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רישום בצבע אדום גברים נשים מתנשקים אוהבים ציורים רומנטיים יוצרים אווירה ואנרגיה טובה בבית
ראו בקישור מספר ציורים אורגינאלים והדפסים ענקיים שישנם והם למכירה בסטודיו
naiveartprints.blogspot.com/2021/11/blog-post.html
רפי פרץ
סטודיו רחוב התחייה 22 תל אביב
טלפון 0525543715
אימייל rafi@art4collector.com
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.ציורים עיצוב הבית סגנונות עיצובי פנים סגנון מודרני יוקרתי הום סטיילינג מעצבי הפנים העיצוב הישראלי המודרני היוקרתי תמונות לעיצוב הבית ציורים לסלון לחדר שינה למטבח לשירותים ציור בסלון בחדר השינה במטבח בשרותים אמנות ישראלית בבית אומנות הישראלית בבתים מעצבים לך את היצירה בדירה צירה חדשנית מקורית דירות חדשניות מקוריות יוקרתיות תמונות מותאמות לספה למיטה רעיונות בתכנון הסלון המטבח סלון משרד מטבח משרדים סלונים ספות יפות צבעוניות טקסטורות טיפ והדרכה בתיכנון צבע לקיר צבעים לקירות קיר בהיר קירות בהירים משטח ככה משטחים כהים חלל מינימליסטי חללים מינימליסטיים צבעים לבן שחור אדום כתום כחול תכלת סגול צהוב ירוק בצבעים לבנים שחורים אדומים כתומים כחולים סגולים צהובים ירוקים באדום בכתום בצהוב בירוק בכחול בסגול בשחור בלבן מדרגות מרחפות מדרגה מרחבת חדרי ילדים מבוגרים הורים תינוקות דקורציה של הבתים הום דקור תל אביב חיפה ירושלים באר שבע חולון בת יום ראשון לציור אשדוד גבעתיים רמת גן פתח תקווה הרצליה נתינה חיפוי לקיר חיפויים לקירות בריקים הקיר הלבן סגנונות של דירות כפרי עמוס דקורטיבי כפריים חלל גדול קטן חללים גדולים קטנים ארונות שידות ארון דישה שולחן שולחנות כיסא כיסאות חלון חלונות מנורה מנורות אביזר אביזרים לבית פרטי לבתים פרטיים גינה גינות בחוץ בפנים חוץ פנים חרב תחושה מרחב מרחבים צרו קשר צור קשרים בקישור הבא ליצירה הקשר המעצב הפרטים העיצוב הפרטי אישי אינטימי רומנטי אווירה רומנטית אווירה נקייה רפי פרץ צייר ישראלי אמן עכשווי מודרני ציירים ישראלים אמנים ישראליים אומנים עכשוויים מודרניים יוצרים חדשניים מקוריים אומנות ישראלית עכשווית מודרנית חדשנית מקורית אמן ישראלי עכשווי מודרני חדשני מקורי יוצר יצירות ישראליות עכשוויות מודרניות מקוריות חדשניות התמונה היפה התמונות היפות הציור המיוחד הציורים המיוחדים הצייר הישראלי העכשווי המודרני הישראלי האמן החדשני המקורי האמנים הישראליים העכשוויים המודרניים המקוריים החדשניים המעצבים
raphael perez painter artist Paintings Home Design Styles Interior Design Upscale Modern Style Home Styling Interior Designers Upscale Modern Israeli Design Home Decor Paintings For Living Room For Bedroom Kitchen For Toilet Painting For Living Room In The Bedroom In The Kitchen Israeli Art At Home Israeli Art In Homes Design Your Work In The Apartment Original Innovative Art Original Luxury Tailor-made pictures Bed design ideas Kitchen living room Living room Office kitchen Offices Living rooms Beautiful sofas Colorful textures Tip and guidance in color planning Wall colors Wall walls Light walls Light surface Dark surfaces Minimalist spaces Minimalist colors White black red orange Blue light blue Purple Yellow yellow Black white Oranges Blue Purple Yellow Green In Red In Orange In Yellow In Blue In Purple In Black In White Floating Stairs Staircase Room Adult Children Rooms Parents Babies Home Decor Home Decoration Tel Aviv Haifa Jerusalem Beer Sheva Holon Sunday Painting Ashdod Givatayim Ramat Gan Petah Tikva Herzliya Giving Wall Cladding White wall bricks styles of rustic apartments laden with decorative rustic large space small spaces c Small dolls Chests of drawers Wardrobe Closet table Tables Chairs Window windows Lamp Lamps Accessories Home appliances Private homes Garden Gardens Outside interior Exterior Interior Sense Space Spaces Contact us Contact us at the following link Contact designer Private private intimate Romantic atmosphere Clean atmosphere Rafi Peretz Israeli painter modern contemporary artist Israeli painters Israeli artists modern contemporary artists original innovative artists original contemporary modern Israeli art original innovative modern contemporary Israeli artist creates original contemporary contemporary Israeli works The beautiful pictures The beautiful Israeli modern special paintings The unique Israeli paintings Original Contemporary Israeli Artists The original innovative innovative designers
Obama WINS!
I headed to Grant Park direct from work, some time around 8:45pm. It seemed like none of the newspaper or TV websites could agree - the more cautious ones like the New York Times were updating as votes trickled in; other sites like Yahoo and CNN were projecting winners ahead of the final winners. Lest you think your vote doesn't count, just look at the state-by-state tallies - some of the states were won by a fraction of a percentage - fifteen or twenty thousand votes. That's the size of a small town.
The Loop was nearly empty, the few pedestrians there were all hurrying towards the lakefront. Police officers and CTA workers stood in clusters; buses lined up to be ready for the post-rally surge of people. As I waited at one corner, the three Streets and Sanitation men clustered there told me they heard it was "over 200" for Obama so far.
Here were all the people: a steady stream down both sides of Michigan Avenue, all heading for the few access points for the park. Hucksters hawked along the sidewalks, bikes were jammed along any surface where they could be locked, and everyone, it seemed, wore something showing their support for Obama.
I turned into Grant Park at the access point at Jackson, and joined the thick crowds aiming for the various large projection screens that had been scattered throughout the park. Forget the idea that the "smaller" event was going on at the Petrillo Bandshell; these crowds were like you see for the Taste. The ticketed event on the south side of the park was jam-packed and well-lit. People wandered around, talking and eating pizzas and checking their cell phones for updates. I was alternatively checking my own phone for election results and texts from my friend Vinnie, who I was trying to find amidst all these other supporters.
Every time a state win was announced, cheers would erupt from the crowds. People who had started the evening total strangers stood together, hands clutched or arms linked as they anxiously watched the screens, side by side - all colors, all religions, all ages, all united in one view, in a momentous moment in our country's history.
Then came the announcement - Virginia, I think it was, had gone to Barack Obama, and it was enough to give him the victory. Everybody was yelling, crying, hugging, waving flags; the park erupted in sound and flashbulbs and cheers.
I turned around and found myself facing a short, wiry old black man who was not even as tall as I am. His face was screwed up in emotion, tears spilling down his cheeks. The raw and naked emotion on his face said it all: this was a man who had seen much in his life, and now in the twilight of his years, we had finally elected a black President. He looked at once dazed and hopeful, standing there in his Bulls jacket and Sox cap and Obama shirt, hands moving unconsciously at his sides, his eyes continuing to water.
"A black man... our President. A black man... I never thought I would live to see this day." You could hear both the disbelief and the wonderment in his voice. His gaze fixed on mine, his dark eyes looking into my blue ones, and he held his arms open. "Would you please give me a hug?" he asked.
"Of course," I replied, smiling, and gave him a hug.
He hugged me fiercely, not letting go, and I could feel his body shaking as he sobbed against my shoulder. When he finally stepped back, he looked intently at me, tears still running from his eyes. "You know what this means, don't you? Anything is possible. Anything. Anybody can be anything they want."
"Yes, they can. This is a great day for our country."
"A great day." He looked away from me for a moment, towards the nearest projection screens and the jubilant crowds. "A great day. Yes, they can."
* * *
My picture has been featured here:
ballotvox.prx.org/archives/854/they-took-to-the-streets
And my story has been copied here:
ballotvox.prx.org/archives/852/a-black-man-will-be-president
* * *
BIENNALIST @ Venice Biennale
www.emergencyrooms.org/biennalist.html
by www.colonel.dk and www.emergencyrooms.org
www.emergencyrooms.org/formats.html about other art format
------------about Venice Biennale history from wikipedia ---------
The Venice Biennale in English also called the "Venice Biennial") refers to an arts organization based in Venice
The Art Biennale, a contemporary visual art exhibition and so called because it is held biennially
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]
In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Azerbaijan, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czech and Slovak Republics, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, ten new participant countries developed national pavilions for the Biennale: Angola, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada [4], Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[29]
----------
#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
, Photographic Source
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 artist
See the Savannah River Bluffs Heritage Preserve in an interactive view (requires shockwave - a free, one-time, automatic download).
