Vision: Affect, Trauma, and Contemporary Art. Stanford, CA; Stanford University Press, 2005.

Berger, John. About Looking. New York: Pantheon Books, 1980.

Bergson, Henri. Laughter: An Essay on the Meaning of the Comic. Translated by Cloudesley Brereton and Fred Rothwell. New York: The Macmillan Company, 1914.

Bishop, Claire, and Marta Dziewańska, eds. 1968 - 1989: Political Upheaval and Artistic Change. Warsaw: Museum of Modern Art, 2009.

Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso, 2012.

Bishop, Claire. Radical Museology: or, What’s ‘Contemporary’ in Museums of Contemporary Art? London: Koenig Books, 2013.

Black, Graham. Transforming Museums in the Twenty-First Century. New York: Routledge, 2011.

Blaive, Muriel, and Christian Gerbel, Thomas Lindenberger, eds. Clashes in European Memory: The Case of Communist Repression and the Holocaust. Innsbruck: Studienverlag, 2011.

Blassnigg, Martha. Time, Memory, Consciousness and the Cinema Experience: Revisiting Ideas on Matter and Spirit. New York: Rodopi, 2009.

Bloomer, Kent C., and Charles Willard Moore. Body, Memory, and Architecture. New Haven: Yale University Press, 1977.

Boecker, Henning, et. al. “The Runner’s High: Opioidergic Mechanisms in the Human Brain.” Cerebral Cortex. Volume 18, Number 11 (2008).

Bougarel, Xavier, and Elissa Helms, Ger Duijzings, eds. The New Bosnian Mosaic: Identities, Memories and Moral Claims in a Post-War Society. Hampshire, England: Ashgate, 2007.

Bourdieu, Pierre. Outline of a Theory of Practice. Cambridge: Cambridge University Press, 1977.

Bourriaud, Nicolas. Relational Aesthetics. Dijon: Les Presses du réel, 1998, 2002.

Brandstetter, Gabriele. Poetics of Dance: Body, Image and Space in the Historical Avant- Gardes. Translated by Elena Polzer and Mark Franko. Oxford: Oxford University Press, 1995, 2015.

Braudy, Leo, and Marshall Cohen, eds. Film Theory and Criticism: Introductory Readings. New York: Oxford UP, 1999.

Braun, Marta. Eadweard Muybridge. London: Reaktion, 2010.

Braun, Marta. Picturing Time: The Work of Etienne-Jules Marey (1830 - 1904). Chicago:

University of Chicago Press, 1992, 1994.

Brettell, Richard R. Modern Art, 1851 - 1929: Capitalism and Representation. Oxford: Oxford University Press, 1999.

Brooke, J.D., and H.T.A. Whiting, eds. Human Movement - A Field of Study. London: Henry Kimpton Publishers, 1973.

Brown, Keith S., and Yannis Hamilakis, eds. The Usable Past: Greek Metahistories. Lanham, MD: Lexington Books, 2003.

Brunnbauer, Ulf, and Konrad Clewing, eds. Südost-Forschungen. Munich: R. Oldenbourg Verlag, 2008.

Bruno, Giuliana. Atlas of Emotion: Journeys in Art, Architecture, and Film. New York: Verso, 2002.

Bryzgel, Amy. Performing the East: Performance Art in Russia, Latvia, and Poland since 1980. London: I.B. Tauris, 2012.

Buchloh, Benjamin H. D. Neo-Avantgarde and Culture Industry: Essays on European and American Art from 1955 to 1975. Cambridge: MIT Press, 2001, 2003.

Buck-Morss, Susan. The Dialectics of Seeing: Walter Benjamin and the Arcades Project. Cambridge: MIT Press, 1991.

Burchell, Graham, and Colin Gordon, Peter Miller, eds. The Foucault Effect: Studies in Governmentality. Chicago: University of Chicago Press, 1991.

Bürger, Peter. Theory of the Avant-Garde. Translated by Michael Shaw. Minneapolis: University of Minnesota Press and Manchester University Press, 1974, 1984.

Butler, Judith. Bodies that Matter: On the Discursive Limits of Sex. New York: Routledge, 1993. Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge,

2006.

Butler, Samuel. Unconscious Memory: A Comparison between the Theory of Dr. Ewald Hering and the ‘Philosophy of the Unconscious’ of Dr. Edward von Hartmann. London: David Bogue, 1880.

Cage, John. Silence: Lectures and Writings. Middletown, CT: Wesleyan University Press, 1961. Campany, David, ed. The Cinematic: Documents of Contemporary Art. Cambridge: MIT Press,

2007.

Canales, Jimena. A Tenth of a Second: A History. Chicago: University of Chicago Press, 2009.

Careri, Francesco. Walkscapes: Walking as an Aesthetic Practice. Translated by Steve Piccolo and Paul Hammond. Barcelona: Editorial Gusavo Gili, 2002.

Carroll, Noël. Theorizing the Moving Image. Cambridge: Cambridge University Press, 1996. Cetinić, Ljiljana, and Ana Panić, eds. Štafete: Titova Štafeta - Štafeta Mladosti, 1945 - 1987.

Belgrade: Tipografik plus, 2008.

Chase, Stuart. Men and Machines. New York: Macmillan Co, 1929.

Christesen, Paul. Sport and Democracy in the Ancient and Modern Worlds. Cambridge: Cambridge University Press, 2012.

Christian, Mary. Marina Abramović: The Artist is Present. New York: The Museum of Modern Art, 2010.

Clark, Kenneth. The Nude: A Study in Ideal Form. New York: Pantheon Books, 1956. Coleman, Simon, and John Eade, eds. Reframing Pilgrimage: Cultures in Motion. London:

Routledge, 2004.

Connerton, Paul. The Spirit of Mourning: History, Memory and the Body. Cambridge: Cambridge University Press, 2011.

Cosgrove, Denis. Geography and Vision: Seeing, Imagining and Representing the World. New York: I.B. Tauris, 2008.

Cottington, David. Cubism in the Shadow of War: The Avant-Garde and Politics in Paris 1905- 1914. New Haven: Yale University Press, 1998.

Crane, Susan, ed. Museums and Memory. Stanford: Stanford University Press, 2000. Crary, Jonathan. Techniques of the Observer: On Vision and Modernity in the Nineteenth

Century. Cambridge: MIT Press, 1990.

Crow, Thomas. The Rise of the Sixties: American and European Art in the Era of Dissent.

London: Laurence King Publishing, 1996.

Csiksgentmihalyi, Mihaly. Creativity! Flow and psychology of discovery and invention. New York: Harper Collins, 1996.

Cumming, John. Runners & Walkers: A Nineteenth Century Sports Chronicle. Chicago: Regency Gateway, 1981.

Cvejić, Bojana, and Ana Vujanović. Public Sphere by Performance. Belgrade: b_books, TkH, 2012.

Dagg, Anne Innis. Running, Walking, and Jumping: The Science of Locomotion. New York: Crane, Russak & Company, Inc, 1977.

de Certeau, Michel. The Practice of Everyday Life. Translated by Steven Rendall. Berkeley: University of California Press, 1984, 1988.

de Certeau, Michel. The Writing of History. Translated by Tom Conley. New York: Columbia University Press, 1975, 1988.

de Groote, Pascale. Ballets Suédois: Jean Börlin. Ghent: University of Ghent, 2002.

de Waal, Frans. The Age of Empathy: Nature’s Lessons for a Kinder Society. New York:

Harmony Books, 2009.

Deleuze, Gilles. Cinema 1: The Movement-Image. Minneapolis: University of Minnesota Press, 1986.

Deleuze, Gilles, and Félix Guattari. A Thousand Plateaus. London: Continuum, 1980, 2008. Dewey, John. The Public and its Problems: An Essay in Political Inquiry. Edited by Melvin L.

Rogers. University Park, PA: The Pennsylvania State University, 2012.

di Giovanni, Janine. Madness Visible: A Memoir of War. London: Bloomsbury, 2005.

Djetelić, Pera, and Dragan Maršičević. Narodna Omladina i Jugoslovenski Kongres za Fizičku Kulturu. Beograd: Mladost, 1959.

Djurić, Dubravka, and Miško Šuvaković, eds. Impossible Histories: Historical Avant-gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918 - 1991. Cambridge: MIT Press, 2003.

Donawerth, Jane, ed. Rhetorical Theory by Women before 1900: An Anthology. Lanham, MD: Rowman & Littlefield Publishers, Inc, 2002.

Dörr, Evelyn. Rudolf Laban: The Dancer of the Crystal. Lanham, Maryland: The Rowman & Littlefield Publishing Group, Inc., 2008.

Drakulić, Slavenka. Balkan Express: Fragments from the Other Side of War. London: Hutchinson, 1993.

Drakulić, Slavenka. They Would Never Hurt a Fly: War Criminals on Trial in the Hague. New York: Penguin, 2005.

Drapag, Vesna. Constructing Yugoslavia: A Transnational History. London: Palgrave Macmillan, 2010.

Duncan, Carol. Civilizing Rituals: Inside Public Art Museums. Abingdon: Routledge, 1995. Eamon, Christopher. Rearview Mirror: New Art from Central and Eastern Europe. Edmonton:

Art Gallery of Alberta, 2011.

Eichberg, Henning, ed. Body Cultures: Essays on Sport, Space, and Identity. London, New York: Routledge, 1998.

Elias, Norbert. The Civilizing Process. Sociogenetic and Psychogenetic Investigations. Oxford: Blackwell, 1939, 2000.

Elias, Norbert, and Eric Dunning. Quest for Excitement: Sport and Leisure in the Civilising Process. Dublin: University of College Dublin Press, 2008.

Enwezor, Okwui. Archive Fever: Uses of the Document in Contemporary Art. Göttingen: Steidl Publishers, 2008.

Erjavec, Aleš, ed. Postmodernism and the Postsocialist Condition: Politicized Art under Late Socialism. Berkeley: University of California Press, 2003.

Fer, Briony, and David Batchelor, Paul Wood. Realism, Rationalism, Surrealism: Art Between the Wars. New Haven: Yale University Press, 1993.

Finn, David. How to Visit A Museum. New York: Abrams, 1985.

Fleming, Bruce. Running is Life: Transcending the Crisis of Modernity. Lanham: University

Press of America, Inc, 2010.

Forrester, Sibelan E.S., and Magdalena J. Zaborowska, Elena Gapova, eds. Over the Wall/After the Fall: Post-Communist Cultures Through an East-West Gaze. Bloomington: Indiana University Press, 2004.

Foster, Hal. The Return of the Real: The Avant-Garde at the End of the Century. Cambridge: MIT Press, 1996.

Foster, Hal. “What’s Neo about the Neo-Avant-Garde?” October. Volume 70, The Duchamp Effect (Autumn, 1994), 5 - 32.

Foucault, Michel. Discipline and Punish: The Birth of the Prison. Translated by Alan Sheridan. New York: Vintage Books, Random House, Inc, 1977, 1995.

Foucault, Michel. The History of Sexuality Volume 1. Translated by Robert Hurley. New York: Pantheon Books, 1978.

Foucault, Michel. Power/Knowledge: Selected Interviews & Other Writings, 1972 - 1977. Edited by Colin Gordon. New York: Pantheon Books,1972, 1980.

Fraleigh, Sondra Horton. Dance and the Lived Body: A Descriptive Aesthetics. Pittsburgh: University of Pittsburgh Press, 1987.

Frampton, Hollis. “Eadweard Muybridge: Fragments of a Tesseract.” In On the Camera Arts and Consecutive Matters: The Writings of Hollis Frampton. Cambridge: MIT Press, 2009.

Fried, Michael. Four Honest Outlaws: Sala, Ray, Marioni, Gordon. New Haven: Yale University Press, 2011.

Gallagher, Catherine, and Thomas Laqueur, eds. The Making of the Modern Body: Sexuality and Society in the Nineteenth Century. Berkeley: University of California Press, 1987.

Gamwell, Lynn, ed. Dreams Nineteen Hundred to Two Thousand: Science, Art, and the Unconscious Mind. Binghamton: State University of New York at Binghamton, 2000.

Gay, Peter. Savage Reprisals: Bleak House, Madame Bovary, Buddenbrooks. New York: W.W. Norton & Company, 2002.

Gehm, Sabine, and Pirkko Husemann, Katharina von Wilke, eds. Knowledge in Motion: Perspectives of Artistic and Scientific Research in Dance. Translated by Bettina von Arps- Aubert. Bielefeld: Transcript, 2007.

Genoways, Hugh H., ed. Museum Philosophy for the Twenty-First Century. Oxford: AltaMira Press, 2006.

Geoghegan, Bernard Dionysius. “After Kittler: On the Cultural Techniques of Recent German Media Theory.” Theory Culture Society (August 2013).

Gidal, Peter. Materialist Film. London: Routledge, 1989.

Giedion, Siegfried. Space, Time, and Architecture: The Growth of a New Tradition. Cambridge:

Harvard University Press, 1974.