Camera: Nikon D100
Lense: AF-S DX Nikkor 18-70 mm f/3.5-4.5G IF-ED
Tripod: Manfrotto
Tripod head: Manfrotto 322RC2 Tripod Head with Nodal Ninja
Photos: 9 + 9 + 9 + 2 = 29 photos (three rows plus zenith and nadir)
Software: Stitched with PTGui (but warped with Panorama Tools); Blended with Enblend plugin; No photoshop
Original Image: 10,000 x 5,000 pixels; 27.5 MB
Location: Google Earth (requires Google Earth) | Street | Satellite | Hybrid | Nautical | Topo
CIF CENTRAL SECTION CHAMPIONSHIP
Liberty High School - Wednesday, May 14, 2008
www.andynoise.com/valley08.html
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Bakersfield (Hunt, Turner, Johnson, Norwood), 42.28; 2. Clovis East (Bourbon, Scott, Smith, Woods), 42.58; 3. Redwood (Stewart, Ray, Root, Coles), 43.07; 4. Central (Newsome, Bigelow, Hammack, Phillips), 43.15. 1,600--1. Chris Schwartz, Foot, 4:15.80; 2. Jonathan Sanchez, Buch, 4:17.48; 3. Eric Battles, CW, 4:20.34; 4. Jesse Arellano, Mad, 4:21.56. 110H--1. Ethan DeJongh, MtW, 14.49; 2. Sean Johnson, Buch, 14.66; 3. Jon Funch, CW, 14.81; 4. Isiah Crunk, Wash, 15.17. 400--1. Maurice Lewis, Ed, 49.08; 2. Isiah Purvis, Lib, 49.13; 3. Daniel Lozano, Stock, 49.35; 4. Jelani Hendrix, Ed, 49.62. 100--1. Brendon Bigelow, Central, 10.62; 2. Emmanuel Turner, Bak, 10.81; 3. Matt Sumlin, Gar, 10.91; 4. Chris Lopez, GW, 10.98. 800--1. Anthony Mitchell, North, 1:54.19; 2. Aric Champagne, MtW, 1:54.97; 3. Andrew Campbell, CW, 1:55.69; 4. Arturo Ramirez, Centennial, 1:55.83. 300H--1. DeJongh, MtW, 37.93; 2. Cody Alves, Sel, 37.94; 3. James Smith, CE, 39.03; 4. Sean Johnson, Buch, 39.28. 200--1. Brendon Bigelow, Central, 21.29; 2. Isiah Purvis, Lib, 21.96; 3. Mario Navarette, Sanger, 22.04; 4. Chris Lopez, GW, 22.29. 3,200--1. Chris Schwartz, Foot, 9:24.19; 2. Jonathan Sanchez, Buch, 9:24.99; 3. Jon Ross, CE, 9:26.42; 4. Danny Vartanien, Buch, 9:26.42. 1,600 relay--1. Edison (Hendrix, Carter, Boughton, Lewis), 3:17.86; 2. Liberty (Hill, Garside, Affentranger, Purvis), 3:18.95; 3. Bakersfield (Miller, Turner, Johnson, Gooden), 3:20.06; 4. Clovis East (Ellis, Defonska, Woods, Smith), 3:22.40. PV--1. Andrew Lohse, Mad, 15-0; 2. Michael Peterson, CE, 15-0J; 3. Jeff Brenner, Cl, 14-6; 4. Frankie Puente, Sel, 14-0. SP--1. Dayshan Ragans, Foot, 60-7; 2. Matt Darr, Fron, 52-8.75; 3. Troy Rush, CW, 52-8.5; 4. Christian Millard, CE, 51-10.5. TJ--1. Johnny Carter, Ridge, 48-3; 2. Tyler Thompson, Shaf, 47-3; 3. Chris Kelly, Ridge, 46-11.5; 4. Jordan Smith, Central, 46-10.5. D--1. Dayshan Ragans, Foot, 199-2; 2. Jacob Budwig, Fowl, 168-8; 3. Niko Gomes, Cl, 164-10; 4. Matt Darr, Fron, 157-7. LJ--1. Kenny Phillips, Central, 23-4; 2. Tyler Thompson, Shaf, 21-11.5; 3. Dillon Root, Red, 21-11; 4. Kevin Norwood, GV, 21-8.75. HJ--1. Kenny Phillips, Central, 6-8; 2. Isiah Griggs, Bak, 6-6; 3. George Robbins, West, 6-4; 4. Jeff Brenner, Cl, 6-4J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
Girls track
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Edison (Eng, Scott, Thompson, Sears), 47.16; 2. Bullard (J. Williams, Riddlesprigger, Baisch, L. Williams), 48.17; 3. Tulare Western, 48.73; 4. Bakersfield (Torres, Belt, Brown, Wandick), 48.80. 1,600--1. Saleh Barsarian, Cl, 5:02.98; 2. Meghan Marvin, Cl, 5:03.02; 3. Chloe Allen, CW, 5:04.62; 4. Allison Gonzales, Ex, 5:11.52; 100H--1. Alyssa Monteverde, CW, 14.59; 2. Brianny Williams, Ed, 14.60; 3. Taylor Jackson, Fr, 15.04; 4. Jen Melton, CW, 15.37. 400--1. Breanna Thompson, Ed, 56.64; 2. Dedrea Wyrik, Sun, 57.49; 3. Lasasha Aldredge, Central, 58.12; 4. Taylor Donaldson, Reed, 58.13. 100--1. Megan Del Pino, CW, 11.66; 2. Jenna Prandini, Cl, 11.74; 3. Lynn Williams, Bul, 12.00; 4. Brushay Wandick, Bak, 12.01. 800--1. Allysa Mejia, Reed, 2:17.47; 2. Molly Pahkamaa, ElD, 2:17.73; 3. Katie Fry, Ex, 2:18.74; 4. Ashlee Thomas, Centennial, 2:19.77. 300H--1. Alyssa Monteverde, CW, 43.92; 2. Taylor Jackson, Fron, 44.86; 3. Brianny Williams, Ed, 45.69; 4. Alana Alexander, Centennial, 46.12. 200--1. Megan Del Pino, CW, 23.94; 2. Dominique Whittington, Lem, 24.65; 3. Brushay Wandick, Bak, 24.69; 4. Breanna Thompson, Ed, 24.90. 3,200--1. Jordan Hasay, MP, 10:24.78; 2. Meghan Marvin, Cl, 10:59.96; 3. Chloe Allen, CW, 11:06.19; 4. Corina Mendoza, Mad, 11:32.06. 1,600 relay--1. Edison (Burk, Thompson, Scott, Smith), 3:54.89; 2. Stockdale (Cady, Anderson, Mello, S. Anderson), 3:58.26; 3. Clovis West (Laidley, Capriotti, Del Pino, Monteverde), 3:59.02; 4. Reedley, 3:59.07. D--1. Anna Jelmini, Shaf, 162-5; 2. Alex Collatz, Stock, 148-6; 3. Carey Tuuamalemalo, Taft, 130-9; 4. Janae Coffee, CW, 121-6. LJ--1. Jenna Prandini, Cl, 18-7.25; 2. Lynn Williams, Bul, 18-0.75; 3. Alana Alexander, Centennial, 17-6.75; 4. Ja'Nia Sears, Ed, 17-6.5. HJ--1. Alyssa Monteverde, CW, 5-4; 2. Cristina Muro, GW, 5-2; 3. Katherine Mahr, Buch, 5-2; 4. Marish Riddlesprigger, Bul, 5-2J. SP--1. Anna Jelmini, Shaf, 44-0.75; 2. Destanie Yarbrough, CE, 37-10; 3. Heather Vermillion, Red, 37-9; 4. Tasha Firstone, CW, 36-6.5. TJ--1. Alana Alexander, Centennial, 38-3.75; 2. Jenna Prandini, Cl, 38-3; 3. Goziam Okolie, 36-10.5; 4. Alex Collatz, Stock, 36-2. PV--1. Allison Berryhill, CW, 11-6; 2. Amanda Klinchuch, Lib, 11-6J; 3. Cheree Jones, King, 10-6; 4. Emily Falkenstein, Buch, 10-6J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
[crosseye stereograph, see 3D with your right eye on the left image, and left on right.]
CABLE CAR.
One of the famed San Francisco Cable Cars. The first cable car operated in 1873, and was developed by Andrew S. Hallidie. Three foot six inch gauge.
==================.
San Fransisco Municipal Railway #21
[A 55.04.04]
Just as it had a subway long ago - Los Angeles of the past boasted cable cars.
The first forms of public transit in Los Angeles were stagecoaches and wagons. Two omnibus-type wagons were set up for operation on a set schedule in 1873, and not too long after that, the first horse-drawn street cars finally made an appearance on the streets of Los Angeles. The next step in the mechanical evolution of mass transit was the cable car. Pulling small railroad cars along with a cable or steel rope had been used in San Francisco for many years before investors tried the technology in Los Angeles. With the most desirable residential subdivisions being laid out atop the rolling hills of the Los Angeles basin, cable car technology was a smart and efficient way to provide commuter access to the hilltops.
Use of cable cars required an up-front investment in the cable and the cars of course, but also in electric power plants that supplied the power to run the cables.
Thereafter, cable cars were cheaper and cleaner to run simply because there were no horses to feed or clean up after. A cable railway could also offer safe group travel up an down steep hills which would have been too hard for horses. Cable cars were limited, however, to the length of a cable (10,000 or 20,000 feet). Even in the short run, this did not work well in the Los Angeles of the 1880s, which kept sprawling out further and further. Cable cars also used a huge amount of the electricity generated in the power plants.
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This particular car came not from Los Angeles, but from the more famous city known for its cable cars, San Fransisco. In 1952, even before Travel Town formally opened, founder Charley Atkins asked the Mayor of San Francisco for a cable car to display, but was told, with apology, that cable cars could not be sold or given away. Three years later, a solution was found: a cable car was placed on loan as the center piece of the 1955 International Flower Show in Los Angeles. Afterwards, it moved to permanent loan at Travel Town.
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This car is also a good example of a type of early in-town passenger car called a "California" car, with some interior space. inside a compartment, and other benches open to the weather, this type of exposure was not practical in most areas of the country besides California.
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BUILT: C. 1880.
LENGTH: 30'.
GAUGE: 3' 6".
PERMANENT LOAN: CITY OF SAN FRANCISCO.
==========.
This car differs from those still in daily service. It has long boards attached to the sides like shelves, for a problem that no longer exists, they are fenders to protect the curved sides of the car from wagon wheels. Wagon wheel fenders are unnecessary today. The bumpers on the end sill are narrow and relatively unprotected, whereas today's Cable Cars are operating in the midst of six and seven thousand pound personal automobiles, as well as much more massive buses and trucks. At the turn of the 20th century, horse drawn carts and carriages were not as likely, in a collision, to reduce a cable car to splinters so there are now tremendous wooden bumpers built up and covered with thick steel straps rolled tight on each end to thicken them. One problem remains from the past, lights. Not only for safety, headlights and tail lights, but lamps inside for general illumination are required, and those are powered by batteries under the seats. Many more batteries were added under the seats for the small fleet of San Francisco Cable Cars that were powered along by electric motors, operated at Knott's Berry Farm, in Buena Park, California, and many more panels covered them. This cable car has those extra wooden panels that most San Francisco cars do not cover the underside of every seat. There is another indicator told me late one night between parking Cable Cars at the Car Barn in San Fransisco by the turntable operator. The Cable Car conversions that had been at Knott's Berry Farm, which had been used for a short time in San Francisco after the great earthquake, came originally from Oakland and ran on roads that were straight from end to end, the support from the trucks reflected that. The trucks in service today must twist very tight curves, the tightest curves are nearest the powerhouse/yard/museum. The bolsters under the frame are flat iron pads cut in a curve that rest on the trucks supporting the frame, and those curves are cut larger on the cars built for the current system. Also the underside of the cars have many points of interference with the trucks on those tight curves. Because the cars were rejected when Knott's offered them back, primarily because the wheel flanges couldn't clear the frame, and knowing that the cars went SOMEWHERE, (one was put on a truck frame) leads me to believe that the discrepancy of the number on the Travel Town sign (#21) doesn't match the number painted on the end which is a number known to have run at Knott's (#28) leads me to believe that this may be a car I rode as a child through the Knott's parking lot to get to the Henry's Auto Livery and drive Tin Lizzie's, from the barn at the North-West corner of Beach Bl. and Crescent.
On the cars in service today, there is a metal plate protecting the front of this truck assembly from debris which could damage running gear and brakes. The hole in the center of that plate must be to access the nut shown here in the center, to tighten the brake bar.
dsc00018, 2009:07:19 15:52:24, 3D, R, Los Angeles, Griffith Park, Travel Town, Cable Car, San Francisco Municipal Railway #21
"JAYNE COUNTY'S MAD TEA PARTY..SEX! ART! MUSIC!"
A KYMARA 21ST CENTURY THREE DAY HAPPENING
Friday, April 9, 2010 at 8:00pm
Chelsea Hotel
New York, NY
www.punkglobe.com/jaynecountyinterview0809.html
en.wikipedia.org/wiki/Jayne_County
www.facebook.com/group.php?gid=34004014453&ref=ts
Description
KYMARA 21ST CENTURY HAPENINGS, "PUNK GLOBE MAGAZINE", THE BLUE ELEPHANT EVENTS AND CAFE HARNEY AND SONS FINE TEA, WARWICK VALLEY WINERY AND DISTILLERY AND STUDIO 54 NY SUPERSTAR PARTY HOST, MIESTORM ALONG WITH MILO ROCK AND KYMARA
STARRING THE PREMIERE EXHIBIT OF THE ARTISTIC WORKS OF JAYNE COUNTY!!!!!