Godard, Jean-Luc. Godard on Godard. Edited by Jean Narboni and Tom Milne. New York: The Viking Press, 1968, 1972.

Gödl, Doris. “Challenging the Past: Serbian and Croatian Aggressor-Victim Narratives.” International Journal of Sociology 37. No. 1 (2007).

Goldberg, Roselee. Performance: Live Art Since the ‘60s. London: Thames & Hudson, 2004.

Goldberg, Roselee. Performance Art: From Futurism to the Present. London: Thames & Hudson, 2001.

Goldberg, Vicki, ed. Photography in Print: Writings from 1816 to the Present. New York: Simon and Schuster, 1981.

Golding, Sue, ed. The Eight Technologies of Otherness. London: Routledge, 1997. Gotaas, Thor. Running: A Global History. London: Reaktion Books, 2009.

Grau, Andrée, and Stephanie Jordan. Europe Dancing: Perspectives on Theatre, Dance, and Cultural Identity. New York: Routledge, 2000.

Grigorov, Dimitar. “‘Рачунајте на нас.’ ‘Oдломак’ о Титовој штафети или Штафети младости.” In Друштвену историју. Belgrade: 2008.

Grimes, Ronald L. Beginnings in Ritual Studies. Columbia: University of South Carolina Press, 1995.

Groys, Boris. Introduction to Antiphilosophy. Translated by David Fernbach. London: Verso, 2012.

Groys, Boris. The Communist Postscript. Translated by Thomas Ford. London: Verso, 2010. Groys, Boris, and Ann von der Heiden, Peter Weibel, eds. Zurück aus der Zukunft.

Osteuropäische Kulturen im Zeitalter des Postkommunismus. Berlin: Suhrkamp, 2005.

Gržinić, Marina, and Günther Heeg, Veronika Darian. Mind the Map! History is not a Given: A

th th

Critical Anthology Based on the Symposium [Leipzig, 13 -16 October 2005]. Frankfurt:

Revolver, 2006.

Guttman, Allen. “Sport, Politics, and the Engaged Historian.” Journal of Contemporary History. Volume 38, Number 3 (2003).

Hardt, Michael, and Antonio Negri. Empire. Boston, Harvard University Press, 2001. Hargreaves, Jennifer, and Patricia Anne Vertinsky, eds. Physical Culture, Power, and the Body.

New York: Routledge, 2007.

Harris, Mary Emma. The Arts at Black Mountain College. Cambridge: MIT Press, 1987, 2002.

Harte, Jane L., et. al. “The effects of running and meditation on beta-endorphin, corticotropin- releasing hormone and cortisol in plasma, and on mood.” Biological Psychology. Volume 40, Issue 3 (June 1995).

Harte, Jane L., and Georg H. Eifert. “The effects of running, environment, and attentional focus on athletes’ catecholamine and cortisol levels and moods.” Psychophysiology. Volume 32, Issue 1 (January 1995).

Havránek, Vít, ed. Jiří Kovanda: Actions and Installations, 2005-1976. Zurich: Tranzit & JRP|Ringier, 2006.

Helme, Sirje. PopKunst Forever: Estonian Pop Art at the Turn of the 1960s and 1970s. Tallinn: Art Museum of Estonia - Kumu Art Museu, 2010.

Hemmings, Frederick William John, ed. The Age of Realism. Baltimore: Penguin Books, 1974. Hendricks, Gordon. Eadweard Muybridge: The Father of the Motion Picture. New York:

Grossman Publishers, of Viking Press, 1975.

Henning, Michelle. Museums, Media, and Cultural Theory. New York: Open University Press, 2006.

Hewitt, Andrew. Social Choreography: Ideology as Performance in Dance and Everyday Movement. Durham: Duke University Press, 2005.

Higgins, Steven. Still Moving: The Film and Media Collections of the Museum of Modern Art. New York: The Museum of Modern Art, 2006.

Hoberman, John M. “Sport and Political Ideology.” Journal of Sport and Social Issues. Volume 1, Number 2 (1977).

Hodgson, John. Mastering Movement: The Life and Work of Rudolf Laban. New York: Routledge, 2001.

Hoelzl, Ingrid, and Friedrich Tietjen, eds. Images in Motion. Burges: Die Keure, 2012. Husserl, Edmund. The Phenomenology of Internal Time-Consciousness. Edited by Martin

Heidegger. Translated by James S. Churchill. Bloomington: Indiana University Press, 1964.

IRWIN, ed. East Art Map: Contemporary Art and Eastern Europe. London: Afterall and MIT Press, 2006.

Ivey, Paul Eli. Radiance from Halcyon: A Utopian Experiment in Religion and Science. Minneapolis: University of Minnesota Press, 2013.

Jameson, Frederic. Postmodernism, or, The Cultural Logic of Late Capitalism. Durham: Duke University Press,1991.

Janevski, Ana, ed. As Soon as I Open My Eyes I See a Film: Experiment in the Art of Yugoslavia in the 1960s and 1970s. Warsaw: Museum of Modern Art, 2010.

Jarausch, Konrad H., and Michael Geyer. Shattered Past: Reconstructing German Histories. Princeton, NJ: Princeton University Press, 2003.

Jones, Amelia. Body Art/Performing the Subject. Minneapolis: University of Minnesota Press, 1998.

Jones, Amelia, and Adrian Heathfield. Perform, Repeat, Record: Live Art in History. Chicago: University of Chicago Press, 2012.

Jones, Amelia. “The Body and Technology.” Art Journal. Volume 60, Number 1 (Spring, 2001). Joseph, Brandon W. Random Order: Robert Rauschenberg and the Neo-avant-garde.

Cambridge: MIT Press, 2003.

Joy, Jenn. The Choreographic. Cambridge: MIT Press, 2014.

Jünger, Ernst. “War and Photography.” Translated by Anthony Nassar. New German Critique. Number 59 (Spring-Summer, 1993).

Kater, Michael H. Hitler Youth. Cambridge, Mass.: Harvard University Press, 2004. Kebo, Ozren. Sarajevo za početnike. Sarajevo: Dani, 1996.

Kelley, Jeff, ed. Essays on the Blurring of Art and Life. Berkley: University of California Press, 1993, 2003.

Kern, Stephen. The Culture of Time and Space. Cambridge, Mass: Harvard University Press, 1983.

Kester, Grant H. Conversation Pieces: Community and Communication in Modern Art. Berkley: University of California Press, 2004.

Kholeif, Omar. Moving Image. London: Whitechapel, 2015.

Kirkpatrick, Sidney. The Revenge of Thomas Eakins. New Haven: Yale University Press, 2006.

Kirn, Gal, and Dubravka Sekulić, Žiga Testen, eds. Surfing the Black: Yugoslav Black Wave Cinema and its Transgressive Moments. Maastricht: Jan van Eyck Academie, 2012.

Kittler, Friedrich A. Gramophone, Film, Typewriter. Stanford: Stanford University Press, 1999. Klinger, Cornelia, and Bartomeu Mari. Modernologies: Contemporary Artists Researching

Modernity and Modernism. Barcelona: Museu d’Art Contemporani de Barcelona, 2009.

Knell, Simon J., et al., eds. National Museums: New Studies from around the World. New York:

Routledge, 2011.

Knudson, Duane. Fundamentals of Biomechanics, Second Edition. New York: Springer, 2007.

Knust, Albrecht. Handbook of Kinetography Laban: Examples. Hamburg: Das Tanzarchiv, 1958. Koch, Sabine, et al. Body Memory, Metaphor, and Movement. Philadelphia: John Benjamins

Publishing Company, 2012.

Krauss, Rosalind E. “Sculpture in the Expanded Field.” October. Volume 8 (Spring 1979).

Krauss, Rosalind E. The Originality of the Avant-Garde and Other Modernist Myths. Cambridge: MIT Press, 1985.

Kuligowski, Waldemar. “A Relay of Youth of the 21st Century. A Re-enactment of Ritual or a Grotesque Performance?” Cargo. Volume 10, Number 1 - 2 (2012).

Kwon, Miwon. One Place After Another: Site-Specific Art and Locational Identity. Cambridge: MIT Press, 2002.

LaBelle, Brandon. Background Noise: Perspectives on Sound Art. London and New York: Continuum International Publishing Group, 2006.

Lakoff, George, and Mark Johnson. Metaphors We Live By. Chicago: University of Chicago Press, 1980.

Landsberg, Alison. Prosthetic Memory: The Transformation of American Remembrance in the Age of Mass Culture. New York: Columbia University Press, 2004.

Laws, Kenneth, and Francia Russell. Physics and the Art of Dance: Understanding Movement. Oxford: Oxford University Press, 2002.

le Blanc, Guillaume. Courir: Méditations Physiques. Paris: Éditions Flammarion, 2012.

Leahy, Helen Rees. Museum Bodies: The Politics of Practices of Visiting and Viewing. Surrey,

England: Ashgate, 2012.

Lederman, Gail. Manliness and Civilization: A Cultural History of Gender and Race in the

United States, 1880 - 1917. Chicago: The University of Chicago Press, 1995. Lefebvre, Henri. The Production of Space. Oxford: Blackwell, 1991.

Lehman, Arnold L., and Brenda Richardson, eds. Oskar Schlemmer. Baltimore: The Baltimore Museum of Art, 1986.

Lemke, Thomas. Bio-Politics: An Advanced Introduction. Translated by Eric Frederick Trump. New York: New York University Press, 2011.

Lepage, Jean-Denis G.G. Hitler Youth, 1922 - 1945: An Illustrated History. London: McFarland & Company, Inc.,2009.

Lepecki, André, ed. Dance: Documents of Contemporary Art. London: MIT Press and WhiteChapel Gallery, 2012.

Leposavić, Radonja. vlasTito iskustvo. Belgrade: Publikum, 2005.

Licht, Alan. Sound Art: Beyond Music, Between Categories. New York: Rizzoli International

Publications, 2007.

Lippard, Lucy. Six Years: The Dematerialization of the Art Object from 1966 to 1972. Berkley: University of California Press, 1973.

Loland, Sigmund, and Berit Skirstad, Ivan Waddington. Pain and Injury in Sport: Social and Ethical Analysis. New York: Routledge, 2006.

Luthar, Breda, and Maruša Pušnik, eds. Remembering Utopia: The Culture of Everyday Life in Socialist Yugoslavia. Washington, D.C.: New Academia Publishers, 2010.

Mackay, Robin, and Armen Avanessian, eds. #Accelerate: The Accelerationist Reader. Falmouth, UK: Urbanomic, 2014.

Malcolm, Noel. Bosnia: A Short Story. London: MacMillan, 1994.

Maletic, Vera. Body - Space - Expression: The Development of Rudolf Laban’s Movement and

Dance Concepts. Amsterdam: Mouton de Gruyter, 1987.

Marie, Michel. The French New Wave: An Artistic School. Translated by Richard Neupert.

Oxford: Blackwell Publishing, 1997.

Marien, Mary Warner. Photography: A Cultural History. 2nd Edition. London: Laurence King Publishing Ltd, 2002, 2006.

Marks, Laura. Touch: Sensuous Theory and Multisensory Media. Minneapolis: University of Minnesota Press, 2002.

Marvin, Carolyn. When Old Technologies Were New: Thinking about Electric Communication in the Late Nineteenth Century. Oxford: Oxford University Press, 1988.

Mathews, Nancy Mowll. “The Body in Motion.” In Moving Pictures: American Art and Early Film, 1880 - 1910. Manchester, Vermont: Hudson Hills Press, 2005.

Mauss, Marcel. “Techniques of the Body” (1934). In Incorporations, Zone 6. Edited by Jonathan Crary and Sanford Kwinter. New York: Zone, 1992.

Mazower, Mark. Dark Continent: Europe’s Twentieth Century. New York: A.A. Knopf, 1999.

McGinnis, Peter M. Biomechanics of Sport and Exercise, Third Edition. Champaign, IL: Human Kinetics, 2013.

McSorley, Kevin, ed. War and the Body: Militarisation, Practice and Experience. New York: Routledge, 2013.

Meltzer, Eve. Systems We Have Loved: Conceptual Art, Affect, and the Antihumanist Turn. Chicago: The University of Chicago, 2013.

Merleau-Ponty, Maurice. The Phenomenology of Perception. Translated by Colin Smith. London: Routledge and Kegan Paul, 1962, 1989.

Metz, Christian. Film Language: A Semiotics of the Cinema. Translated by Michael Taylor. New York: Oxford University Press, 1974.

Metz, Christian. “Photography and Fetish.” October. Volume 34 (Autumn, 1985).

Meyer, James. Minimalism: Art and Polemics in the Sixties. New Haven: Yale University Press,

Michelson, Annette, ed. Kino-Eye: The Writings of Dziga Vertov. Translated by Kevin O’Brien. Berkeley: University of California Press, 1984.