ALONG WITH THE ART, MUSIC AND FILM OF BILLY NAME, ANTON PERICH, CHRISTOPHER MAKOS, MICK ROCK, PRAIRIE PRINCE,CHRISTOPHER LYNCH, MARY WORONOV, LOUIS WALDON, WALTER STEDING, GAZELLE, GORMAN BECHARD, ERIC DANVILLE, THE FLOYDIAN DEVICE, DAVE STREET AND CO. AMANDA BURNS, MARK LA FALCE, AND MANY MORE MUSICIANS AND ARTISTS...
ANNOUNCING THE WORKS OF THE "BILLY NAME ANTE ART SUPERSTARS" JAYNE COUNTY, PRAIRIE PRINCE, RUBY LYNN REYNER, ANTON PERICH, MIESTORM, MILO ROCK, FERNANDO CARPANEDA, IAN COUCH, AND KYMARA
JAYNE COUNTY WILL BE PERFORMING LIVE AT CHELSEA HOTEL ALONG WITH HER NEW BAND, "THE WAR HOLES" FEATURING
MILO ROCK, FRANK COLEMAN, BOB TOXIC AND ARENA BOUND. VINTAGE FOOTAGE OF JAYNE COUNTY'S LIVE PERFORMANCE BY THE LEGENDARY ANTON PERICH
A FABULOUS ARRAY OF JAYNE COUNTY'S HISTORIC COSTUMES WILL BE ON DISPLAY!
FASHION SHOW BY "LIVE FAST" NYC
AWARD WINNING FILM "FRIENDS WITH BENEFITS" BY INDIE FILM DIRECTOR GORMAN BECHARD FOLLOWED BY A Q&A ON SUNDAY
A PORTION OF OUR PROCEEDS BENEFITS THE LGBT COMMUNITY SERVICES CENTER 208 West 13th Street New York, NY 10011
QUESTIONS????COMMENTS?????
CALL KYMARA DIRECTLY AT..
207-286-7399
OR EMAIL KYMARA@KYMARA.COM
Biography
Born in 1947 as Wayne Rogers, County left her hometown of Dallas, Georgia in 1968 to move to New York City, where she became a regular at the Stonewall Inn and took part in the historic riots. In 1969, County was asked by Warhol superstar and playwright Jackie Curtis to appear in her play Femme Fatale at the La MaMa Experimental Theatre Club, which also starred Patti Smith. In her autobiography, County says of Curtis, "She was my biggest influence, the person who really got me started." After a successful run of Femme Fatale, County wrote her own play World - Birth Of A Nation which she also appeared in, bringing her to the attention of Andy Warhol, who cast her in his own theatrical production Pork. After a run in New York, the play, with the New York cast, was performed in London for a few months. Upon returning to New York, County appeared in another play, Island, by Tony Ingrassia, again with Patti Smith.
Then, in 1972 County got her first band, Queen Elizabeth together, one of the pioneering glam rock bands. Despite being signed to MainMan Management, David Bowie's management firm, no records were ever produced, although the company did spend over $200,000 to film the 1974 stage show "Wayne at the Trucks", no footage of which has ever been released (even in bootleg form). The show featured numerous costume changes and some of County's raunchiest material. The film remains (presumably) in Bowie's vaults, though eight live recordings from this show were released in audio form on the 2006 CD Wayne County At The Trucks on Munster Records. The show is claimed by County to be the major inspiration for Bowie's stage show for the tour supporting his Diamond Dogs album.[1] In particular, County maintains that the song "Queenage Baby" was a prototype for Bowie's song "Rebel Rebel", a claim which is supported by some rock critics.[2][3]
In 1975, with her new band "The Backstreet Boys," Wayne County recorded three tracks for the compilation Max's Kansas City: New York New Wave, which also featured Suicide, Pere Ubu and The Fast. Wayne County and The Backstreet Boys played regularly at CBGBs and at Max's Kansas City, where County was also a DJ. In 1976, she appeared in the film The Blank Generation, directed by Amos Poe and Ivan Kral. The film, the recording and the shows were the beginnings of what came to be known as punk rock, and helped define this movement for a generation of youth.
In 1977, County left New York to return to London, where the English punk scene was just emerging. Here, she formed a new band called Wayne County & the Electric Chairs. County released the EP Electric Chairs 1977, plus a single on Illegal Records. This was followed by her most famous song, "Fuck Off" recorded as a single for Safari Records, with a European tour in support of the records. While in London, County met Derek Jarman who cast her as the character "Lounge Lizard" in the seminal punk film Jubilee, which also starred Adam Ant, Toyah Willcox, Ian Charleson and Jordan. After this The Electric Chairs recorded their first self-titled album, which featured "Eddie and Sheena", and an EP named Blatantly Offensive, which contained "Fuck Off" and "Toilet Love." After touring, they followed this up with another album Storm The Gates Of Heaven. The next album, released in 1979, was Things Your Mother Never Told You which featured several songs based on County's recent experiences in Germany. After it was released, the band broke up and County (along with guitarist Eliot Michaels) returned to the U.S. in 1979. It was at this time that she officially changed her stage name to "Jayne County" and began self-identifying as a woman. The final release by County on Safari Records, Rock and Roll Resurrection (In Concert), a live album recorded in Toronto on New Year's Eve of 1979, was under this new name.
In 1983, County returned to New York where she appeared in the theatrical production Les Girls with Holly Woodlawn and other performers. After this she returned to London for the premiere of City Of Lost Souls and stayed long enough to tour and record another album Private Oyster with Warren Heighway as manager. Her band included members of various UK based rock bands, including Manchester-based guitarists Stuart Clarke, Chris Lynch and Baz Creece on drums. Following widespread media attention she then returned again to the U.S.
In the 1990s many of the earlier recordings were released, such as the early Safari tracks on a CD called Rock & Roll Cleopatra. She recorded the album Goddess Of Wet Dreams in 1993, followed by Deviation in 1995. That same year she appeared in Wigstock: The Movie and released her autobiography Man Enough To Be A Woman.
Since Deviation, several new tracks have surfaced on various compilations and through Jayne's official website. Many of these tracks, both live and studio recordings, were collected on the Ratcage Records release So New York, including collaborations with Lisa Jackson and former Electric Chairs guitarist Eliot Michaels. A thunderous live show (recorded on Jayne's birthday) was released on the 2002 CD Wash Me In The Blood (Of Rock & Roll)- Live at Squeeze Box by Fang Records, and features a duet on "California Sun" by County and former nemesis "Handsome" Dick Manitoba of The Dictators.
My best sunset photo of the entire week...
Note: this photo was published in a May 14, 2012 Watches Wiki blog, with the same caption and detailed notes that I had written here on this Flickr page. It was also published in an Oct 26, 2012 blog titled "Cayo Hueso."
Note: A large percentage of my "landscape" photos (including the ones in this set) are now copyright-protected, and are not available for downloads and free use. You can view them here in Flickr, but if you would like prints, enlargements, framed copies, and other variations, please visit my SmugMug "Key West" gallery by clicking <a href="Note: A large percentage of my "landscape" photos (including the ones in this set) are now copyright-protected, and are not available for downloads and free use. You can view them here in Flickr, but if you would like prints, enlargements, framed copies, and other variations, please visit my SmugMug "Key West" gallery by clicking here.
***********************************************
Key West. It’s a familiar phrase to almost all Americans, and it conjures up images of a warm climate, Key West.
It’s a familiar phrase to almost all Americans, and it conjures up images of a warm climate, proximity to Cuba, Jimmy Buffett’s “Margaritaville,” and perhaps a few vague connections to Ernest Hemingway and Tennessee Williams. It is indeed the southernmost city in the continental United States (129 miles southwest of Miami), and is also the southernmost terminus of highway U.S. 1, which originates a couple thousand miles north, up in Maine.
Less well known is the fact that the island was first visited by Europeans in 1521, by none other than Ponce de Leon. Much, much earlier, the island had previously been inhabited by members of the Calusa tribe, who apparently used the island as a communal graveyard. Thus, when the Spanish arrived, they found no resident Native Americans, but they did find a lot of bones; and assuming that the island had been the location of a cataclysmic batter between tribal warriors, they named it “Cayo Hueso” -- which literally means “bone key.” When Great Britain took control of Florida in 1763, they bastardized the name to “Key West,” which has obviously remained its name ever since.
I’ll skip the rest of the history lessons about Spanish and British domination of the island; suffice it to say that the Americans took charge in 1822, when Lt. Commander Matthew Perry sailed his schooner to Key West and claimed all of the Keys as U.S. property – a claim that apparently went uncontested. The Navy has been here ever since, and its first major task was ending acts of piracy which had previously made much of that part of the Caribbean a wild and wooly place indeed.
During the U.S. Civil War, the state of Florida seceded and joined the Confederacy; but because of the naval base, Key West remained in Union hands. Indeed, Key West served as the starting point for what became a relatively successful effort to blockade Confederate shipping along the Atlantic and Gulf coasts, severely limiting its ability to trade with England and Europe.
Key West remained relatively isolated from the rest of Florida (not to mention the rest of the U.S.) until 1912, when it was connected to the Florida mainland via an incredibly expensive and ambitious railroad developed by Henry Flagler. Unfortunately, a massive Labor Day hurricane in 1935 destroyed much of the railroad and killed hundreds of local residents. The U.S. government subsequently rebuilt the rail route as an automobile extension of U.S. Highway 1, which was completed in 1938.
While all of this was going on, Key West also became a haven for at least a few famous artists and writers. Ernest Hemingway initially settled in Key West in 1928, where he wrote A Farewell to Arms. And during the 1930s, he wrote or worked on Death in the Afternoon, For Whom the Bell Tolls, and The Snows of Kilimanjaro. He also used the Depression-era Key West as the setting for To Have and Have Not, which is apparently his only novel set in the United States.
A decade later, Tennessee Williams became a regular visitor to Key West, and is said to have written the first draft of A Streetcar Named Desire while staying at La Concha Hotel in 1947; he continued to list Key West as his primary residence until his death in 1983.
One other small piece of history: Key West turns out to be much closer to Havana than it is to Miami. In the 1890s, half the residents of Key West were said to be of Cuban origin, and the city regularly had Cuban mayors. Cubans were actively involved in roughly 200 factories in the city, producing 100 million cigars annually. And the South American revolutionary hero José Martí made several visits seeking recruits for Cuban independence, and he founded the Cuban Revolutionary Party during visits to Key West. The battleship USS Maine sailed from Key West on its visit to Havana, where it was blown up in an attack that led to the Spanish-American War. And finally, Pan American Airlines was founded in Key West in 1926, originally to fly visitors to Havana.
And thus endeth our short history lesson – none of which was of any particular significance to me during a recent week-long visit to Key West, motivated by a strong desire to escape the cold weather of New York City during the month of February. One other tidbit of trivia had attracted me: I had heard that there was a pier in Key West where the locals and visiting tourists gathered every evening to drink margaritas, sing raucous renditions of “Margaritaville” at the top of their lungs, and admire the sunsets as the sun sank into the western horizon of the Gulf of Mexico.
That pier, as it turns out, is Sunset Pier – and it was located just outside the hotel which I had chosen as the place to stay for the week. And while it turns out that margaritas are indeed consumed there, so are a lot of piña coladas, mojitos, and beers, along with hamburgers, hot dogs and fries: the whole place is a long, crowded, outdoor bar and grill. The raucous singing comes from an amped-up band at one end of the pier, and I’m not sure that anyone actually pays any attention to the sunset.
The sunset-watching, it turns out, is a little further down the pier: a large, open, brick-paved place known as Mallory Square fronts onto the harbor, and an even larger crowd does gather every night to watch the sun go down … as you’ll see in several of the photos in this Flickr set. There is also an amazing assortment of “performers,” for lack of a better name: wise-talking card-sharks; down-and-out guitar-playing musicians; a preacher determined to save the souls of anyone who would listen to him; tightrope walkers, sword-swallowers, and gymnasts; jugglers with machetes and flaming torches, tossed in the air with great abandon while the jugglers balance on 20-foot unicycles; and a guy with a banjo and a loyal dog who wanders around gathering dollar-bill contributions from the crowd, to be stuffed into a large bucket.
Meanwhile, schooners and catamarans drift past the crowd, out in the harbor, crammed with half-drunken tourists determined to get everyone’s attention by howling and yodeling at the top of their lungs. Ocean liners pull into the harbor at the end of Mallory Square, drop anchor and dock in the middle of the night, and then make a huge noisy ceremony of pulling up the gangplank and pulling away from the dock at 5 PM, just an hour before sunset.
Somehow, it all works: if you haven’t seen the scene before, it’s highly entertaining -- and the sunsets are truly fantastic. Of course, if you go back a second time, you’ll start to notice that the same performers are there, going through the same routine with the same patter and speech -- and you start paying less attention to them, and a little more attention to the more traditional vendors lined up a few feet away from the edge of the pier: people selling hot dogs, popcorn, conch fritters, drinks (alcoholic and non-alcoholic), photographs, trinkets, jewelry, paintings, drawings, tarot readings and spiritual advice, and various odds and ends carved and woven and hand-made from bits and pieces of wood, metal, and palm fronds.
By the third or fourth night, the whole thing is completely repetitive – but the sunsets are still gorgeous. In my case, I escaped the Mallory Square scene a couple evenings to go for a sunset cruise on one of the many schooner docked in the neighborhood; I also went out for a ride in a glass-bottom boat to see the local coral reefs. But I passed up the opportunity to para-sail up in the sky above the whole scene, and I also decided to skip the opportunity to rent a jet-ski that would let me zoom around the harbor at breakneck speeds.
If you’re feeling energetic, you can also wander down Duval Street to see the gift shops, the tourist attractions, and the bars (e.g., Sloppy Joe’s, where Hemingway allegedly hung out. You can ride the little tourist “conch train” all around town, which gives you the chance to see every famous historic home and tourist spot in a little over an hour. I’ll confess that I did that, too, though it was so bumpy that I was only able to take one or two photographs …
I did have my camera with me throughout the week, of course, so I took my typical assortment of hundreds (maybe even thousands) of random pictures of anything that seemed interesting. I’m getting better about deleting things, though, so I’ve ended up with a mere 35 photos that I’m uploading to Flickr; hopefully you’ll find them moderately interesting…
GP500 motorcycle windshields
GP500.Org Part # 51800 Aprilia RSV 1000 Motorcycle windshield
Aprilia is a dream come true. The dream of an enthusiast, Ivano Beggio, who made up his mind to create a motorcycle company which would become famous throughout the world. And to become famous in the motorcycling world, racing and winning at maximum level is indispensable. Madness at a time when, one after the other, the great Italian and English companies were starting to disappear with the formidable Japanese in hot pursuit.
How often over the years, even after Aprilia had started to make a name for itself, they accused the Noale company of being "over ambitious". A rider who transferred from Aprilia to Honda at the end of the 1980s said in an interview: "At Noale, we were all a bit dazzled. We even thought we could beat the Japanese!".
The distinctive characteristic of Aprilia is the genius, the passion, the creativity and the faith common to Ivano Beggio and his closest collaborators, from the first motorcycles made by hand at the end of the 1960s, one-offs assembled with the heart, to enter the third millennium with a range going right up to 1000 cc and acquisition of a piece of international motorcycling history, Moto Guzzi.
In 1985, thanks to an agreement with Rotax, the first Aprilia four-stroke, the ETX 350, was launched, followed by the 600. True to the company's spirit, participation was also stepped up in the African raids such as the Pharaoh and the Dakar.
In 1985, the adventure of the World Speed Championships began with Loris Reggiani. You can find the full story of Aprilia on the tracks year by year in the racing section of this site.
At the same time, the commitment to motocross and trials was still strong. With the TX 311, Diego Bosis came second in the World Championship, winning in the United States.
On August 30, 1987, Loris Reggiani won the first 250 cc Grand Prix with the AF1. In the meantime, the road "derivation" model, reaching 30 hp thanks to the RAVE (Regulation Aprilia Valve Exhaust), was an enormous hit among young people - not to mention the later "Sintesi". Aprilia was making an ever greater name for itself on the international motorcycling scene, thanks to its characteristic innovation, image and flexibility.
It was not long before launch of the Pegaso 600, one of the mainstays of Aprilia production, and the Amico, the colourful, easy to ride scooter which confirmed Aprilia's gift for anticipating market trends and needs.
In 1992, Aprilia won its first world championship title - or rather, its first three. The Finnish rider Tommi Avhala won the rider's title and contributed to the constructor's title. A few months later, Alessandro Gramigni won the World 125 Championship.
In 1993, the new Scarabeo 50 was launched, becoming an unequalled success, followed in 1995 by the Moto - designed by Philippe Starck - with its absolutely unique styling. It is no accident that it is displayed at the New York Museum of Modern Art.
The same year also saw the birth of the exceptional RS250, one of the most successful sports motorcycles of all times. In 1996, the Leonardo - the maxi-scooter characterised by an ultra-efficient four-stroke four-valve engine - was launched.
In 1998 it was the turn of Sonic, the brightly coloured micro-scooter aimed at a young public and in 1999 of the RSVMille. This signalled Aprilia's entry into the maxi-motorcycle world, astonishing everyone with its extraordinary ridability and immediately becoming a standard setter in its class.
In the meantime, the company had already won a further thirteen world championship titles.
Aprilia began production at the end of the 1960s with the Amico and the Daniela, the first small diameter wheel mini-scooters. These were soon joined by the Colibrì, the first Aprilia hinting at that sporting spirit which would soon become so familiar - tapering, with a distinctive exhaust, forcing the rider to adopt a position as uncomfortable as it was sporty and aerodynamic. Despite the success of these early products, the most famous Aprilia in this initial period was the Scarabeo which made Ivano Beggio's first passion abundantly clear - motocross.
It was on the dirt tracks that the structure today so well-known and admired throughout the world as "Racing Aprilia" made its debut. It's true that in place of the multi-coloured TIRs, there was a Fiat 238, but the attention paid to graphics and a highly original image was patently obvious. Ivan Alborghetti was the Valentino Rossi of those years, in 1977 winning Aprilia the Italian 125 and 250 titles. Victories which led to a boom in replica bikes. After the Italian Championship, Aprilia went on to compete in the World Motocross Championships with Corado Maddii in the 125s. Few will remember that wearing the team colours in the 250s was the Japanese rider Torao Suzuki.
In the meantime, the Aprilia Development Department threw itself into another field very popular at the time, trials. This proved highly satisfying.
From the racing experience came a number of highly attractive road bikes, in particular the liquid-cooled 125 ST with single arm suspension. The more sporty STX immediately found a place in the competitive 125 road bikes market.
The 50 cc market also smiled on Aprilia and the company introduced motorcycles distinguished by an attention to detail and dimensioning extremely rare in the competition as can be seen in the AF1 or the ET.
FBI Stolen motorcycles
gp500.org/FBI_stolen_motorcycles.html
Motorcycles VIN Decoder
Seguir o Cordeiro e cantar cânticos novos
e louve a vinda do reino de Deus ao mundo!
melhor música gospel 2018
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BRUNO PREMIANI
Doom Patrol 93
Bruno Premiani was the first and main artist on DC's 'Doom Patrol' series. This series, about a trio with special abilities (Elasti-Girl, Negative-Man and Robotman), led by a man in a wheelchair, has a striking resemblance to Marvel's 'X-Men' series. However, 'Doom Patrol' debuted June 1963 and 'X-Men' three months later. Before doing 'Doom Patrol', Bruno Premiani made a rare appearance inking 'The Rip Van Winkle of Smallville' in 1955. In 1964, Premiani was also the artist on 'Kid Flash, Aqualad and Robin', a spin off with Batman's sidekick Robin, Aquaman's sidekick Aqualad and a younger version of the Flash.
Bruno Premiani (1924-1984?) was an illustrator known for his work for several comic book publishers, particularly DC Comics.
Born in Trieste, Italy in 1924, Premiani achieved some fame for his comics illustration work, most notably the original incarnations of the Doom Patrol in 1963 and the Teen Titans in 1964, both series being cult favourites that have survived in one form or another since their original creation for the DC Comics universe. He is also cited as the original artist for the first adventures of Cave Carson, a spelunker/geologist and adventurer also part of DC's fictional pantheon since 1960, and is among the first published Tomahawk artists. His work in the field dates as far back as 1937 in the pages of Detective Comics.
He is believed to have died in Argentina in 1984.
"http://en.wikipedia.org/wiki/Bruno_Premiani"
davidbarsalou.homestead.com/LICHTENSTEINPROJECT.html
Bruno Premiani
(4/1/1907 - 17/8/1984, Italy)
Bruno Premiani was an Italian Anti-fascist with a passion for history, who became a successful comic book artist in Argentina and the United States. Born in Trieste in the Austro-Hungarian empire as the son of a Slovenian Imperial Railway employee and an Italian mother, Giordano Bruno Premiani has lived in Argentina for most of his life. Most American sources list his birth year as 1924, but Italian police records mention 4 January 1907. From 1921 to 1925, Premiani studied at the high school of arts and crafts in Trieste, which was a part of Italy by now.
Not happy with the fascism that had taken over Italy, Premiano took the boat to Argentina in 1930. There, he began drawing for the Agencia Wisner advertising shop and the daily newspaper Crítica. For this newspaper, he did the educational comic section 'Seen and Heard' which ran from 1932 to 1940. In the meantime, the Italian government kept track of Premiani's anti-fascist activities for the Crítica daily, and stated that Premiani was to be arrested when he got back to Italy. Premiani only returned to Italy once, to bury his mother in the early 1950s.
During the 1940s, Premiani continued to work as an illustrator for Argentine magazines, such as Billiken and Léoplan. From 1947, Premiani illustrated a great number of comic adaptations of literary classics in the 'Patoruzito Classics' series, which appeared in Dante Quinterno's Patoruzito magazine.