Mirzoeff, Nicholas, ed. The Visual Culture Reader, Second Edition. New York: Routledge, 1998, 2002.

Mishima, Yukio. Sun and Steel: His Personal Testament on Art, Action, and Ritual Death. New York: Kodansha, 1970.

Mondloch, Kate. Screens: Viewing Media Installation Art. Minneapolis: The University of Minnesota Press, 2010.

Moore, Sarah J. Empire on Display: San Francisco’s Panama-Pacific International Exposition of 1915. Norman, OK: University of Oklahoma Press, 2013.

Morgan, William P. “Affective beneficence of vigorous physical activity.” Medicine and Science in Sports and Exercise. Volume 17, Number 1 (February 1985).

Morse, Meredith. Soft is Fast: Simone Forti in the 1960s and After. Cambridge: MIT Press, 2016.

Mosse, George L. The Image of Man: The Creation of Modern Masculinity. Oxford: Oxford University Press, 1996.

Motherwell, Robert, ed. Dada Painters and Poets. New Haven: Harvard University Press, 1981.

Mozley, Anita Ventura, ed. Eadweard Muybridge: The Stanford Years, 1872 - 1882. San Francisco: Stanford University, 1972.

Mulvey, Laura. Death 24x a Second: Stillness and the Moving Image. London: Reaction books, 2006.

Mumford, Lewis. Technics and Civilization. London: Routledge & Kegan Paul LTD, 1934, 1955.

Muñoz, José Esteban. Disidentifications: Queers of Color and the Performance of Politics. Minneapolis: The University of Minnesota Press, 1999.

Musolff, Andreas. Metaphor, Nation, and the Holocaust: The Concept of the Body Politic. New York: Routledge, 2010.

New Collectivism, ed. Neue Slowenische Kunst. Translated by Marjan Golobič. Hong Kong: Paramount Printing, 1991.

Newman, Michael, and Jon Bird, eds. Rewriting Conceptual Art. London: Reaction Books, 1999. O’Doherty, Brian. Inside the White Cube: The Ideology of the Gallery Space. Berkley:

University of California Press, 1986.

O’Rourke, Karen. Walking and Mapping: Artists as Cartographers. Cambridge: MIT Press, 2013.

Obrist, Hans Ulrich. Do It: The Compendium. New York: Independent Curators International/D.A.P., 2013.

Partsch-Bergsohn, Isa. Modern Dance in Germany and the Untied States: Crosscurrents and Influences. Chur: Harwood Academic Publishers, 1994.

Passerini, Luisa, ed. Memory and Totalitarianism. Oxford: Oxford University Press, 1992. Pavković, Aleksandar. The Fragmentation of Yugoslavia: Nationalism and War in the Balkans,

Second Edition. New York: St. Martin’s Press, 2000.

Pegrum, Mark A. Challenging Modernity: Dada Between Modern and Postmodern. Oxford: Berghahn Books, 2000.

Peiffer, Lorenz. Sport im Nationalsozialismus: Zum aktuellen Stand der sporthistorischen Forschung. Göttingen: Verlag Die Werkstaat, 2004, 2015.

Pejić, Bojana, and David Elliot. After the Wall: Art and Culture in Post-Communist Europe. Stockholm: Moderna Museet, 1999.

Penz, Otto. “Sport and Speed.” International Review for the Sociology of Sport. Volume 25, Number 2 (June 1990).

Peoples, Crocker. “A Psychological Analysis of the ‘Runner’s High’ (Human Performance).” Physical Educator. Volume 40, Number 1 (March 1, 1983).

Perica, Vjekoslav. Balkan Idols: Religion and Nationalism in Yugoslav States. Oxford: Oxford University Press, 2002.

Petrov, Ana. “Telesni projekti i regulacija normativnog tela: uloga fizičke kulture u Jugoslaviji.” Institut za etnologiju i folkloristiku. Issue 51, Number 2 (2014).

Pfister, Gertrud, ed. Gymnastics, A Transatlantic Movement: From Europe to America. New York: Routledge, 2011.

Phelan, Peggy. Unmarked: The Politics of Performance. New York: Routledge, 1993. Phillips, Christopher, ed. Photography in the Modern Era: European Documents and Critical

Writings, 1913 - 1940. New York: The Metropolitan Museum of Art/Aperature, 1990. Phillips, Murray G. Deconstructing Sport History: A Postmodern Analysis. Albany: State

University of New York Press, 2006.

Pissaro, Joachim, et al. Martin Creed: What’s the Point of It? London: Hayward Publishing, 2014.

Piotrowski, Piotr. In the Shadow of Yalta: Art and the Avant-Garde in Eastern Europe, 1945 - 1989. London: Reaktion, 2009.

Preston-Dunlop, Valerie. Rudolf Laban: An Extraordinary Life. London, Dance Books, 1998. Preziosi, Donald. Art Religion Amnesia: The Enchantments of Credulity. New York: Routledge,

Pursell, Caroll. White Heat: People and Technology. Berkley: University of California Press, 1994.

Quercetani, R. L. A World History of Track and Field Athletics 1864-1964. London: Oxford University Press, 1964.

Rabinbach, Anson. The Human Motor: Energy, Fatigue, and the Origins of Modernity. New York: Basic Books, 1990.

Rabinow, Paul, ed. The Foucault Reader. New York: Random House, 1984.

Radstone, Susannah, and Bill Schwarz, Memory: Histories, Theories, Debates. New York: Fordham University Press, 2010.

Rancière, Jacques. Aesthetics and its Discontents. Malden: Polity Press, 2004.

Rancière, Jacques. The Emancipated Spectator. Translated by Gregory Elliot. London: Verso,

Rancière, Jacques. The Politics of Aesthetics: The Distribution of the Sensible. London: Continuum, 2006.

Rees, A.L., and Duncan White, Steven Ball, David Curtis, eds. Expanded Cinema: Art, Performance, Film. London: Tate Publishing, 2011.

Rempel, Gerhard. Hitler’s Children: The Hitler Youth and the SS. Chapel Hill: University of North Carolina Press, 1989.

Richards, Mary. Marina Abramović. New York: Routledge, 2010.

Ricoeur, Paul. Oneself as Another. Translated by Kathleen Blamey. Chicago: University of

Chicago Press, 1992.

Rosa, Hartmut. Beschleunigung und Entfremdung: Entwurf einer Kritischen Theorie

spätmoderner Zeitlichkeit. Berlin: Suhrkamp, 2013.

Rosa, Hartmut, and William E. Scheuerman. High-Speed: Social Acceleration, Power, and

Modernity. University Park, PA: The Pennsylvania State University, 2009.

Rosati, Lauren, and Mary Anne Staniszewski, eds. Alternative Histories: New York Art Spaces,

1960-2010. Cambridge: MIT Press, 2012.

Rosenstone, Robert A., “History in Images/History in Words: Reflections on the Possibility of Really Putting History onto Film.” The American Historical Review. Volume 93. Number 5 (December 1988).

Rossol, Nadine. Performing the Nation in Interwar Germany: Sport, Spectacle, and Political Symbolism, 1926 - 1936. New York: Palgrave Macmillan, 2010.

Roxby-Maude, Alice, On Camera: Performance and Photography. Southampton: John Hansard Gallery, 2007.

Ruyter, Nancy Lee Chalfa. The Cultivation of Body and Mind in Nineteenth-Century American Delsartism. Westport, CT: Greenwood Press, 1999.

Salazar, James B. Bodies of Reform The Rhetoric of Character in Gilded Age America. New York: New York University Press, 2010.

Schechner, Richard. Essays on Performance Theory 1970 - 1976. New York: Drama Book Specialists, 1973, 1977.

Scheerder, Jeroen, and Koen Breedveld, eds. Running Across Europe: The Rise and Size of One of the Largest Sport Markets. New York: Palgrave Macmillan, 2015.

Seckinelgin, H., and Billy Wong, eds. Global Civil Society 2011: Globally and the Absence of Justice. Hampshire: Palgrave Macmillan, 2011.

Sekula, Allan. “The Body and the Archive.” October. Volume 39 (Winter, 1986). Semon, Richard. Die mnemischen Empmfindungen in ihren Beziehungen zu den

Originalempfindungen. Leipzig: W. Engelmann, 1909.

Shawn, Ted. Every Little Movement: A Book About François Delsarte. Pittsfield, MA: The Eagle

Printing and Binding Company, 1954.

Shayt, David H. “Stairway to Redemption: America’s Encounter with the British Prison

Treadmill.” Technology and Culture, Volume 30, Number 4 (Oct. 1989).

Sheridan, Heather, and Leslie Howe, and Keith Thompson, eds. Sporting Reflections: Some

Philosophical Perspectives. Aachen: Meyer & Meyer Verlag, 2007.

Siegmund, Gerald, and Stefan Hölscher, eds. Dance, Politics, and Co-Immunity: Thinking Resistances, Current Perspectives on Politics and Communities in the Arts. Volume 1. Zürich- Berlin: Diaphanes, 2013.

Sileo, Diego, and Eugenio Viola, PAC (Milano), eds. Marina Abramović: The Abramović Method. 2 Volumes. Milan: 24 ORE Cultura, 2012.

Silverman, Kaja. The Subject of Semiotics. New York: Oxford University Press, 1983.

Slevin, Tom. Vision of the Human: Art, World War One and the Modernist Subject. London: I.B.

Tauris, 2015.

Solnit, Rebecca. River of Shadows: Eadweard Muybridge and the Technological Wild West. New York: Viking, 2003.

Solnit, Rebecca. Wanderlust: A History of Walking. London: Verso, 2001.

Sontag, Susan. Against Interpretation and Other Essays. New York: Picador, 1966, 2001. Sontag, Susan. “Fascinating Fascism.” The New York Review of Books (6 February 1975). Sontag, Susan. On Photography. New York: Picador, 1977.

Spieker, Sven. The Big Archive: Art from Bureaucracy. Cambridge: MIT Press, 2008. Stepišnik, Drago. Oris Zgodovine Telesne Kulture na Slovenskem. Ljubljana: Dražavna založba

Slovenija, 1968.

Stipančić, Branka. “‘Zame je resničnost umetnost,’ Intervju s Tomislavom Gotovcem.” Vijenac, Number 123/VI (8 Oct. 1998).

Stoddart, Tom. Sarajevo. Washington, D.C.: Smithsonian Institution Press, 1998.

Stošić, Mirjana. “Body-name — The Brotherhood Chronotype and Social Choreography.”

Култура/Culture (2015).

Suljagić, Emir. Postcards from the Grave. Translated by Lejla Haverić. London: The Bosnian

Institute, 2005.

Susovski, Marijan, ed. The New Art Practice in Yugoslavia, 1966 - 1978. Zagreb: Gallery of Contemporary Art, 1978.

Sutil, Nicolás Salazar. Motion and Representation: The Language of Human Movement. Cambridge: MIT Press, 2015.

Swenson, Kirsten. Irrational Judgements: Eva Hesse, Sol Lewitt, and 1960s New York. New Haven: Yale University Press, 2015.

Szeemann, Harold. Zum freien Tanz, zu reiner Kunst. Rolandseck: Stiftung Hans Arp und Sophie Taeuber-Arp, 1991.

Tagg, John. The Burden of Representation: Essays on Photographies and Histories. Minneapolis: University of Minnesota Press, 1988.

Tilmans, Karin, and Frank van Vree, Jay Winter, eds. Performing the Past: Memory, History, and Identity in Modern Europe. Amsterdam: Amsterdam University Press, 2010.

Tumarkin, Maria M. Traumascapes: The Power and Fate of Places Transformed by Tragedies. Victoria, Australia: Melbourne University Press, 2005.

Udall, Sharyn R. Dance and American Art: A Long Embrace. Madison: University of Wisconsin Press, 2012.

Vacche, Angela Dalle. Film, Art, New Media: Museum without Walls? New York: Palgrave Macmillan, 2012.

Vertinsky, Patricia Anne. The Eternally Wounded Woman: Women, Doctors, and Exercise in the Late Nineteenth Century. Manchester: Manchester University Press, 1989.

Virilio, Paul. The Art of the Motor. Translated Julie Rose. Minneapolis: University of Minnesota Press, 1995.

Weibel, Peter. Beyond Art: A Third Culture. Vienna: Ambra Verlag, 2005.

Wells, Liz, ed. Photography: A Critical Introduction. New York: Rutledge, 1996/2015.

Westcott, James. When Marina Abramović Dies: A Biography. Cambridge: MIT Press, 2010.

White, Hayden. “Historiography and Historiophoty.” The American Historical Review. Volume 93. Number 5 (December 1988).

White, Hayden V. Metahistory: The Historical Imagination in Nineteenth-Century Europe. Baltimore: Johns Hopkins University Press, 1973.

Wiehager, Renate, ed. Moving Pictures: Photography and Film in Contemporary Art. Ostfildern- Ruit, Germany: Hate Cantz Publishers, 2001.