Between 1948 and 1952, Premiani lived in the United States, where he began a longtime collaboration with National/DC Comics. He started out working with the historical 'Tomahawk' character and 'Pow-Wow Smith Indian Detective' for Detective Comics. He also worked at Joe Simon and Jack Kirby's Crestwood studios, and made comic biographies of US histocial figures for the State Department. In 1960, Premiani returned to live in the States once again. Around this time, he had already contributed to Gilberton's Classics Illustrated series, and also worked as an inker for Jack Kirby and Stan Drake and on Curt Swan's 'The Rip Van Winkle of Smallville'.
remiani's best known work for National/DC was the creation of 'Doom Patrol' with Arnold Drake in 1963. This series, about a trio with special abilities (Elasti-Girl, Negative-Man and Robotman), led by a man in a wheelchair, has a striking resemblance to Marvel's 'X-Men' series. However, 'Doom Patrol' debuted June 1963 and 'X-Men' three months later. Until 1968, Premiani drew most of the 'Doom Patrol' stories in My Greatest Adventures and later the eponymous comic book.
In addition, he did the cover and interior art for DC's 'Brave & Bold' series, starring Cave Carson. In 1964, Premiani was the artist on 'Kid Flash, Aqualad and Robin', a spin-off with Batman's sidekick Robin, Aquaman's sidekick Aqualad and a younger version of the Flash. He eventually returned to Argentina, where he died in 1984.
DescriptionDisney DVD InformationName:Walt Disney's 100 Years Of Magic 172 DiscsGenre:CartoonDiscs:172Format:Support both NTSC & PALWeight:4 kgConditionNew Box SetAudio:Dolby Digital 5.1 - EnglishSubtitles - RemovableDisney DVD Collection ListWalt Disney established itself as a leader in the American animation industry before diversifying into live-action film production, television, and travel. Now it is one of the largest and best-known studios in Hollywood, an early and well-known cartoon creation of the company, Mickey Mouse, is the official mascot of The Walt Disney Company. There are many famous animations created by Disney, their charm never fades. Snow White and the Seven Dwarfs, Cinderella, Alice in Wonderland and Sleeping Beauty are some of the classic cartoons, others including:001.Snow White amd the Seven Dwarfs002. Pinocchio003. Fantasia004. Fantasia/2000005. Dumbo006. Bambi007. BambiⅡ008. Saludos Amigos009. Fun and fancy free010. Cinderella011. CinderellaⅡDreams come true012. CioderellaⅢA twist in time013. The wild014. Alice in Wonderland015. Peter Pan016. Lady and the Tramp017. Lady and the TrampⅡ: Scamp's Adventure018. Sleeping Beauty019. One Hundred and One Dalmatians020. 101 DalmatiansⅡ：Patch's london Adventure021. The Sword in the Stone022. The Aristocats023. Bedknobs and Broomsticks024. Robin Hood025. The fox and the Hound026. The little Mermaid027. The little MermaidⅡ: Return to the Sea028. Beauty and the Beast029. Beauty and the Beast: The Enchanted Christmas030. Aladdin031. The Return of jafar032. Aladdin and the King of thieves033. The Nightmare Before Christmas034. The lion King035. The lion KingⅡ: Simba's Pride036. The Lion King 1 ½037. Pocahontas038. Pocahonlas Ⅱ:Journey to a mew world039. Toy Story040. Toy story 2041. James and the Giant Peach042. The Hunchback of Notre Dame043. the HUnCHback of notre dame Ⅱ044. Hercules) 045. Mulan046. Mulan Ⅱ047. Tarzan048. Tarzan Ⅱ049. Valiant050. Dinosaur051. The emperor's New Groove052. Kronk's new groove053. recess:school's out054. Atlantis:The Lost Empir055. Atlantis:Milo's Return056. lilo & stitch057. Stitch 2: Stitch Has a Glitch058. Treasure Planet059. Brother Bear060. Brother Bear 2061. The Jungle Book062. The Jungle Book 2063. Home on the Range064. The Three Musketeers065. Mickey's twice upon a Christmas066. Chicken little067. The wild swans068. Felix the Cat Saves Christmas069. Mickey's magical christmas:snowed in at the house of mouse070. Mickey & Minnie071. Donald duck and the gorilla etc072. Casper073. Three little pigs074. daffy duck075. The black cauldron076. Return to neverland077. the tortoise and the hare078. Everybody loves Donald079. Everybody loves Goofy080. Everybody loves Mickey081. Sweetheart Stories082. Gulliver's travels083. Life with Mickey Town084. Walt Disney treasures volume 1085. Walt Disney treasures volume 2086. Walt Disney treasures volume 3087. Walt Disney treasures volume 4088. Walt Disneys 100 years of Magic: Goofy sport089. The three Caballeros090. Who framed Roger Rabbit091. Mary Poppins092. The Rescuers093. The Rescuers down Under094. Monsters Inc.095. Finding Nemo096. The incredibles097. Cars098. Winnie the Pooh:Story Book099. Winnie the Pooh:A very Merry Pooh Year100. Winnie the Pooh:Heffalump Movie101. Winnie the Pooh:Heffalump Halloween Movie102. Winnie the Pooh:Springtime with Roo103. Winnie the pooh:123104. Winnie the Pooh:All for one,one for all105. Winnie the pooh:the many adventures106. Winnie the Pooh:the Search for Christopher Robin107. Winnie the Pooh:franken Pooh108. A Bug's life109. Disney Heroes Volume One110. An officer and a duck111. Meet the Robinsons112. Underdog113. Ratatouille114. The adventures of ichabod and Mr. Toad115. Disney My friends Tigger and Pooh Super Sleuth Christmas Movie116. The chronological donald:volume one117. The chronological donald:volume two118. Mickey mouse clubhouse mickey saves santa119. Mickey's House of Villains120. Mickey mouse clubhouse:great clubhouse hunt121. Mickey princess enchanted tales:follow your dreams122. The tigger movieSpecial Bonus:123-132. Tom & Jerry133-152. The Berenstain Beans153-164. Sponge Bob Squarpants165-172. Disney Magic English
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In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile
www.emergencyrooms.org/biennalist.html
Meanwhile Thierry Geoffroy is in Copenhagen the work about todays as today
an attempt to be ULTRACONTEMPORARY continues at the gallery Marianne Friis on the WARM UP Wall established for this occasion since 6sept 2013
thierrygeoffroy.blogspot.dk/2013/09/colonel-s-warm-up-wal...
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other pavilions at Venice Biennale
Andorra Artists: Javier Balmaseda, Samantha Bosque, Fiona Morrison
Commissioner: Henry Périer Deputy Commissioners: Francesc Rodríguez, Ermengol Puig, Ruth Casabella
Curators: Josep M. Ubach, Paolo De GrandisAngola Artist: Edson Chagas Commissioner: Ministry of Culture
Curators: Beyond Entropy (Paula Nascimento, Stefano Rabolli Pansera), Jorge Gumbe, Feliciano dos Santos
Argentina Artist: Nicola Costantino Commissioner: Magdalena Faillace Curator: Fernando Farina
Armenia Artist: Ararat SarkissianCurator: Arman Grogoryan /AustraliaArtist: Simryn Gill Commissioner: Simon Mordant Deputy Commissioner: Penelope Seidler Curator: Catherine de Zegher /AustriaArtist: Mathias Poledna ,Curator: Jasper Sharp /AzerbaijanArtists: Rashad Alakbarov, Sanan Aleskerov, Chingiz Babayev, Butunay Hagverdiyev, Fakhriyya Mammadova, Farid Rasulov /Commissioner: Heydar Aliyev FoundationCurator: Hervé Mikaeloff
Bahamas Artist: Tavares Strachan Commissioner: Nalini Bethel, Ministry of Tourism Curators: Jean Crutchfield, Robert HobbsDeputy Curator: Stamatina Gregory/BangladeshChhakka Artists’ Group: Mokhlesur Rahman, Mahbub Zamal, A. K. M. Zahidul Mustafa, Ashok Karmaker, Lala Rukh Selim, Uttam Kumar Karmaker. Dhali Al Mamoon, Yasmin Jahan Nupur, Gavin Rain, Gianfranco Meggiato, Charupit School/Commissioner/Curator: Francesco Elisei. , Curator: Fabio Anselmi./BahrainArtists: Mariam Haji, Waheeda Malullah, Camille Zakharia /Commissioner: Mai bint Mohammed Al Khalifa, Minister of Culture /Curator: Melissa Enders-Bhatiaa/BelgiumArtist: Berlinde De Bruyckere
Commissioner: Joke Schauvliege, Flemish Minister for Environment, Nature and Culture .Curator: J. M. Coetzee ,Deputy Curator: Philippe Van Cauteren /Bosnia and Herzegovina
Artist: Mladen Miljanovic .Commissioners: Sarita Vujković, Irfan Hošić
Brazil Artists: Hélio Fervenza, Odires Mlászho, Lygia Clark, Max Bill, Bruno Munari
Commissioner: Luis Terepins, Fundação Bienal de São Paulo,Curator: Luis Pérez-Oramas ,Deputy Curator: André Severo
CanadaArtist: Shary Boyle /Commissioner: National Gallery of Canada / Musée des beaux-arts du Canada ,Curator: Josée Drouin-Brisebois/Central AsiaArtists: Vyacheslav Akhunov, Sergey Chutkov, Saodat Ismailova, Kamilla Kurmanbekova, Ikuru Kuwajima, Anton Rodin, Aza Shade, Erlan Tuyakov
Commissioner: HIVOS (Humanist Institute for Development Cooperation)
Deputy Commissioner: Dean Vanessa Ohlraun (Oslo National Academy of the Arts/The Academy of Fine Art)
Curators: Ayatgali Tuleubek, Tiago Bom
Scientific Committee: Susanne M. Winterling
ChileArtist: Alfredo JaarCommissioner: CNCA, National Council of Culture and the Arts Curator: Madeleine Grynsztejn
ChinaArtists: He Yunchang, Hu Yaolin, Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong, Zhang Xiaotao
Commissioner: China Arts and Entertainment Group (CAEG) ,Curator: Wang Chunchen
Costa Rica Artists: Priscilla Monge, Esteban Piedra, Rafael Ottón Solís, Cinthya Soto
Commissioner: Francesco EliseiCurator: Francisco Córdoba, Museo de Arte y Diseño Contemporáneo (Fiorella Resenterra)
Croatia Artist: Kata Mijatovic ,Commissioner/Curator: Branko Franceschi.
CubaArtists: Liudmila and Nelson, Maria Magdalena Campos & Neil Leonard, Sandra Ramos, Glenda León, Lázaro Saavedra, Tonel, Hermann Nitsch, Gilberto Zorio, Wang Du, H.H.Lim, Pedro Costa, Rui Chafes, Francesca Leone ,Commissioner: Miria ViciniCurators: Jorge Fernández Torres, Giacomo Zaza
CyprusArtists: Lia Haraki, Maria Hassabi, Phanos Kyriacou, Constantinos Taliotis, Natalie Yiaxi, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister /Louli Michaelidou
Deputy Commissioners: Angela Skordi, Marika Ioannou/Curator: Raimundas Malašauskas
Czech Republic & Slovak RepublicArtists: Petra Feriancova, Zbynek Baladran ,Commissioner: Monika Palcova, Curator: Marek Pokorny /DenmarkArtist: Jesper Just in collaboration with Project ProjectsEgypt
Artists: Mohamed Banawy, Khaled Zaki
EstoniaArtist: Dénes Farkas ,Commissioner: Maria Arusoo ,Curator: Adam Budak
FinlandArtist: Antti Laitinen , Commissioner: Raija Koli , Curators: Marko Karo, Mika Elo, Harri Laakso
FranceArtist: Anri Sala ,Curator: Christine Macel
GeorgiaArtists: Bouillon Group,Thea Djordjadze, Nikoloz Lutidze, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin, Gio Sumbadze/Commissioner: Marine Mizandari, First Deputy Minister of Culture Curator: Joanna Warsza
GermanyArtists: Ai Weiwei, Romuald Karmakar, Santu Mofokeng, Dayanita Singh Commissioner/Curator: Susanne Gaensheimer /Great BritainArtist: Jeremy Deller ,Commissioner: Andrea Rose , Curator: Emma Gifford-Mead
Holy SeeArtists: Lawrence Carroll, Josef Koudelka, Studio Azzurro ,Curator: Antonio Paolucci
Hungary , Artist: Zsolt Asztalos , Curator: Gabriella Uhl
Iceland , Artist: Katrín Sigurðardóttir ,Commissioner: Dorotheé Kirch
Curators: Mary Ceruti , Ilaria Bonacossa/IndonesiaArtists: Albert Yonathan Setyawan, Eko Nugroho, Entang Wiharso, Rahayu Supanggah, Sri Astari, Titarubi
Deputy Commissioner: Achille Bonito Oliva , Assistant Commissioner: Mirah M. Sjarif
Curators: Carla Bianpoen, Rifky Effendy
IraqArtists: Abdul Raheem Yassir, Akeel Khreef, Ali Samiaa, Bassim Al-Shaker, Cheeman Ismaeel, Furat al Jamil, Hareth Alhomaam, Jamal Penjweny, Kadhim Nwir, WAMI (Yaseen Wami, Hashim Taeeh)
Commissioner: Tamara Chalabi (Ruya Foundation for Contemporary Culture)Curator: Jonathan Watkins.
IrelandArtist: Richard MosseCommissioner, Curator: Anna O’Sullivan
Israel , Artist: Gilad Ratman , Commissioners: Arad Turgeman, Michael GovCurator: Sergio Edelstein
ItalyArtists: Francesco Arena, Massimo Bartolini, Gianfranco Baruchello, Elisabetta Benassi, Flavio Favelli, Luigi Ghirri, Piero Golia, Francesca Grilli, Marcello Maloberti, Fabio Mauri, Giulio Paolini, Marco Tirelli, Luca Vitone, Sislej Xhafa ,Commissioner: Maddalena Ragni
Curator: Bartolomeo Pietromarchi /Ivory Coast Artists: Frédéric Bruly Bouabré, Tamsir Dia, Jems Koko Bi, Franck Fanny
Commissioner: Paolo De Grandis , Curator: Yacouba Konaté
Japan ,Artist: Koki Tanaka ,Curator: Mika Kuraya
KenyaArtists: Kivuthi Mbuno, Armando Tanzini, Chrispus Wangombe Wachira, Fan Bo, Luo Ling & Liu Ke, Lu Peng, Li Wei, He Weiming, Chen Wenling, Feng Zhengjie, César MeneghettiCommissioner: Paola Poponi ,Curators: Sandro Orlandi, Paola Poponi /Korea (Republic of)Artist: Kimsooja
KosovoArtist: Petrit Halilaj ,Commissioner: Erzen Shkololli ,Curator: Kathrin Rhomberg
KuwaitArtists: Sami Mohammad, Tarek Al-Ghoussein
Commissioner: Mohammed Al-Asoussi ,Curator: Ala Younis /Latin AmericaIstituto Italo-Latino Americano
Artists:Marcos Agudelo, Miguel Alvear & Patricio Andrade, Susana Arwas, François Bucher, Fredi Casco, Colectivo Quintapata (Pascal Meccariello, Raquel Paiewonsky, Jorge Pineda, Belkis Ramírez), Humberto Díaz, Sonia Falcone, León & Cociña, Lucía Madriz, Jhafis Quintero, Martín Sastre, Guillermo Srodek-Hart, Juliana Stein, Simón Vega, Luca Vitone, David Zink Yi. /Harun Farocki & Antje Ehmann. In collaboration with: Cristián Silva-Avária, Anna Azevedo, Paola Barreto, Fred Benevides, Anna Bentes, Hermano Callou, Renata Catharino, Patrick Sonni Cavalier, Lucas Ferraço Nassif, Luiz Garcia, André Herique, Bruna Mastrogiovanni, Cezar Migliorin, Felipe Ribeiro, Roberto Robalinho, Bruno Vianna, Beny Wagner, Christian Jankowski ,Commissioner: Sylvia Irrazábal ,Curator: Alfons Hug
Deputy Curator: Paz Guevara /Latvia Artists: Kaspars Podnieks, Krišs Salmanis ,Commissioners: Zane Culkstena, Zane Onckule ,Curators: Anne Barlow, Courtenay Finn, Alise Tifentale
LithuaniaArtist: Gintaras Didžiapetris, Elena Narbutaite, Liudvikas Buklys, Kazys Varnelis, Vytaute Žilinskaite, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter SinisterCommissioners: Jonas Žokaitis, Aurime Aleksandraviciute Curator: Raimundas Malašauskas /LuxembourgArtist: Catherine LorentCommissioner: Clément Minighetti Curator: Anna Loporcaro /MexicoArtist: Ariel Guzik ,Commissioner: Gastón Ramírez Feltrín ,Curator: Itala Schmelz
Montenegro ,Artist: Irena Lagator Pejovic .Commissioner/Curator: Nataša Nikcevic
The Netherlands ,Artist: Mark Manders
Commissioner: Mondriaan Fund ,Curator: Lorenzo Benedetti
New Zealand Artist: Bill Culbert ,Commissioner: Jenny Harper ,Deputy Commissioner: Heather Galbraith ,Curator: Justin Paton /Finland: ,Artist: Terike Haapoja ,Commissioner: Raija Koli ,Curators: Marko Karo, Mika Elo, Harri Laakso
Norway:Artists: Edvard Munch, Lene Berg
Curators: Marta Kuzma, Pablo Lafuente, Angela Vettese
Paraguay Artists: Pedro Barrail, Felix Toranzos, Diana Rossi, Daniel Milessi ,Commissioner: Elisa Victoria Aquino Laterza
Deputy Commissioner: Nori Vaccari Starck , Curator: Osvaldo González Real
Poland Artist: Konrad Smolenski Commissioner: Hanna Wróblewska Curators: Agnieszka Pindera, Daniel Muzyczuk
Portugal Artist: Joana Vasconcelos Curator: Miguel Amado
RomaniaArtists: Maria Alexandra Pirici, Manuel Pelmus Commissioner: Monica Morariu Deputy Commissioner: Alexandru Damia Curator: Raluca VoineaArtists: Anca Mihulet, Apparatus 22 (Dragos Olea, Maria Farcas,Erika Olea), Irina Botea, Nicu Ilfoveanu, Karolina Bregula, Adi Matei, Olivia Mihaltianu, Sebastian MoldovanCommissioner: Monica Morariu ,Deputy Commissioner: Alexandru Damian ,Curator: Anca Mihulet
Russia Artist: Vadim Zakharov ,Commissioner: Stella Kasaeva ,Curator: Udo Kittelmann
Serbia Artists: Vladimir Peric, Miloš Tomic .Commissioner: Maja Ciric
SloveniaArtist: Jasmina CibicCommissioner: Blaž Peršin ,Curator: Tevž Logar
South Africa Commissioner: Saul Molobi ,Curator: Brenton Maart
Spain Artist: Lara Almarcegui , Commissioner/Curator: Octavio Zaya
Switzerland Artist: Valentin Carron Commissioners: Pro Helvetia - Sandi Paucic and Marianne Burki
Curator: Giovanni CarmineVenue: Pavilion at Giardini
Syrian Arab RepublicArtists: Giorgio De Chirico, Miro George, Makhowl Moffak, Al Samman Nabil, Echtai Shaffik, Giulio Durini, Dario Arcidiacono, Massimiliano Alioto, Felipe Cardena, Roberto Paolini, Concetto Pozzati, Sergio Lombardo, Camilla Ancilotto, Lucio Micheletti, Lidia Bachis, Cracking Art Group, Hannu Palosuo
Commissioner: Christian Maretti Curator: Duccio Trombadori
Taiwan Artists: Bernd Behr, Chia-Wei Hsu, Kateřina Šedá + BATEŽO MIKILU Curator: Esther Lu
Thailand Artists: Wasinburee Supanichvoraparch, Arin Rungjang
Curators: Penwadee Nophaket Manont, Worathep Akkabootara
Turkey Artist: Ali Kazma Commissioner: Istanbul Foundation for Culture and Arts Curator: Emre Baykal
Ukraine Artists: Ridnyi Mykola, Zinkovskyi Hamlet, Kadyrova Zhanna Commissioner: Victor Sydorenko
Curators: Soloviov Oleksandr, Burlaka Victoria
United Arab Emirates Artist: Mohammed Kazem /Commissioner: Dr. Lamees Hamdan Curator: Reem Fadda
Uruguay Artist: Wifredo Díaz Valdéz
Commissioner: Ricardo Pascale Curators: Carlos Capelán, Verónica Cordeiro
USA Artist: Sarah Sze Commissioners/Curators: Carey Lovelace, Holly Block
Venezuela Colectivo de Artistas Urbanos Venezolanos , Commissioner: Edgar Ernesto González Curator: Juan Calzadilla
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CIF CENTRAL SECTION CHAMPIONSHIP
Liberty High School - Wednesday, May 14, 2008
www.andynoise.com/valley08.html
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Bakersfield (Hunt, Turner, Johnson, Norwood), 42.28; 2. Clovis East (Bourbon, Scott, Smith, Woods), 42.58; 3. Redwood (Stewart, Ray, Root, Coles), 43.07; 4. Central (Newsome, Bigelow, Hammack, Phillips), 43.15. 1,600--1. Chris Schwartz, Foot, 4:15.80; 2. Jonathan Sanchez, Buch, 4:17.48; 3. Eric Battles, CW, 4:20.34; 4. Jesse Arellano, Mad, 4:21.56. 110H--1. Ethan DeJongh, MtW, 14.49; 2. Sean Johnson, Buch, 14.66; 3. Jon Funch, CW, 14.81; 4. Isiah Crunk, Wash, 15.17. 400--1. Maurice Lewis, Ed, 49.08; 2. Isiah Purvis, Lib, 49.13; 3. Daniel Lozano, Stock, 49.35; 4. Jelani Hendrix, Ed, 49.62. 100--1. Brendon Bigelow, Central, 10.62; 2. Emmanuel Turner, Bak, 10.81; 3. Matt Sumlin, Gar, 10.91; 4. Chris Lopez, GW, 10.98. 800--1. Anthony Mitchell, North, 1:54.19; 2. Aric Champagne, MtW, 1:54.97; 3. Andrew Campbell, CW, 1:55.69; 4. Arturo Ramirez, Centennial, 1:55.83. 300H--1. DeJongh, MtW, 37.93; 2. Cody Alves, Sel, 37.94; 3. James Smith, CE, 39.03; 4. Sean Johnson, Buch, 39.28. 200--1. Brendon Bigelow, Central, 21.29; 2. Isiah Purvis, Lib, 21.96; 3. Mario Navarette, Sanger, 22.04; 4. Chris Lopez, GW, 22.29. 3,200--1. Chris Schwartz, Foot, 9:24.19; 2. Jonathan Sanchez, Buch, 9:24.99; 3. Jon Ross, CE, 9:26.42; 4. Danny Vartanien, Buch, 9:26.42. 1,600 relay--1. Edison (Hendrix, Carter, Boughton, Lewis), 3:17.86; 2. Liberty (Hill, Garside, Affentranger, Purvis), 3:18.95; 3. Bakersfield (Miller, Turner, Johnson, Gooden), 3:20.06; 4. Clovis East (Ellis, Defonska, Woods, Smith), 3:22.40. PV--1. Andrew Lohse, Mad, 15-0; 2. Michael Peterson, CE, 15-0J; 3. Jeff Brenner, Cl, 14-6; 4. Frankie Puente, Sel, 14-0. SP--1. Dayshan Ragans, Foot, 60-7; 2. Matt Darr, Fron, 52-8.75; 3. Troy Rush, CW, 52-8.5; 4. Christian Millard, CE, 51-10.5. TJ--1. Johnny Carter, Ridge, 48-3; 2. Tyler Thompson, Shaf, 47-3; 3. Chris Kelly, Ridge, 46-11.5; 4. Jordan Smith, Central, 46-10.5. D--1. Dayshan Ragans, Foot, 199-2; 2. Jacob Budwig, Fowl, 168-8; 3. Niko Gomes, Cl, 164-10; 4. Matt Darr, Fron, 157-7. LJ--1. Kenny Phillips, Central, 23-4; 2. Tyler Thompson, Shaf, 21-11.5; 3. Dillon Root, Red, 21-11; 4. Kevin Norwood, GV, 21-8.75. HJ--1. Kenny Phillips, Central, 6-8; 2. Isiah Griggs, Bak, 6-6; 3. George Robbins, West, 6-4; 4. Jeff Brenner, Cl, 6-4J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