Williams, Raymond. Culture and Society, 1780 - 1950. New York: Columbia University Press, 1958/1983.

Wood, Catherine. Yvonne Rainer: The Mind is a Muscle. London: Afterall, 2007. Wood, Denis. The Power of Maps. New York: Guilford Press, 2010.

Woodward, Susan L. Balkan Tragedy: Chaos and Dissolution after the Cold War. Washington, D.C.: The Brookings Institution, 1995.

Young, Kevin. Deviance and Social Control in Sport. Champaign, IL: Human Kinetics, 2008. Youngblood, Gene. Expanded Cinema. New York: E.P. Dutton and Co., 1970.

Zelizer, Barbie, ed. Visual Culture and the Holocaust. New Brunswick: Rutgers University Press, 2001.

Zidić, Igor, and Ana Dević, Antonio Gotovac Lauer a.k.a. Tomislav Gotovac. Antonio Gotovac Lauer: Čelična mreža. Zagreb: Moderna Galerija and Studio Josip Račič, 2006.

Zorn, John W., ed. The Essential Delsarte. Metuchen, NJ: The Scarecrow Press, Inc, 1968.

Žižek, Slavoj. The Indivisible Remainder: An Essay on Schelling and Related Matters. London: Verso, 1996.

----

------------about Venice Biennale history from wikipedia ---------

curators previous

* 1948 – Rodolfo Pallucchini

* 1966 – Gian Alberto Dell'Acqua

* 1968 – Maurizio Calvesi and Guido Ballo

* 1970 – Umbro Apollonio

* 1972 – Mario Penelope

* 1974 – Vittorio Gregotti

* 1978 – Luigi Scarpa

* 1980 – Luigi Carluccio

* 1982 – Sisto Dalla Palma

* 1984 – Maurizio Calvesi

* 1986 – Maurizio Calvesi

* 1988 – Giovanni Carandente

* 1990 – Giovanni Carandente

* 1993 – Achille Bonito Oliva

* 1995 – Jean Clair

* 1997 – Germano Celant

* 1999 – Harald Szeemann

* 2001 – Harald Szeemann

* 2003 – Francesco Bonami

* 2005 – María de Corral and Rosa Martinez

* 2007 – Robert Storr

* 2009 – Daniel Birnbaum

* 2011 – Bice Curiger

* 2013 – Massimiliano Gioni

* 2015 – Okwui Enwezor

* 2017 – Christine Macel[19]

* 2019 – Ralph Rugoff[20]

----------

#art #artist #artistic #artists #arte #artwork

Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal

venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya

art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist

other Biennale :(Biennials ) :

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS

* Dakar

kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער

Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya

Thierry Geoffroy / Colonel

#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist

#artformat #formatart

#emergencyart #urgencyart #urgentart #artofthenow #nowart

emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart

#InstitutionalCritique

#venicebiennale #venicebiennale2017 #venicebiennale2015

#venicebiennale2019

#venice #biennale #venicebiennale #venezia #italy

#venezia #venice #veniceitaly #venicebiennale

#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday

#biennalevenice

Institutional Critique

Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology

Racial and Ethnic Identity, Neo-Conceptualism, Diaristic

Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,

Culture, Collective History, Group of Portraits, Photographic Source

, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary

War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict

Personal Histories, Alter Egos and Avatars

Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text

Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism

Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis

—-

CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.

Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.

It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...

The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...

Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...

Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .

www.emergencyrooms.org/criticalrun.html

www.emergencyrooms.org/formats.html

-------

In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center

------

for activating the format or for inviting the installation

please contact 1@colonel.dk

www.colonel.dk/

-----

critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,

Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary

,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat

,now art,copenhagen,denmark

Bicycle path by omiza

9 10

Zoner Studio

affiliate.zoner.com/165-1-3-6.html

Eruption Meets Lightning Storm by Sunica Markovic

50 9

http://www.sunicamarkovic.com/music.html

Two of nature's most spectacular forces produced an incredible brew in the skies of Chile as a volcanic eruption met a lightning storm. Tons of dust and ash from the eruption of the Chaitén volcano poured into the night sky just as an electric storm passed overhead. The resulting collision created

a spectacular sight as lightning flickered around the dust cloud amid the orange glow of the volcano.

The eruption was all the more spectacular because the Chaitén volcano,800 miles (1,290km)south of Santiago , has been dormant for hundreds - if not thousands - of years. The Patagonian volcano began erupting on Friday and the 12-mile-high plume has left vast tracts of land coated with a layer of ash.

More at www.utterz.com/u/utt/u-ODAwMjMyMg

2009 Nissan Skyline GT-R at the 2008 Los Angeles Auto Show photo 127 by Candid Photos

12 2

NISSAN GT-R

Specifications

Engine

• VR-series twin-turbocharged 3.8-liter V6.

• 480 hp @ 6,800 rpm. 430 lb-ft torque @ 3,200–5,200 rpm.

• Dual overhead camshafts with variable intake-valve timing.

• Cast aluminum cylinder block with high-endurance/low-friction plasma-sprayed bores.

• IHI twin turbochargers, one per cylinder bank.

• Pressurized lubrication system with thermostatically controlled cooling.

Drivetrain

• ATTESA ET-S All-Wheel Drive (AWD) with independent rear-mounted transaxle integrating transmission, differential and AWD transfer case.

• Rigid, lightweight carbon-composite driveshaft between engine and transaxle.

• Electronic traction control plus 1.5-way mechanically locking rear differential.

• Vehicle Dynamics Control (VDC-R) with three driver-selectable settings: Normal (for daily driving, controls brakes and engine output), R-Mode (for ultimate performance, utilizes AWD torque distribution for additional vehicle stability) and Off (driver does not want the help of the system).

• Hill Start Assist prevents rollback when starting on an incline.

DisclaimerVDC-R cannot prevent accidents due to abrupt steering, carelessness, or dangerous driving techniques. Always drive safely.

Transmission

• 6-speed Dual Clutch Transmission with three driver-selectable modes: Normal (for maximum smoothness and efficiency), Snow (for gentler starting and shifting on slippery surfaces), and R mode (for maximum performance with fastest shifts).

• Fully automatic shifting or full sequential manual control via gearshift or steering wheel-mounted paddle shifters.

• Dual clutch design changes gears in less than 0.5 second (0.2 second in R mode).

• Downshift Rev Matching (DRM).

• Predictive pre-shift control (in R mode) based on throttle position, vehicle speed, braking and other information.

Wheels and Tires

• 20 x 9.5" (front) and 20 x 10.5" (rear) super-lightweight forged-aluminum wheels with Gunmetal Gray finish.

• Exclusively developed nitrogen-filled Bridgestone® RE070A high-capacity run-flat summer tires, 255/40R20 front and 285/35R20 rear.

• Tire Pressure Monitoring System (TPMS).

• Optional exclusively developed nitrogen-filled Dunlop® run-flat all-season tires, 255/40R20 front and 285/35R20 rear (includes Bright Silver wheels).

Brakes

• Brembo® 4-wheel disc brakes with 4-wheel Antilock Braking System (ABS), Brake Assist, Electronic Brakeforce Distribution and Preview Braking.

• Two-piece floating-rotor 15-inch front and rear discs with diamond-pattern internal ventilation.

• 6-piston front/4-piston rear monoblock calipers.

Steering

• Rack-and-pinion steering with vehicle-speed-sensitive power assist.

• 2.6 steering-wheel turns lock-to-lock.

Suspension

• 4-wheel independent suspension with Bilstein® DampTronic system with three driver-selectable modes: Normal/Sport (for automatic electronic control of damping), Comfort (for maximum ride comfort), and R mode (engages maximum damping rate for high-performance cornering).

• Electronically controlled variable-rate shock absorbers. High-accuracy progressive-rate coil springs.

• Front double-wishbone/rear multi-link configuration with aluminum members and rigid aluminum subframes.

• Hollow front and rear stabilizer bars.

Body/Chassis

• Exclusive Premium Midship platform with jig-welded hybrid unibody.

• Aluminum hood, trunk and door skins. Die-cast aluminum door structures.

• Carbon-reinforced front crossmember/radiator support.

Standard Features

Exterior

• Wide-beam headlights with High Intensity Discharge (HID) low beams.

• LED taillights and brake lights.

• Dual heated power mirrors.

• Flush-mounted aluminum door handles.

• Body-color rear spoiler with integrated center high-mounted stop light.

• UV-reducing tinted glass.

Audio/Navigation/Performance Monitor

• Digital Bose® audio system with AM/FM/in-dash 6-CD changer and 11 speakers including dual subwoofers.

• HDD Music Box system, including hard drive with 9.4 GB for audio storage.

• MP3, WMA and DVD audio capable. In-dash Compact Flash card reader.

• HDD-based GPS navigation with touch screen.

• Driver-configurable performance monitor, developed with Sony® Polyphony, with graphical readouts of vehicle data and driving data displayed on a total of 11 screens.

• 7-inch WVGA high-resolution color-LCD display for audio, navigation and performance monitor.

Interior

• Automatic Temperature Control (ATC).

• Electronic analog instrument cluster with multi-function trip computer and digital gear indicator.

• Power front windows with one-touch auto-up/down feature.

• Intelligent Key system with pushbutton start. Power door locks.

• Cruise control.

• Tilt/telescoping steering column.

• Bluetooth® Hands-free phone system with voice recognition.

Seating/Appointments

• Leather upholstered front seats with perforated Alcantara inserts.

• 8-way power front seats with entry/exit switch for rear-seat passengers.

• Driver-shaped bucket seat.

• Dual individual rear seats.

• Heated front seats.

• Leather-wrapped steering wheel and shift knob.

• Drilled aluminum pedals.

Safety/Security

• Nissan Advanced Air Bag System (AABS) with dual-stage supplemental front air bags, seat belt sensors and occupant-classification sensor.

• Driver and front-passenger side-impact supplemental air bags and roof-mounted curtain supplemental air bags.

• Front seat belts with pretensioners and load limiters.

• Nissan Vehicle Immobilizer System.

• Vehicle Security System.

Megabolt by Ray Skwire

23 22

Featured on NBC10 Philadelphia Photo Gallery, 7/1/2012

Featured NBC10 Video Segment

This was shot from Dog Beach on the Longport Causeway last night/early this morning during the derecho that nailed South Jersey.

Longport is directly ahead, Ocean City behind and to the right, and Somers Point to the left across the bay.

To provide an update, my girlfriend and I went to Dog Beach and parked on the bay side of Ocean City where I set up my tripod at the edge of the parking lot, facing back towards Somers Point. I figured we'd just wait for the storm to roll in, despite some lightning already to the North of us.

It was a nice breeze at first, a couple pops of lightning and as our anticipation was beginning to grow, out of nowhere, the wind just WHOOSHED and suddenly there was dirt and debris flying everywhere and the bay just came alive, churning with ever growing waves.

Quickly it became apparent that we would not be able to remain outside the vehicle so we got back in and I began taking shots from the dashboard. That was OK, except that the truck was rocking back and forth, to and fro, and so I decided to turn the truck around and cross the causeway to the Longport side of the beach in the hopes that facing *with* the wind would help a little, which it actually did.

The only drawback was that it was raining, which meant I couldn't get the clearest shots from outside the vehicle and instead, had to run the wipers on high, which is what you can see in these shots.

But in short, it was, as a weather buff, simply amazing. I watched the power go out in several shore towns almost simultaneously. I saw between 20-30 transformers glow and light up the sky. I watched a church catch fire and burn down. One of the most lightning intensive storms I've ever seen.

The damage all across the area looks like a hurricane slammed Atlantic County. Trees down *everywhere!* Telephone poles pulled down by wires or simply snapped in half. Entire groups of trees de-gloved of branches and leaves. Power out everywhere. No gas stations open, and just a handful of major intersection street lights with power.

It was almost like a zombie apocalypse. ;p

!!~~ Ttt ~~!! by  Hamim [Read My Profile b4 you follow me]

66 164

NO Self promotion by Image / HTML or WEB Link

NO Faves With out Comments plz,

Doing such act might cause you A Block from Me

Only Appreciation. Critics . comments Faves, Notes , Blog it And Own Comments are welcome and NO Round Up Comments plz !!

Take Some time with me to share your feelings here,

____________________

824917012011

,Pay Visit to my:

Light Box

Getty Image Here

Twitter Here

Face Book Here

________________________

The Edit of this Photo Demands Your View In BLACK with Large size for better out put, Plz Press L for Black

___________________________

Description

The wonderful sun set sometime may not always and with every one , travel from past to present , and following the future. The sensational mood shall depend on the place and the environment of which the sunset made an image in a human mind.

Even with to an honesty to corruption [ here corruption mens with environmental injustice] everyone has different feelings during a twilight at different place even at the same place by different person,

I noticed b4 , the birds enjoying twilight in this Horizon When Time Truned Away [সূয্য ডুবার পালা -1] at here , and Also shown you in my photo Nature Teaches Selflessness here How rude the people with nature, still the sun is selfless to the nature .

No I am No More trying to contradict the ppl with nature here , My subject is Traveling through twilight [Ttt] when I see through my lens from Dhaka BANGLADESH and Shown the world flickr community here , is almost its traveled all alone the world, But One traveling from past to present through twilight is a matter of his / her understanding to the climax in his life cycle, Climax in his relationship, and a climax through the age and age over and over !!! .

Let there be Light and twilight in every human mind and travel Through be past , present or Future,

______________________

Thanks In Advance for not Inviting me to any Group and Attaching Graphics to this picture as a part of your comments, I appreciate you to view my photo , click Faves and write your comments instead you copy pest your comment to me.

Press F to Faves This Photo

Manchester Christmas Markets at Albert Square, Manchester, England - December 2012 by Saffy H

13 33

www.christmasmarkets.com/UK/manchester-christmas-market.html

Manchester Christmas Market

All you need for Christmas in the heart of Manchester

17 November – 23 December 2012

Sunday 23rd December MARKET WILL CLOSE 6 PM

Don your Santa hat, dust off the mulled wine glass, and get into the festive spirit - it’s time to head down to Manchester’s world famous Christmas Markets.

Attracting shoppers from all over the UK and beyond, the market has put Manchester city centre firmly on the Christmas map – the Christmas Market has become not just a fabulous place to shop but also a hugely popular leisure destination in its own right. No Mancunian winter is complete without a wander through the chalet-lined streets of the markets.

This year the market will be celebrating its 14th year and will take over eight different spaces around the city, each with its own distinct character and atmosphere.

The array of over 200 stalls is mind-boggling, with mouthwatering delicacies from all over Europe. The choice is getting bigger and bigger and includes gifts, crafts, jewellery, clothes, toys and an array of food and drink. Treat yourself to anything from Dutch mini pancakes, to Hungarian goulash to Spanish paella to French profiteroles. Relax with a hot chocolate, German or Spanish beer, or French wine. Soak up the atmosphere of a truly international event with a uniquely Mancunian flavour.

European and local producers offer everything from fine amber jewellery, handcrafted leather bags, and top quality bonsai trees, to Dutch cheeses, French breads, and Spanish chorizo. Perfect for alternative gift ideas.

The Christmas markets first arrived in the city in 1998, when the council of Frankfurt hosted a small traditional German market of just 17 stalls in St Ann’s Square.

And with all glasses and mugs returnable as part of an environmentally friendly deposit scheme, your Christmas markets are greener than ever.

All market sites (except Albert Square*)

Nov: 10am - 7.30pm (bars open until 9pm)

Dec: 10am - 8pm (bars open until 9pm)

Albert Square 10am - 9pm every day

Opening Times

MonNov: 10am - 7.30pm Dec: 10am - 8pm

TueNov: 10am - 7.30pm Dec: 10am - 8pm

WedNov: 10am - 7.30pm Dec: 10am - 8pm

ThuNov: 10am - 7.30pm Dec: 10am - 8pm

FriNov: 10am - 7.30pm Dec: 10am - 8pm

SatNov: 10am - 7.30pm Dec: 10am - 8pm

SunNov: 10am - 7.30pm Dec: 10am - 6pm

Bars until 9pm

Additional

Food & Drink YES

EntertainmentYES

Disabled Access YES

Toilet Facilities YES

Location

Albert Square, Brazenose St, King St, St Ann's Square, New Cathedral Street, Exchange Square

Entry Charge

N/A

How to get there

Free Parking NO

Pay Parking YES

Coach Parking YES

Nearest Bus Route:

None

Nearest Railway Station:

Oxford Road, Victoria

Nearest Tram Stop:

St Peter's Square

Nearest Tube Station:

None

Nearest Airport:

Manchester International Airport

Την Έκτη Ημέρα, ο Δημιουργός μιλάει και κάθε είδος ζώντος οργανισμού που έχει στο μυαλό Του κάνει την εμφάνισή του, το ένα μετά το άλλο by Enxin Li

el.kingdomsalvation.org/gospel/on-the-sixth-day.html

Δευτέρα Παρουσία

Ο Θεός λέει:«Όπως και στις προηγούμενες πέντε ημέρες, με τον ίδιο τόνο, την έκτη ημέρα ο Δημιουργός διέταξε τη γέννηση των εμψύχων ζώων που Εκείνος επιθυμούσε κι αυτά εμφανίστηκαν πάνω στη γη, κατά το είδος αυτών. Όταν ο Δημιουργός ασκεί την εξουσία Του, κανένα από τα λόγια Του δεν είναι μάταιο κι έτσι την έκτη ημέρα, το κάθε έμψυχο ζώο που Εκείνος είχε σκοπό να δημιουργήσει εμφανίστηκε την προκαθορισμένη στιγμή. Καθώς ο Δημιουργός είπε «Ας γεννήση η γη ζώα έμψυχα κατά το είδος αυτών», η γη αμέσως γέμισε ζωή και πάνω στην ξηρά ξαφνικά εμφανίσθηκαν οι ανάσες από διάφορα είδη εμψύχων ζώων… Στους πράσινους χλοερούς αγριότοπους εμφανίστηκαν η μία μετά την άλλη, παχιές αγελάδες που κουνούσαν την ουρά τους εδώ και κει, πρόβατα που βελάζανε συγκεντρώθηκαν σε κοπάδια κι άλογα που χλιμίντριζαν άρχισαν να καλπάζουν… Μέσα σε μια στιγμή, οι απέραντες εκτάσεις έρημων λιβαδιών έσκασαν από ζωή… Η εμφάνιση αυτών των διαφόρων ζώων ήταν ένα υπέροχο θέαμα πάνω στα ήρεμα λιβάδια και τους έδωσε μεγάλη ζωντάνια… Αυτά θα ήταν οι σύντροφοι των λιβαδιών και οι άρχοντες των λιβαδιών, το ένα αμοιβαία εξαρτώμενο από το άλλο. Και θα γίνονταν αυτά οι φύλακες και οι άρχοντες αυτών των χωραφιών, που θα ήταν η μόνιμη κατοικία τους και που θα τους παρείχε ό,τι χρειάζονταν, μια πηγή αιώνιας τροφής που χρειάζονται για την ύπαρξή τους…»

από το βιβλίο «Ο Λόγος Ενσαρκώνεται»

Ενσάρκωση

Πηγή εικόνας: Εκκλησία του Παντοδύναμου Θεού

Όροι Χρήσης： el.kingdomsalvation.org/disclaimer.html

Holy Russia. The fragments of Assumption Cathedral (since 1585), Assumption Well Chapel & the Canopy above the Sacred source, Trinity Lavra of Saint Sergius, Sergiyev Posad city, Moscow region (Oblast). Православнаѧ Црковь. by Alexander SACALEVIC

96 18

traveladventureeverywhere.blogspot.com/2018/05/sergiyev-p...

ALBANIA

Albanian Trilogy: A Series of Devious Stratagems

Armando Lulaj

Commissioner: Ministry of Culture. Curator: Marco Scotini. Deputy Curator: Andris Brinkmanis. Venue: Pavilion at Arsenale

ANDORRA

Inner Landscapes

Roqué, Joan Xandri

Commissioner: Henry Périer. Deputy Commissioner: Joana Baygual, Sebastià Petit, Francesc Rodríguez

Curator: Paolo de Grandis, Josep M. Ubach. Venue: Spiazzi, Castello 3865

ANGOLA

On Ways of Travelling

António Ole, Binelde Hyrcan, Délio Jasse, Francisco Vidal, Nelo Teixeira

Commissioner: Ministry of Culture, Rita Guedes Tavares. Curator: António Ole. Deputy Curator: Antonia Gaeta. Venue: Conservatorio Benedetto Marcello - Palazzo Pisani, San Marco 2810

ARGENTINA

The Uprising of Form

Juan Carlos Diste´fano

Commissioner: Magdalena Faillace. Curator: Mari´a Teresa Constantin. Venue: Pavilion at Arsenale – Sale d’Armi

ARMENIA, Republic of

Armenity / Haiyutioun

Haig Aivazian, Lebanon; Nigol Bezjian, Syria/USA; Anna Boghiguian Egypt/Canada; Hera Büyüktasçiyan, Turkey; Silvina Der-Meguerditchian, Argentina/Germany; Rene Gabri & Ayreen Anastas, Iran/Palestine/USA; Mekhitar Garabedian, Belgium; Aikaterini Gegisian, Greece; Yervant Gianikian & Angela Ricci Lucchi, Italy; Aram Jibilian, USA; Nina Katchadourian, USA/Finland; Melik Ohanian, France; Mikayel Ohanjanyan, Armenia/Italy; Rosana Palazyan, Brazil; Sarkis, Turkey/France; Hrair Sarkissian, Syria/UK

Commissioner: Ministry of Culture of the Republic of Armenia. Deputy Commissioner: Art for the World, Mekhitarist Congregation of San Lazzaro Island, Embassy of the Republic of Armenia in Italy, Vartan Karapetian. Curator: Adelina Cüberyan von Fürstenberg. Venue: Monastery and Island of San Lazzaro degli Armeni

AUSTRALIA

Fiona Hall: Wrong Way Time

Fiona Hall

Commissioner: Simon Mordant AM. Deputy Commissioner: Charles Green. Curator: Linda Michael. Scientific Committee: Simon Mordant AM, Carolyn Christov-Bakargiev, Max Delany, Rachel Kent, Danie Mellor, Suhanya Raffel, Leigh Robb. Venue: Pavilion at Giardini

AUSTRIA

Heimo Zobernig

Commissioner: Yilmaz Dziewior. Curator: Yilmaz Dziewior. Scientific Committee: Friends of the Venice Biennale. Venue: Pavilion at Giardini

AZERBAIJAN, Republic of

Beyond the Line

Ashraf Murad, Javad Mirjavadov, Tofik Javadov, Rasim Babayev, Fazil Najafov, Huseyn Hagverdi, Shamil Najafzada

Commissioner: Heydar Aliyev Foundation. Curators: de Pury de Pury, Emin Mammadov. Venue: Palazzo Lezze, Campo S.Stefano, San Marco 2949

Vita Vitale

Edward Burtynsky, Mircea Cantor, Loris Cecchini, Gordon Cheung, Khalil Chishtee, Tony Cragg, Laura Ford, Noemie Goudal, Siobhán Hapaska, Paul Huxley, IDEA laboratory and Leyla Aliyeva, Chris Jordan with Rebecca Clark and Helena S.Eitel, Tania Kovats, Aida Mahmudova, Sayyora Muin, Jacco Olivier, Julian Opie, Julian Perry, Mike Perry, Bas Princen, Stephanie Quayle, Ugo Rondinone, Graham Stevens, Diana Thater, Andy Warhol, Bill Woodrow, Erwin Wurm, Rose Wylie

Commissioner: Heydar Aliyev Foundation. Curators: Artwise: Susie Allen, Laura Culpan, Dea Vanagan. Venue: Ca’ Garzoni, San Marco 3416

BELARUS, Republic of

War Witness Archive

Konstantin Selikhanov

Commissioner: Natallia Sharanhovich. Deputy Commissioners: Alena Vasileuskaya, Kamilia Yanushkevich. Curators: Aleksei Shinkarenko, Olga Rybchinskaya. Scientific Committee: Dmitry Korol, Daria Amelkovich, Julia Kondratyuk, Sergei Jeihala, Sheena Macfarlane, Yuliya Heisik, Hanna Samarskaya, Taras Kaliahin, Aliaksandr Stasevich. Venue: Riva San Biagio, Castello 2145

BELGIUM

Personnes et les autres

Vincent Meessen and Guests, Mathieu K. Abonnenc, Sammy Baloji, James Beckett, Elisabetta Benassi, Patrick Bernier & Olive Martin, Tamar Guimara~es & Kasper Akhøj, Maryam Jafri, Adam Pendleton

Commissioner: Wallonia-Brussels Federation and Wallonia-Brussels International. Curator: Katerina Gregos. Venue: Pavilion at Giardini

COSTA RICA

"Costa Rica, Paese di pace, invita a un linguaggio universale d'intesa tra i popoli".