Girls track
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Edison (Eng, Scott, Thompson, Sears), 47.16; 2. Bullard (J. Williams, Riddlesprigger, Baisch, L. Williams), 48.17; 3. Tulare Western, 48.73; 4. Bakersfield (Torres, Belt, Brown, Wandick), 48.80. 1,600--1. Saleh Barsarian, Cl, 5:02.98; 2. Meghan Marvin, Cl, 5:03.02; 3. Chloe Allen, CW, 5:04.62; 4. Allison Gonzales, Ex, 5:11.52; 100H--1. Alyssa Monteverde, CW, 14.59; 2. Brianny Williams, Ed, 14.60; 3. Taylor Jackson, Fr, 15.04; 4. Jen Melton, CW, 15.37. 400--1. Breanna Thompson, Ed, 56.64; 2. Dedrea Wyrik, Sun, 57.49; 3. Lasasha Aldredge, Central, 58.12; 4. Taylor Donaldson, Reed, 58.13. 100--1. Megan Del Pino, CW, 11.66; 2. Jenna Prandini, Cl, 11.74; 3. Lynn Williams, Bul, 12.00; 4. Brushay Wandick, Bak, 12.01. 800--1. Allysa Mejia, Reed, 2:17.47; 2. Molly Pahkamaa, ElD, 2:17.73; 3. Katie Fry, Ex, 2:18.74; 4. Ashlee Thomas, Centennial, 2:19.77. 300H--1. Alyssa Monteverde, CW, 43.92; 2. Taylor Jackson, Fron, 44.86; 3. Brianny Williams, Ed, 45.69; 4. Alana Alexander, Centennial, 46.12. 200--1. Megan Del Pino, CW, 23.94; 2. Dominique Whittington, Lem, 24.65; 3. Brushay Wandick, Bak, 24.69; 4. Breanna Thompson, Ed, 24.90. 3,200--1. Jordan Hasay, MP, 10:24.78; 2. Meghan Marvin, Cl, 10:59.96; 3. Chloe Allen, CW, 11:06.19; 4. Corina Mendoza, Mad, 11:32.06. 1,600 relay--1. Edison (Burk, Thompson, Scott, Smith), 3:54.89; 2. Stockdale (Cady, Anderson, Mello, S. Anderson), 3:58.26; 3. Clovis West (Laidley, Capriotti, Del Pino, Monteverde), 3:59.02; 4. Reedley, 3:59.07. D--1. Anna Jelmini, Shaf, 162-5; 2. Alex Collatz, Stock, 148-6; 3. Carey Tuuamalemalo, Taft, 130-9; 4. Janae Coffee, CW, 121-6. LJ--1. Jenna Prandini, Cl, 18-7.25; 2. Lynn Williams, Bul, 18-0.75; 3. Alana Alexander, Centennial, 17-6.75; 4. Ja'Nia Sears, Ed, 17-6.5. HJ--1. Alyssa Monteverde, CW, 5-4; 2. Cristina Muro, GW, 5-2; 3. Katherine Mahr, Buch, 5-2; 4. Marish Riddlesprigger, Bul, 5-2J. SP--1. Anna Jelmini, Shaf, 44-0.75; 2. Destanie Yarbrough, CE, 37-10; 3. Heather Vermillion, Red, 37-9; 4. Tasha Firstone, CW, 36-6.5. TJ--1. Alana Alexander, Centennial, 38-3.75; 2. Jenna Prandini, Cl, 38-3; 3. Goziam Okolie, 36-10.5; 4. Alex Collatz, Stock, 36-2. PV--1. Allison Berryhill, CW, 11-6; 2. Amanda Klinchuch, Lib, 11-6J; 3. Cheree Jones, King, 10-6; 4. Emily Falkenstein, Buch, 10-6J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
protestart
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Welcome to New York's Upper East side where the wealthy and connected mingle at benefits and try to deal with their always dramatic love lives, not to mention picking colleges. Blair Waldorf is the so-called toast of adolescence in her world; she and her friends, Kati Farkas and Isabel Coates, go to a prep school and fancy parties with their rich parents. Blair is envied by her adversaries because she is thought to have the perfect life, not just because of her gorgeous boyfriend, Nate Archibald, but because she's also planning on getting into her dream college,Yale. With everyone worried about college(or procrastinating on worrying, which everyone seems to be doing), and senior year dragging along, her seemingly perfect life is interrupted by her ex-best friend, the beautiful Serena van der Woodsen, coming back into town after getting kicked out of boarding school. Serena comes back into her life, and into the eyes of Blair's boy friend. When everything Blair knows starts to fall apart, everyone will realize that her life is far from perfect. Will life in the the Upper East Side redeem itself of what it's really supposed to be? Or will the false facade reveal that the rich have the same problems as the not so rich (Jenny and Dan Humphrey), if not more. And just maybe Jenny and Dan are all the more happy with their simple, not so expectant lives.
Our Lady & The English Martyrs, Cambridge
stepneyrobarts.blogspot.co.uk/2013/02/our-lady-english-ma...
Yesterday I revisited St Peter for internals and finished of Cambridge, visiting seven Victorian built churches only one of which, Our Lady & The English Martyrs, is worth writing up.
At first sight I wrote OLEM off as a Victorian Gothic monstrosity but as I wandered around the exterior I was struck by the quality of the building and the interior stunned me with lots of rather good glass and impressive architecture (oh and apart from three revisits, Babraham, Guilden Morden and Stow cum Quy, that finished the north west quadrant).
The Church of Our Lady and the English Martyrs, or OLEM, is situated in the heart of the city of Cambridge. An imposing example of the 19th Century Gothic Revival, it was built to the designs of Dunn & Hansom of Newcastle between 1885 and 1890, and founded solely by Mrs Yolande Marie Louise Lyne-Stephens, a former ballet dancer at the Paris Opera and Drury Lane, London, and widow of a wealthy banker. She promised to build the church on the feast of Our Lady of the Assumption, and Monsignor Christopher Scott - the first Rector - also wished to commemorate the Catholic Martyrs who died between 1535 and 1681, over thirty of whom had been in residence at the University.
Designed by architects Dunn and Hansom of Newcastle and built by the Cambridge firm of Rattee and Kett, OLEM is constructed in Casterton, Ancaster and Combe Down Stone. The church is a traditional cruciform structure in the early-decorated style with a large tower at the crossing, a polygonal apse and a west bell tower with a 65-metre spire, visible for miles around Cambridge. Quite often, it is quoted by visitors and local residents as a location point. The approximate internal dimensions of the church are: length 48 meters [156 ft] width across the aisles 16 meters [51 ft] width at the transepts 22 meters [71 ft], the height of the nave 15 meters [71ft].
Inside and over the west door stands the figure of Our Lady of the Assumption crowned with lilies and standing on the crescent moon with the vanquished serpent beneath. The west window shows the English Martyrs arranged in two principal groups, the clergy on the south side with St John Fisher in their midst and the laity on the north grouped round St Thomas More.
Beside the South aisle is an ancient statue of Our Lady with the Child Jesus. This statue is understood to be a gift in 1850 from Emmanuel College, which was built on the site of a Dominican Priory dating back to 1274. The Church of the Black Friars of Cambridge contained a statue of Our Blessed Lady to which much pilgrimage was had. Although unconfirmed this could be that statue.
The Chapel of the Holy Souls with the book of Remembrance is located at the west end of the south aisle. The sculpture above the altar depicts the solace and relief of the Holy Souls in Purgatory through the intercession of Our Lady and the angel who comforted Our Lord in Gethsemane. The Chapel is now appropriately used at the two great Christian celebrations: at Easter for the Empty Tomb indicating the Risen Lord, and at Christmas for the Crib.
The aisle windows were almost completely destroyed when the church was struck by a bomb on 1941, but were subsequently replaced in their original form. They epitomise the various sufferings of the English Martyrs, their being brought before the Council, racked, hung, drawn and quartered in the sight and sympathy of the faithful. The windows of the north aisle portray Carthusians, St Thomas Moore, B. Margaret Pole and others, while the south aisle is made a “Fisher Aisle”, devoted to scenes from the life of St John, Cardinal Bishop of Rochester, who in so many important ways is identified with Cambridge.
The best general impression of the interior is obtained from the gateway in the iron screen dividing the nave from the ante-chapel. The heads of the four great preachers of Our Lady’s Graces are carved in the four corners of the nave. The windows along the nave represent saints connected with the Church in Britain, arranged approximately in chronological order from east to west with a few additional figures in the eastern windows.
The Rood which is between the nave and the sanctuary is of the type known as “Majestas”; the figure of Our Lord, with glorified wounds, robed in alb, stole and pallium [as High Priest] and crowned [as King “reigning from the Tree”]. This was the earliest type of crucifix; the realistic figure, now almost universal, did not come into general use until the beginning of the thirteenth century. The cross, inspired by that at Nuremberg, is about 6 metres high, carved in oak; the figures of Christ and of Our Lady and of Saint John are of Kauri pine. They were carved locally by Mr. B. Maclean Leach and completed and blessed in 1914.
Beyond the present, modern altar is the High Altar with the relics of Saints Felix and Constantia, martyrs of the early Church. The tabernacle and ornaments of the altar are of exquisite French workmanship from Lyons. The baldacchino which covers the High Altar is similar to that over the tomb of Robert the Wise (1275-1343) at Santa Chiara, Naples. It is one of the earliest forms of adornment of a Christian altar. At the top is the figure of Our Lord in glory supported on each side by angels in act of adoration.