Andrea Prandi, Beatrice Gallori, Beth Parin, Biagio Schembari, Carla Castaldo, Celestina Avanzini, Cesare Berlingeri, Erminio Tansini, Fabio Capitanio, Fausto Beretti, Giovan Battista Pedrazzini, Giovanni Lamberti, Giovanni Tenga, Iana Zanoskar, Jim Prescott, Leonardo Beccegato, Liliana Scocco, Lucia Bolzano, Marcela Vicuna, Marco Bellagamba, Marco Lodola, Maria Gioia dell’Aglio, Mario Bernardinello, Massimo Meucci, Nacha Piattini, Omar Ronda, Renzo Eusebi, Tita Patti, Romina Power, Rubens Fogacci, Silvio di Pietro, Stefano Sichel, Tino Stefanoni, Ufemia Ritz, Ugo Borlenghi, Umberto Mariani, Venere Chillemi, Jacqueline Gallicot Madar, Massimo Onnis, Fedora Spinelli

Commissioner: Ileana Ordonez Chacon. Curator: Gregorio Rossi. Venue: Palazzo Bollani

CROATIA

Studies on Shivering: The Third Degree

Damir Ocko

Commissioner: Ministry of Culture. Curator: Marc Bembekoff. Venue: Palazzo Pisani, S. Marina

CUBA

El artista entre la individualidad y el contexto

Lida Abdul, Celia-Yunior, Grethell Rasúa, Giuseppe Stampone, LinYilin, Luis Edgardo Gómez Armenteros, Olga Chernysheva, Susana Pilar Delahante Matienzo

Commissioner: Miria Vicini. Curators: Jorge Fernández Torres, Giacomo Zaza. Venue: San Servolo Island

CYPRUS, Republic of

Two Days After Forever

Christodoulos Panayiotou

Commissioner: Louli Michaelidou. Deputy Commissioner: Angela Skordi. Curator: Omar Kholeif. Deputy Curator: Daniella Rose King. Venue: Palazzo Malipiero, Sestiere San Marco 3079

CZECH Republic and SLOVAK Republic

Apotheosis

Jirí David

Commissioner: Adam Budak. Deputy Commissioner: Barbara Holomkova. Curator: Katarina Rusnakova. Venue: Pavilion at Giardini

ECUADOR

Gold Water: Apocalyptic Black Mirrors

Maria Veronica Leon Veintemilla in collaboration with Lucia Vallarino Peet

Commissioner: Andrea Gonzàlez Sanchez. Deputy Commissioner: PDG Arte Communications. Curator: Ileana Cornea. Deputy Curator: Maria Veronica Leon Veintemilla. Venue: Istituto Santa Maria della Pietà, Castello 3701

ESTONIA

NSFW. From the Abyss of History

Jaanus Samma

Commissioner: Maria Arusoo. Curator: Eugenio Viola. Venue: Palazzo Malipiero, campo San Samuele, San Marco 3199

EGYPT

CAN YOU SEE

Ahmed Abdel Fatah, Gamal Elkheshen, Maher Dawoud

Commissioner: Hany Al Ashkar. Curator: Ministry of Culture. Venue: Pavilion at Giardini

FINLAND (Pavilion Alvar Aalto)

Hours, Years, Aeons

IC-98

Commissioner: Frame Visual Art Finland, Raija Koli. Curator: Taru Elfving. Deputy Curator: Anna Virtanen. Venue: Pavilion at Giardini

FRANCE

revolutions

Céleste Boursier-Mougenot

Commissioner: Institut français, with Ministère de la Culture et de la Communication. Curator: Emma Lavigne. Venue: Pavilion at Giardini

GEORGIA

Crawling Border

Rusudan Gobejishvili Khizanishvili, Irakli Bluishvili, Dimitri Chikvaidze, Joseph Sabia

Commissioner: Ana Riaboshenko. Curator: Nia Mgaloblishvili. Venue: Pavilion at Arsenale – Sale d’Armi

GERMANY

Fabrik

Jasmina Metwaly / Philip Rizk, Olaf Nicolai, Hito Steyerl, Tobias Zielony

Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office. Deputy Commissioner: Elke aus dem Moore, Nina Hülsmeier. Curator: Florian Ebner. Deputy Curator: Tanja Milewsky, Ilina Koralova. Venue: Pavilion at Giardini

GREAT BRITAIN

Sarah Lucas

Commissioner: Emma Dexter. Curator: Richard Riley. Deputy Curator: Katrina Schwarz. Venue: Pavilion at Giardini

GRENADA *

Present Nearness

Oliver Benoit, Maria McClafferty, Asher Mains, Francesco Bosso and Carmine Ciccarini, Guiseppe Linardi

Commissioner: Ministry of Culture. Deputy Commissioner: Susan Mains. Curator: Susan Mains. Deputy Curator: Francesco Elisei. Venue: Opera don Orione Artigianelli, Sala Tiziano, Fondamenta delle Zattere ai Gesuati, Dorsoduro 919

GREECE

Why Look at Animals? AGRIMIKÁ.

Maria Papadimitriou

Commissioner: Hellenic Ministry of Culture, Education and Religious Affairs. Curator: Gabi Scardi. Deputy Curator: Alexios Papazacharias. Venue: Pavilion at Giardini

BRAZIL

So much that it doesn't fit here

Antonio Manuel, André Komatsu, Berna Reale

Commissioner: Luis Terepins. Curator: Luiz Camillo Osorio. Deputy Curator: Cauê Alves. Venue: Pavilion at Giardini

CANADA

Canadassimo

BGL

Commissioner: National Gallery of Canada, Marc Mayer. Deputy Commissioner: National Gallery of Canada, Yves Théoret. Curator: Marie Fraser. Venue: Pavilion at Giardini

CHILE

Poéticas de la disidencia | Poetics of dissent: Paz Errázuriz - Lotty Rosenfeld

Paz Errázuriz, Lotty Rosenfeld

Commissioner: Antonio Arèvalo. Deputy Commissioner: Juan Pablo Vergara Undurraga. Curator: Nelly Richard. Venue: Pavilion at Arsenale - Artiglierie

CHINA, People’s Republic of

Other Future

LIU Jiakun, LU Yang, TAN Dun, WEN Hui/Living Dance Studio, WU Wenguang/Caochangdi Work Station

Commissioner: China Arts and Entertainment Group, CAEG. Deputy Commissioners: Zhang Yu, Yan Dong. Curator: Beijing Contemporary Art Foundation. Scientific Committee: Fan Di’an, Zhang Zikang, Zhu Di, Gao Shiming, Zhu Qingsheng, Pu Tong, Shang Hui. Venue: Pavilion at Arsenale – Giardino delle Vergini

GUATEMALA

Sweet Death

Emma Anticoli Borza, Sabrina Bertolelli, Mariadolores Castellanos, Max Leiva, Pier Domenico Magri, Adriana Montalto, Elmar Rojas (Elmar René Rojas Azurdia), Paolo Schmidlin, Mónica Serra, Elsie Wunderlich, Collettivo La Grande Bouffe

Commissioner: Daniele Radini Tedeschi. Curators: Stefania Pieralice, Carlo Marraffa, Elsie Wunderlich. Deputy Curators: Luciano Carini, Simone Pieralice. Venue: Officina delle Zattere, Dorsoduro 947, Fondamenta Nani

HOLY SEE

Commissioner: Em.mo Card. Gianfranco Ravasi, Presidente del Pontificio Consiglio della Cultura. Venue: Pavilion at Arsenale – Sale d’Armi

HUNGARY

Sustainable Identities

Szilárd Cseke

Commissioner: Monika Balatoni. Deputy Commissioner: István Puskás, Sándor Fodor, Anna Karády. Curator: Kinga German. Venue: Pavilion at Giardini

ICELAND

Christoph Büchel

Commissioner: Björg Stefánsdóttir. Curator: Nína Magnúsdóttir. Venue: to be confirmed

INDONESIA, Republic of

Komodo Voyage

Heri Dono

Commissioner: Sapta Nirwandar. Deputy Commissioner: Soedarmadji JH Damais. Curator: Carla Bianpoen, Restu Imansari Kusumaningrum. Scientific Committee: Franco Laera, Asmudjo Jono Irianto, Watie Moerany, Elisabetta di Mambro. Venue: Venue: Arsenale

IRAN

Iranian Highlights

Samira Alikhanzaradeh, Mahmoud Bakhshi Moakhar, Jamshid Bayrami, Mohammed Ehsai

The Great Game

Lida Abdul, Bani Abidi, Adel Abidin, Amin Agheai, Ghodratollah Agheli, Shahriar Ahmadi, Parastou Ahovan, Farhad Ahrarnia, Rashad Alakbarov, Nazgol Ansarinia, Reza Aramesh, Alireza Astaneh, Sonia Balassanian, Mahmoud Bakhshi, Moakhar Wafaa Bilal, Mehdi Farhadian, Monir Farmanfarmaian, Shadi Ghadirian, Babak Golkar, Shilpa Gupta, Ghasem Hajizadeh, Shamsia Hassani, Sahand Hesamiyan, Sitara Ibrahimova, Pouran Jinchi, Amar Kanwar, Babak Kazemi, Ryas Komu, Ahmad Morshedloo, Farhad Moshiri, Mehrdad Mohebali, Huma Mulji, Azad Nanakeli, Jamal Penjweny, Imran Qureshi, Sara Rahbar, Rashid Rana, T.V. Santhosh, Walid Siti, Mohsen Taasha Wahidi, Mitra Tabrizian, Parviz Tanavoli, Newsha Tavakolian, Sadegh Tirafkan, Hema Upadhyay, Saira Wasim

Commissioner: Majid Mollanooruzi. Deputy Commissioners: Marco Meneguzzo, Mazdak Faiznia. Curators: Marco Meneguzzo, Mazdak Faiznia. Venue: Calle San Giovanni 1074/B, Cannaregio

IRAQ

Commissioner: Ruya Foundation for Contemporary Culture in Iraq (RUYA). Deputy Commissioner: Nuova Icona - Associazione Culturale per le Arti. Curator: Philippe Van Cauteren. Venue: Ca' Dandolo, San Polo 2879

IRELAND

Adventure: Capital

Sean Lynch

Commissioner: Mike Fitzpatrick. Curator: Woodrow Kernohan. Venue: Pavilion at Arsenale - Artiglierie

ISRAEL

Tsibi Geva | Archeology of the Present

Tsibi Geva

Commissioner: Arad Turgem, Michael Gov. Curator: Hadas Maor. Venue: Pavilion at Giardini

ITALY

Ministero dei Beni e delle attività culturali e del turismo - Direzione Generale Arte e Architettura Contemporanee e Periferie Urbane. Commissioner: Federica Galloni. Curator: Vincenzo Trione. Venue: Padiglione Italia, Tese delle Vergini at Arsenale

JAPAN

The Key in the Hand

Chiharu Shiota

Commissioner: The Japan Foundation. Deputy Commissioner: Yukihiro Ohira, Manako Kawata and Haruka Nakajima. Curator: Hitoshi Nakano. Venue : Pavilion at Giardini

KENYA

Creating Identities

Yvonne Apiyo Braendle-Amolo, Qin Feng, Shi Jinsong, Armando Tanzini, Li Zhanyang, Lan Zheng Hui, Li Gang, Double Fly Art Center

Commissioner: Paola Poponi. Curator: Sandro Orlandi Stagl. Deputy Curator: Ding Xuefeng. Venue: San Servolo Island

KOREA, Republic of

The Ways of Folding Space & Flying

MOON Kyungwon & JEON Joonho

Commissioner: Sook-Kyung Lee. Curator: Sook-Kyung Lee. Venue: Pavilion at Giardini

KOSOVO, Republic of

Speculating on the blue

Flaka Haliti

Commissioner: Ministry of Culture, Youth and Sports. Curator: Nicolaus Schafhausen. Deputy Curator: Katharina Schendl. Venue: Pavilion at Arsenale - Artiglierie

LATVIA

Armpit

Katrina Neiburga, Andris Eglitis

Commissioner: Solvita Krese (Latvian Centre for Contemporary Art). Deputy Commissioner: Kitija Vasiljeva. Curator: Kaspars Vanags. Venue: Pavilion at Arsenale

LITHUANIA

Museum

Dainius Liškevicius

Commissioner: Vytautas Michelkevicius. Deputy Commissioner: Rasa Antanaviciute. Curator: Vytautas Michelkevicius. Venue: Palazzo Zenobio, Fondamenta del Soccorso 2569, Dorsoduro

LUXEMBOURG, Grand Duchy of

Paradiso Lussemburgo

Filip Markiewicz

Commissioner: Ministry of Culture. Deputy Commissioner: MUDAM Luxembourg. Curator: Paul Ardenne. Venue: Cà Del Duca, Corte del Duca Sforza, San Marco 3052

MACEDONIA, Former Yugoslavian Republic of

We are all in this alone

Hristina Ivanoska and Yane Calovski

Commissioner: Maja Nedelkoska Brzanova, National Gallery of Macedonia. Deputy Commissioner: Olivija Stoilkova. Curator: Basak Senova. Deputy Curator: Maja Cankulovska Mihajlovska. Venue: Pavilion at Arsenale - Sale d’Armi

MAURITIUS *

From One Citizen You Gather an Idea

Sultana Haukim, Nirmal Hurry, Alix Le Juge, Olga Jürgenson, Helge Leiberg, Krishna Luchoomun, Neermala Luckeenarain, Kavinash Thomoo, Bik Van Der Pol, Laure Prouvost, Vitaly Pushnitsky, Römer + Römer

Commissioner: pARTage. Curators: Alfredo Cramerotti, Olga Jürgenson. Venue: Palazzo Flangini - Canareggio 252

MEXICO

Possesing Nature

Tania Candiani, Luis Felipe Ortega

Commissioner: Tomaso Radaelli. Deputy Commissioner: Magdalena Zavala Bonachea. Curator: Karla Jasso. Venue: Pavilion at Arsenale – Sale d’Armi

MONGOLIA *

Other Home

Enkhbold Togmidshiirev, Unen Enkh

Commissioner: Gantuya Badamgarav, MCASA. Curator: Uranchimeg Tsultemin. Scientific Committee: David A Ross, Boldbaatar Chultemin. Venue: European Cultural Centre - Palazzo Mora

MONTENEGRO

,,Ti ricordi Sjecaš li se You Remember "

Aleksandar Duravcevic

Commissioner/Curator: Anastazija Miranovic. Deputy Commissioner: Danica Bogojevic. Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero

MOZAMBIQUE, Republic of *

Theme: Coexistence of Tradition and Modernity in Contemporary Mozambique

Mozambique Artists

Commissioner: Joel Matias Libombo. Deputy Commissioner: Gilberto Paulino Cossa. Curator: Comissariado-Geral para a Expo Milano 2015. Venue: Pavilion at Arsenale

NETHERLANDS, The

herman de vries - to be all ways to be

herman de vries

Commissioner: Mondriaan Fund. Curators: Colin Huizing, Cees de Boer. Venue: Pavilion ar Giardini

NEW ZEALAND

Secret Power

Simon Denny

Commissioner: Heather Galbraith. Curator: Robert Leonard. Venue: Biblioteca Nazionale Marciana, Marco Polo Airport

NORDIC PAVILION (NORWAY)

Camille Norment

Commissioner: OCA, Office for Contemporary Art Norway. Curator: Katya García-Antón. Deputy Curator: Antonio Cataldo. Venue: Pavilion at Giardini

PERU

Misplaced Ruins

Gilda Mantilla and Raimond Chaves

Commissioner: Armando Andrade de Lucio. Curator: Max Hernández-Calvo. Venue: Pavilion at Arsenale – Sale d’Armi

PHILIPPINES

Tie a String Around the World

Manuel Conde, Carlos Francisco, Manny Montelibano, Jose Tence Ruiz

Commissioner: National Commission for Culture and the Arts (NCCA), Felipe M. de Leon Jr. Curator: Patrick D. Flores. Venue: European Cultural Centre - Palazzo Mora

POLAND

Halka/Haiti. 18°48’05”N 72°23’01”W

C.T. Jasper, Joanna Malinowska

Commissioner: Hanna Wróblewska. Deputy Commissioner: Joanna Wasko. Curator: Magdalena Moskalewicz. Venue: Pavilion at Giardini

PORTUGAL

I Will Be Your Mirror / poems and problems

João Louro

Commissioner/Curator: María de Corral. Venue: Palazzo Loredan, campo S. Stefano

ROMANIA

Adrian Ghenie: Darwin’s Room

Adrian Ghenie

Commissioner: Monica Morariu. Deputy Commissioner: Alexandru Damian. Curator: Mihai Pop. Venue: Pavilion at Giardini

Inventing the Truth. On Fiction and Reality

Michele Bressan, Carmen Dobre-Hametner, Alex Mirutziu, Lea Rasovszky, Stefan Sava, Larisa Sitar

Commissioner: Monica Morariu. Deputy Commissioner: Alexandru Damian. Curator: Diana Marincu. Deputy Curators: Ephemair Association (Suzana Dan and Silvia Rogozea). Venue: New Gallery of the Romanian Institute for Culture and Humanistic Research in Venice

RUSSIA

The Green Pavilion

Irina Nakhova

Commissioner: Stella Kesaeva. Curator: Margarita Tupitsyn. Venue: Pavilion at Giardini

SERBIA

United Dead Nations

Ivan Grubanov

Commissioner: Lidija Merenik. Deputy Commissioner: Ana Bogdanovic. Curator: Lidija Merenik. Deputy Curator: Ana Bogdanovic. Scientific Committee: Jovan Despotovic. Venue: Pavilion at Giardini

SAN MARINO

Repubblica di San Marino “ Friendship Project “ China

Xu De Qi, Liu Dawei, Liu Ruo Wang, Ma Yuan, Li Lei, Zhang Hong Mei, Eleonora Mazza, Giuliano Giulianelli, Giancarlo Frisoni, Tony Margiotta, Elisa Monaldi, Valentina Pazzini

Commissioner: Istituti Culturali della Repubblica di San Marino. Curator: Vincenzo Sanfo. Venue: TBC

SEYCHELLES, Republic of *

A Clockwork Sunset

George Camille, Léon Wilma Loïs Radegonde

Commissioner: Seychelles Art Projects Foundation. Curators: Sarah J. McDonald, Victor Schaub Wong. Venue: European Cultural Centre - Palazzo Mora

SINGAPORE

Sea State

Charles Lim Yi Yong

Commissioner: Paul Tan, National Arts Council, Singapore. Curator: Shabbir Hussain Mustafa. Scientific Committee: Eugene Tan, Kathy Lai, Ahmad Bin Mashadi, June Yap, Emi Eu, Susie Lingham, Charles Merewether, Randy Chan. Venue: Pavilion at Arsenale – Sale d’Armi

SLOVENIA, Republic of

UTTER / The violent necessity for the embodied presence of hope

JAŠA

Commissioner: Simona Vidmar. Deputy Commissioner: Jure Kirbiš. Curators: Michele Drascek and Aurora Fonda. Venue: Pavilion at Arsenale - Artiglierie

SPAIN

Los Sujetos (The Subjects)

Pepo Salazar, Cabello/Carceller, Francesc Ruiz, + Salvador Dalí

Commissioner: Ministerio Asuntos Exteriores. Gobierno de España. Curator: Marti Manen. Venue: Pavilion at Giardini

SYRIAN ARAB REPUBLIC

Origini della civiltà

Narine Ali, Ehsan Alar, Felipe Cardeña, Fouad Dahdouh, Aldo Damioli, Svitlana Grebenyuk, Mauro Reggio, Liu Shuishi, Nass ouh Zaghlouleh, Andrea Zucchi, Helidon Xhixha

Commissioner: Christian Maretti. Curator: Duccio Trombadori. Venue: Redentore – Giudecca, San Servolo Island

SWEDEN

Excavation of the Image: Imprint, Shadow, Spectre, Thought

Lina Selander

Commissioner: Ann-Sofi Noring. Curator: Lena Essling. Venue: Pavilion at Arsenale

SWITZERLAND

Our Product

Pamela Rosenkranz

Commissioner: Swiss Arts Council Pro Helvetia, Sandi Paucic and Marianne Burki. Deputy-Commissioner: Swiss Arts Council Pro Helvetia, Rachele Giudici Legittimo. Curator: Susanne Pfeffer. Venue: Pavilion at Giardini

THAILAND

Earth, Air, Fire & Water

Kamol Tassananchalee

Commissioner: Chai Nakhonchai, Office of Contemporary Art and Culture (OCAC), Ministry of Culture. Curator: Richard David Garst. Deputy Curator: Pongdej Chaiyakut. Venue: Paradiso Gallerie, Giardini della Biennale, Castello 1260

TURKEY

Respiro

Sarkis

Commissioner: Istanbul Foundation for Culture and Arts. Curator: Defne Ayas. Deputy Curator: Ozge Ersoy. Venue: Pavilion at Arsenale – Sale d’Armi

TUVALU

Crossing the Tide

Vincent J.F. Huang

Commissioner: Taukelina Finikaso. Deputy Commissioner: Temate Melitiana. Curator: Thomas J. Berghuis. Scientific Committee: Andrea Bonifacio. Venue: Pavilion at Arsenale

UKRAINE

Hope!

Yevgenia Belorusets, Nikita Kadan, Zhanna Kadyrova, Mykola Ridnyi & SerhiyZhadan, Anna Zvyagintseva, Open Group, Artem Volokitin

Commissioner: Ministry of Culture. Curator: Björn Geldhof. Venue: Riva dei Sette Martiri

UNITED ARAB EMIRATES

1980 – Today: Exhibitions in the United Arab Emirates

Abdullah Al Saadi, Abdul Qader Al Rais, Abdulraheem Salim, Abdulrahman Zainal, Ahmed Al Ansari, Ahmed Sharif, Hassan Sharif, Mohamed Yousif, Mohammed Abdullah Bulhiah, Mohammed Al Qassab, Mohammed Kazem, Moosa Al Halyan, Najat Meky, Obaid Suroor, Salem Jawhar

Commissioner: Salama bint Hamdan Al Nahyan Foundation. Curator: Hoor Al Qasimi. Venue: Pavilion at Arsenale – Sale d'Armi

UNITED STATES OF AMERICA

Joan Jonas: They Come to Us Without a Word

Joan Jonas

Commissioner: Paul C. Ha. Deputy Commissioner: MIT List Visual Arts Center. Curators: Ute Meta Bauer, Paul C. Ha. Venue: Pavilion at Giardini

URUGUAY

Global Myopia II (Pencil & Paper)

Marco Maggi

Commissioner: Ricardo Pascale. Curator: Patricia Bentancour. Venue: Pavilion at Giardini

VENEZUELA, Bolivarian Republic of

Te doy mi palabra (I give you my word)

Argelia Bravo, Félix Molina (Flix)

Commissioner: Oscar Sotillo Meneses. Deputy Commissioner: Reinaldo Landaeta Díaz. Curator: Oscar Sotillo Meneses. Deputy Curator: Morella Jurado. Scientific Committee: Carlos Pou Ruan. Venue: Pavilion at Giardini

ZIMBABWE, Republic of

Pixels of Ubuntu/Unhu: - Exploring the social and cultural identities of the 21st century.

Chikonzero Chazunguza, Masimba Hwati, Gareth Nyandoro

Commissioner: Doreen Sibanda. Curator: Raphael Chikukwa. Deputy Curator: Tafadzwa Gwetai. Scientific Committee: Saki Mafundikwa, Biggie Samwanda, Fabian Kangai, Reverend Paul Damasane, Nontsikelelo Mutiti, Stephen Garan'anga, Dominic Benhura. Venue: Santa Maria della Pieta

ITALO-LATIN AMERICAN INSTITUTE

Voces Indígenas

Commissioner: Sylvia Irrazábal. Curator: Alfons Hug. Deputy Curator: Alberto Saraiva. Venue: Pavilion at Arsenale

ARGENTINA

Sofia Medici and Laura Kalauz

PLURINATIONAL STATE OF BOLIVIA

Sonia Falcone and José Laura Yapita

BRAZIL

Adriana Barreto

Paulo Nazareth

CHILE

Rainer Krause

COLOMBIA

León David Cobo,

María Cristina Rincón and Claudia Rodríguez

COSTA RICA

Priscilla Monge

ECUADOR

Fabiano Kueva

EL SALVADOR

Mauricio Kabistan

GUATEMALA

Sandra Monterroso

HAITI

Barbara Prézeau Stephenson

HONDURAS

Leonardo González

PANAMA

Humberto Vélez

NICARAGUA

Raúl Quintanilla

PARAGUAY

Erika Meza

Javier López

PERU

José Huamán Turpo

URUGUAY

Gustavo Tabares

Ellen Slegers

001 Inverso Mundus. AES+F

Magazzino del Sale n. 5, Dorsoduro, 265 (Fondamenta delle Zattere ai Saloni); Palazzo Nani Mocenigo, Dorsoduro, 960

May 9th – October 31st

Organization: VITRARIA Glass + A Museum

www.vitraria.com

www.inversomundus.com

Catalonia in Venice: Singularity

Cantieri Navali, Castello, 40 (Calle Quintavalle)

May 9th - November 22nd

Organization: Institut Ramon Llull

www.llull.cat

venezia2015.llull.cat

Conversion. Recycle Group

Chiesa di Sant’Antonin, Castello (Campo Sant’Antonin)

May 6th - October 31st

Organization: Moscow Museum of Modern Art

www.mmoma.ru/

Dansaekhwa

Palazzo Contarini-Polignac, Dorsoduro, 874 (Accademia)

May 7th – August 15th

Organization: The Boghossian Foundation

www.villaempain.com

Dispossession

Palazzo Donà Brusa, Campo San Polo, 2177

May 9th - November 22nd

Organization: European Capital of Culture Wroclaw 2016

wroclaw2016.pl/biennale/

EM15 presents Doug Fishbone’s Leisure Land Golf

Arsenale Docks, Castello, 40A, 40B, 41C

May 6th - July 26th

Organization: EM15

www.em15venice.co.uk

Eredità e Sperimentazione

Grand Hotel Hungaria & Ausonia, Viale Santa Maria Elisabetta, 28, Lido di Venezia

May 9th - November 22nd

Organization: Istituto Nazionale di BioArchitettura - Sezione di Padova

www.bioarchitettura.it

Frontiers Reimagined

Palazzo Grimani, Castello, 4858 (Ramo Grimani)

May 9th - November 22nd

Organization: Tagore Foundation International; Polo museale del Veneto

www.frontiersreimagined.org

Glasstress 2015 Gotika

Istituto Veneto di Scienze Lettere ed Arti, Palazzo Cavalli Franchetti, San Marco, 2847 (Campo Santo Stefano); Chiesa di Santa Maria della Visitazione, Centro Culturale Don Orione Artigianelli, Dorsoduro, 919 (Zattere); Fondazione Berengo, Campiello della Pescheria, 15, Murano;

May 9th — November 22nd

Organization: The State Hermitage Museum

www.hermitagemuseum.org

Graham Fagen: Scotland + Venice 2015

Palazzo Fontana, Cannaregio, 3829 (Strada Nova)

May 9th - November 22nd

Organization: Scotland + Venice

www.scotlandandvenice.com

Grisha Bruskin. An Archaeologist’s Collection

Former Chiesa di Santa Caterina, Cannaregio, 4941-4942

May 6th – November 22nd

Organization: Centro Studi sulle Arti della Russia (CSAR), Università Ca’ Foscari Venezia

www.unive.it/csar

Helen Sear, ... The Rest Is Smoke

Santa Maria Ausiliatrice, Castello, 450 (Fondamenta San Gioacchin)

May 9th - November 22nd

Organization: Cymru yn Fenis/Wales in Venice

www.walesinvenice.org.uk

Highway to Hell

Palazzo Michiel, Cannaregio, 4391/A (Strada Nova)

May 9th - November 22nd

Organization: Hubei Museum of Art

www.hbmoa.com

Humanistic Nature and Society (Shan-Shui) – An Insight into the Future

Palazzo Faccanon, San Marco, 5016 (Mercerie)

May 7th – August 4th

Organization: Shanghai Himalayas Museum

www.himalayasmuseum.org

In the Eye of the Thunderstorm: Effervescent Practices from the Arab World & South Asia

Dorsoduro, 417 (Zattere)

May 6th - November 15th

Organization: ArsCulture

www.arsculture.org/

www.eyeofthunderstorm.com

Italia Docet | Laboratorium- Artists, Participants, Testimonials and Activated Spectators

Palazzo Barbarigo Minotto, San Marco, 2504 (Fondamenta Duodo o Barbarigo)

May 9th – June 30th; September 11st – October 31st

Organization: Italian Art Motherboard Foundation (i-AM Foundation)

www.i-amfoundation.org

www.venicebiennale-italiadocet.org

Jaume Plensa: Together

Basilica di San Giorgio Maggiore, Isola di San Giorgio Maggiore

May 6th – November 22nd

Organization: Abbazia di San Giorgio Maggiore Benedicti Claustra Onlus

www.praglia.it

Jenny Holzer "War Paintings"

Museo Correr, San Marco, 52 (Piazza San Marco)

May 6th – November 22nd

Organization: The Written Art Foundation; Museo Correr, Fondazione Musei Civici di Venezia

www.writtenartfoundation.com

correr.visitmuve.it

Jump into the Unknown

Palazzo Loredan dell’Ambasciatore, Dorsoduro, 1261-1262

May 9th – June 18th

Organization: Nine Dragon Heads

9dh-venice.com

Learn from Masters

Palazzo Bembo, San Marco, 4793 (Riva del Carbon)

May 9th – November 22nd

Organization: Pan Tianshou Foundation

pantianshou.caa.edu.cn/foundation_en

My East is Your West

Palazzo Benzon, San Marco, 3927

May 6th – October 31st

Organization: The Gujral Foundation

www.gujralfoundation.org

Ornamentalism. The Purvitis Prize

Arsenale Nord, Tesa 99

May 9th – November 22nd

Organization: The Secretariat of the Latvian Presidency of the Council of the European Union in 2015

www.purvisabalva.lv/en/ornamentalism

Path and Adventure

Arsenale, Castello, 2126/A (Campo della Tana)

May 9th – November 22nd

Organization: The Civic and Municipal Affairs Bureau; The Macao Museum of Art; The Cultural Affairs Bureau

www.iacm.gov.mo

www.mam.gov.mo

www.icm.gov.mo

Patricia Cronin: Shrine for Girls, Venice

Chiesa di San Gallo, San Marco, 1103 (Campo San Gallo)

May 9th – November 22nd

Organization: Brooklyn Rail Curatorial Projects

curatorialprojects.brooklynrail.org

Roberto Sebastian Matta. Sculture

Giardino di Palazzo Soranzo Cappello, Soprintendenza BAP per le Province di Venezia, Belluno, Padova e Treviso, Santa Croce, 770 (Fondamenta Rio Marin)

May 9th – November 22nd

Organization: Fondazione Echaurren Salaris

www.fondazioneechaurrensalaris.it

www.maggioregam.com/56Biennale_Matta

Salon Suisse: S.O.S. Dada - The World Is A Mess

Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)

May 9th; June 4th - 6th; September 10th - 12th; October 15th - 17th; November 19th – 21st

Organization: Swiss Arts Council Pro Helvetia

www.prohelvetia.ch

www.biennials.ch

Sean Scully: Land Sea

Palazzo Falier, San Marco, 2906

May 9th – November 22nd

Organization: Fondazione Volume!

www.fondazionevolume.com

Sepphoris. Alessandro Valeri

Molino Stucky, interior atrium, Giudecca, 812

May 9th – November 22nd

Organization: Assessorato alla Cultura del Comune di Narni(TR); a Sidereal Space of Art; Satellite Berlin

www.sepphorisproject.org

Tesla Revisited

Palazzo Nani Mocenigo, Dorsoduro, 960

May 9th – October 18th

Organization: VITRARIA Glass + A Museum

www.vitraria.com/

The Bridges of Graffiti

Arterminal c/o Terminal San Basilio, Dorsoduro (Fondamenta Zattere al Ponte Lungo)

May 9th - November 22nd

Organization: Associazione Culturale Inossidabile

www.inossidabileac.com

The Dialogue of Fire. Ceramic and Glass Masters from Barcelona to Venice

Palazzo Tiepolo Passi, San Polo, 2774

May 6th - November 22nd

Organization: Fundaciò Artigas; ArsCulture

www.fundacio-artigas.com/

www.arsculture.org/

www.dialogueoffire.org

The Question of Beings

Istituto Santa Maria della Pietà, Castello, 3701

May 9th - November 22nd

Organization: Museum of Contemporary Art, Taipei (MoCA, Taipei)

www.mocataipei.org.tw

The Revenge of the Common Place

Università Ca' Foscari, Ca' Bernardo, Dorsoduro, 3199 (Calle Bernardo)

May 9th – September 30th

Organization: Vrije Universiteit Brussel (Free University Brussels-VUB)

www.vub.ac.be/

The Silver Lining. Contemporary Art from Liechtenstein and other Microstates

Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)

October 24th – November 1st

Organization: Kunstmuseum Liechtenstein

www.kunstmuseum.li

www.silverlining.li

The Sound of Creation. Paintings + Music by Beezy Bailey and Brian Eno

Conservatorio Benedetto Marcello, Palazzo Pisani, San Marco, 2810 (Campo Santo Stefano)

May 7th - November 22nd

Organization: ArsCulture

www.arsculture.org/

The Union of Fire and Water

Palazzo Barbaro, San Marco, 2840

May 9th - November 22nd

Organization: YARAT Contemporary Art Organisation

www.yarat.az

www.bakuvenice2015.com

Thirty Light Years - Theatre of Chinese Art

Palazzo Rossini, San Marco, 4013 (Campo Manin)

May 9th - November 22nd

Organization: GAC Global Art Center Foundation; The Guangdong Museum of Art

www.globalartcenter.org

www.gdmoa.org

Tsang Kin-Wah: The Infinite Nothing, Hong Kong in Venice

Arsenale, Castello, 2126 (Campo della Tana)

May 9th - November 22nd

Organization: M+, West Kowloon Cultural District; Hong Kong Arts Development Council

www.westkowloon.hk/en/mplus

www.hkadc.org.hk

www.venicebiennale.hk

Under the Surface, Newfoundland and Labrador at Venice

Galleria Ca' Rezzonico, Dorsoduro, 2793

May 9th - November 22nd

Organization: Terra Nova Art Foundation

tnaf.ca

Ursula von Rydingsvard

Giardino della Marinaressa, Castello (Riva dei Sette Martiri)

May 6th - November 22nd

Organization:Yorkshire Sculpture Park

www.ysp.co.uk

We Must Risk Delight: Twenty Artists from Los Angeles

Magazzino del Sale n. 3, Dorsoduro, 264 (Zattere)

May 7th - November 22nd

Organization: bardoLA

www.bardoLA.org

Wu Tien-Chang: Never Say Goodbye

Palazzo delle Prigioni, Castello, 4209 (San Marco)

May 9th - November 22nd

Organization: Taipei Fine Arts Museum of Taiwan

www.tfam.museum

Wicca's Wardrobe by Sita Writer

sitawriter.blogspot.com/2018/02/mr-x-and-misaki-gotcha-wi...

Daisy 09 by Phi Trieu Photography

8 2

The áo dài is a Vietnamese traditional garment, worn by both sexes but now most commonly worn by women. In its current form, it is a tight-fitting silk tunic worn over trousers. Áo translates as shirt. Dài means “long”.

Film | Fuji C200

Model | Katherine Lê

All be loved at phitrieu.com/ao-dai/tim-hue-va-cuc-hoa-mi.html

Follow me at

phitrieu.com

IG + FB | @phitrieu.pro5

Twitter | @phitrieupro5

Flickr | flickr.com/phitrieu

500px | 500px.com/phitrieu

Second Outlet Channel Structure by Trudy -

21 16

Clear Creek Second Outlet Channel and Gated Structure

Located near S.H. 146 just north of the Clear Lake natural outlet at Kemah/Seabrook, the Clear Creek second outlet channel was built to allow the discharge of watershed runoff from Clear Lake into Galveston Bay so lake levels are not increased due to a proposed upstream Clear Creek channel enlargement. Gates were included to reduce sediment inflow into the channel, lessen impacts of currents on navigation adjacent to the second outlet channel, and to prevent changes in tidal inflow and salinity intrusion through the second outlet from causing changes to the existing hydraulic and environmental conditions of Clear Lake.

The gates do not provide tidal or hurricane protection for lakeside or Clear Creek communities.

Pisa #5 by Antonio Mariniello

14 17

________________________________________________________________________

Nikon D300 + Samyang 8mm

________________________________________________________________________

Compra le mie stampre su www.antoniomariniello.com

Buy my photos on www.antoniomariniello.com

________________________________________________________________________

Antonio Mariniello website & Antonio Mariniello Facebook Fan Page

________________________________________________________________________

Contatto - Contact: mrantonio9285@ymail.com

________________________________________________________________________

________________________________________________________________________

Please don't use my pics. If you are interested in this pic contact me.

La riproduzione totale o parziale, in qualunque forma è proibita senza autorizzazione.

________________________________________________________________________

Σχετικά με μια κανονική πνευματική ζωή by Enxin Li

el.kingdomsalvation.org/regarding-a-normal-spiritual-life...

Ο Θεός λέει: «Αν επιθυμείς να ζεις μια κανονική πνευματική ζωή, πρέπει να λαμβάνεις νέο φως καθημερινά, να αναζητάς την αληθινή κατανόηση των λόγων του Θεού και να κατορθώνεις μια διαύγεια προς την αλήθεια. Χρειάζεται να έχεις ένα μονοπάτι προς την πράξη σε όλους τους τομείς, και με την ανάγνωση των λόγων του Θεού κάθε μέρα μπορείς να βρεις νέα ερωτήματα και να ανακαλύπτεις τα δικά σου ελαττώματα. Τα παραπάνω με την σειρά τους φέρνουν στο φως μια καρδιά που διψά και αναζητά, που θα θέσει σε κίνηση ολόκληρη την ύπαρξή σου, και θα μπορείς να είσαι ήσυχος ενώπιον του Θεού οποιαδήποτε στιγμή, και να έχεις έναν βαθύ φόβο ότι μένεις πίσω. Αν ένα άτομο μπορεί να έχει αυτήν τη διψασμένη και διερευνητική καρδιά, και επίσης είναι πρόθυμο να εισέρχεται διαρκώς, τότε βρίσκεται στο σωστό δρόμο για μια πνευματική ζωή».

από το βιβλίο «Ο Λόγος Ενσαρκώνεται»

Πηγή εικόνας: Εκκλησία του Παντοδύναμου Θεού

Νομική Γνωστοποίηση και Όροι Χρήσης:

el.kingdomsalvation.org/disclaimer.html

1 2 ••• 51 52 53 54 55 56 57 ••• 79 80

Tags HTML

View allAll Photos Tagged HTML