The design and the re-ordering of the sanctuary was done by Mr. Gerard Goalen of Harlow after the Second Vatican Council. On 7th April, 1973, Bishop Charles Grant consecrated the present central. The original High Altar has subsequently been used mainly for reservation of the Blessed Sacrament.
CIF CENTRAL SECTION CHAMPIONSHIP
Liberty High School - Wednesday, May 14, 2008
www.andynoise.com/valley08.html
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Bakersfield (Hunt, Turner, Johnson, Norwood), 42.28; 2. Clovis East (Bourbon, Scott, Smith, Woods), 42.58; 3. Redwood (Stewart, Ray, Root, Coles), 43.07; 4. Central (Newsome, Bigelow, Hammack, Phillips), 43.15. 1,600--1. Chris Schwartz, Foot, 4:15.80; 2. Jonathan Sanchez, Buch, 4:17.48; 3. Eric Battles, CW, 4:20.34; 4. Jesse Arellano, Mad, 4:21.56. 110H--1. Ethan DeJongh, MtW, 14.49; 2. Sean Johnson, Buch, 14.66; 3. Jon Funch, CW, 14.81; 4. Isiah Crunk, Wash, 15.17. 400--1. Maurice Lewis, Ed, 49.08; 2. Isiah Purvis, Lib, 49.13; 3. Daniel Lozano, Stock, 49.35; 4. Jelani Hendrix, Ed, 49.62. 100--1. Brendon Bigelow, Central, 10.62; 2. Emmanuel Turner, Bak, 10.81; 3. Matt Sumlin, Gar, 10.91; 4. Chris Lopez, GW, 10.98. 800--1. Anthony Mitchell, North, 1:54.19; 2. Aric Champagne, MtW, 1:54.97; 3. Andrew Campbell, CW, 1:55.69; 4. Arturo Ramirez, Centennial, 1:55.83. 300H--1. DeJongh, MtW, 37.93; 2. Cody Alves, Sel, 37.94; 3. James Smith, CE, 39.03; 4. Sean Johnson, Buch, 39.28. 200--1. Brendon Bigelow, Central, 21.29; 2. Isiah Purvis, Lib, 21.96; 3. Mario Navarette, Sanger, 22.04; 4. Chris Lopez, GW, 22.29. 3,200--1. Chris Schwartz, Foot, 9:24.19; 2. Jonathan Sanchez, Buch, 9:24.99; 3. Jon Ross, CE, 9:26.42; 4. Danny Vartanien, Buch, 9:26.42. 1,600 relay--1. Edison (Hendrix, Carter, Boughton, Lewis), 3:17.86; 2. Liberty (Hill, Garside, Affentranger, Purvis), 3:18.95; 3. Bakersfield (Miller, Turner, Johnson, Gooden), 3:20.06; 4. Clovis East (Ellis, Defonska, Woods, Smith), 3:22.40. PV--1. Andrew Lohse, Mad, 15-0; 2. Michael Peterson, CE, 15-0J; 3. Jeff Brenner, Cl, 14-6; 4. Frankie Puente, Sel, 14-0. SP--1. Dayshan Ragans, Foot, 60-7; 2. Matt Darr, Fron, 52-8.75; 3. Troy Rush, CW, 52-8.5; 4. Christian Millard, CE, 51-10.5. TJ--1. Johnny Carter, Ridge, 48-3; 2. Tyler Thompson, Shaf, 47-3; 3. Chris Kelly, Ridge, 46-11.5; 4. Jordan Smith, Central, 46-10.5. D--1. Dayshan Ragans, Foot, 199-2; 2. Jacob Budwig, Fowl, 168-8; 3. Niko Gomes, Cl, 164-10; 4. Matt Darr, Fron, 157-7. LJ--1. Kenny Phillips, Central, 23-4; 2. Tyler Thompson, Shaf, 21-11.5; 3. Dillon Root, Red, 21-11; 4. Kevin Norwood, GV, 21-8.75. HJ--1. Kenny Phillips, Central, 6-8; 2. Isiah Griggs, Bak, 6-6; 3. George Robbins, West, 6-4; 4. Jeff Brenner, Cl, 6-4J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
Girls track
Central Section Grand Masters
At Liberty
Team standings--unavailable.
400 relay--1. Edison (Eng, Scott, Thompson, Sears), 47.16; 2. Bullard (J. Williams, Riddlesprigger, Baisch, L. Williams), 48.17; 3. Tulare Western, 48.73; 4. Bakersfield (Torres, Belt, Brown, Wandick), 48.80. 1,600--1. Saleh Barsarian, Cl, 5:02.98; 2. Meghan Marvin, Cl, 5:03.02; 3. Chloe Allen, CW, 5:04.62; 4. Allison Gonzales, Ex, 5:11.52; 100H--1. Alyssa Monteverde, CW, 14.59; 2. Brianny Williams, Ed, 14.60; 3. Taylor Jackson, Fr, 15.04; 4. Jen Melton, CW, 15.37. 400--1. Breanna Thompson, Ed, 56.64; 2. Dedrea Wyrik, Sun, 57.49; 3. Lasasha Aldredge, Central, 58.12; 4. Taylor Donaldson, Reed, 58.13. 100--1. Megan Del Pino, CW, 11.66; 2. Jenna Prandini, Cl, 11.74; 3. Lynn Williams, Bul, 12.00; 4. Brushay Wandick, Bak, 12.01. 800--1. Allysa Mejia, Reed, 2:17.47; 2. Molly Pahkamaa, ElD, 2:17.73; 3. Katie Fry, Ex, 2:18.74; 4. Ashlee Thomas, Centennial, 2:19.77. 300H--1. Alyssa Monteverde, CW, 43.92; 2. Taylor Jackson, Fron, 44.86; 3. Brianny Williams, Ed, 45.69; 4. Alana Alexander, Centennial, 46.12. 200--1. Megan Del Pino, CW, 23.94; 2. Dominique Whittington, Lem, 24.65; 3. Brushay Wandick, Bak, 24.69; 4. Breanna Thompson, Ed, 24.90. 3,200--1. Jordan Hasay, MP, 10:24.78; 2. Meghan Marvin, Cl, 10:59.96; 3. Chloe Allen, CW, 11:06.19; 4. Corina Mendoza, Mad, 11:32.06. 1,600 relay--1. Edison (Burk, Thompson, Scott, Smith), 3:54.89; 2. Stockdale (Cady, Anderson, Mello, S. Anderson), 3:58.26; 3. Clovis West (Laidley, Capriotti, Del Pino, Monteverde), 3:59.02; 4. Reedley, 3:59.07. D--1. Anna Jelmini, Shaf, 162-5; 2. Alex Collatz, Stock, 148-6; 3. Carey Tuuamalemalo, Taft, 130-9; 4. Janae Coffee, CW, 121-6. LJ--1. Jenna Prandini, Cl, 18-7.25; 2. Lynn Williams, Bul, 18-0.75; 3. Alana Alexander, Centennial, 17-6.75; 4. Ja'Nia Sears, Ed, 17-6.5. HJ--1. Alyssa Monteverde, CW, 5-4; 2. Cristina Muro, GW, 5-2; 3. Katherine Mahr, Buch, 5-2; 4. Marish Riddlesprigger, Bul, 5-2J. SP--1. Anna Jelmini, Shaf, 44-0.75; 2. Destanie Yarbrough, CE, 37-10; 3. Heather Vermillion, Red, 37-9; 4. Tasha Firstone, CW, 36-6.5. TJ--1. Alana Alexander, Centennial, 38-3.75; 2. Jenna Prandini, Cl, 38-3; 3. Goziam Okolie, 36-10.5; 4. Alex Collatz, Stock, 36-2. PV--1. Allison Berryhill, CW, 11-6; 2. Amanda Klinchuch, Lib, 11-6J; 3. Cheree Jones, King, 10-6; 4. Emily Falkenstein, Buch, 10-6J.
Notes: Top three in each event advance to state meet, May 30-31 in Norwalk. The two wild cards with the best times/marks from all sections also advance.
Kern Invite - 11/01/08
Hart Park - Bakersfield, CA
www.andynoise.com/kernxcinvite08.html
Varsity Girls - 2008 Kern County Cross Country
Championships
School Athlete Time Overall Scoring Team
1. Ridgeview Tijerra Lynch 18:58.24 1 1 1
2. Shafter Elizabeth Wittenberg 19:02.62 2 2 1
3. Garces Monica Guzman 19:15.89 3 3 1
4. North Celilia Lopez 19:21.87 4 4 1
5. Ridgeview Ashley Duran 19:23.47 5 5 2
6. Ridgeview Jessica Huizar 19:25.81 6 6 3
7. Foothill Natalie Fernandez 19:35.65 7 7 1
8. East Lucia Garcia 19:46.20 8 x 1
9. Stockdale Amber Nelson 19:59.40 9 8 1
10. Taft Megan Thompson 20:01.34 10 x 1
11. Stockdale Carolin Haney 20:01.70 11 9 2
12. Stockdale Shelbe Pennel 20:03.86 12 10 3
13. Shafter Moriah Milwee 20:05.23 13 11 2
14. Ridgeview Desiree Armendariz 20:08.00 14 12 4
15. Arvin Tanya Hernandez 20:10.02 15 x 1
16. Highland Nichole Berry 20:19:01 16 13 1
17. BHS Sarah Baker 20:25.37 17 14 1
18. North Medeline Maier 20:29.38 18 15 2
19. Ridgeview Monica Lazo 20:33.39 19 16 5
20. Shafter Lindsee Handel 20:36.70 20 17 3
21. Centennial Jessica Folsom 20:41.80 21 18 1
22. BHS Emily Shuford 20:45.35 22 19 2
23. Ridgeview Linda Gonzalez 20:58:28 23 20 6
24. BHS Gabrielle Lerma 21:03.97 24 21 3
25. Stockdale Courtney Moore 21:06.02 25 22 4
26. North Meagan Menzel 21:10.17 26 23 3
27. BHS Gracie Garcia 21:11.76 27 24 4
28. Foothill Perla Veloz 21:13.21 28 25 2
29. Foothill Crystal Rodriguez 21:20.30 29 26 3
30. Independence Katelynn Webb 21:21.51 30 27 1
31. Golden Valley Karina Rocha 21:23.57 31 28 1
32. Shafter Katerina Plaza 21:27.21 32 29 4
33. North Blanca Perez 21:27.98 33 30 4
34. Wasco Amanda Castellon 21:28.25 34 31 1
35. Foothill Kaitlyn Mrasak 21:31.45 35 32 4
36. Tehachapi Brenda Gonzalez 21:33.34 36 33 1
37. Highland Gabi Rodier 21:34.56 37 34 2
38. Centennial Margaret Martinez 21:35.39 38 35 2
39. Stockdale Cynthia Lopez 21:35.61 39 36 5
40. Centennial Jessica Crowe 21:43.49 40 37 3
41. Highland Hilaria Vasquez 21:43.76 41 38 3
42. North Yadira Perez 21:49.62 42 39 5
43. Foothill Erica Castro 21:53.39 43 40 5
44. Centennial Stephanie Dittman 21:55.56 44 41 4
45. Independence Natalie Ambriz 22:08.45 45 42 2
46. Stockdale Madison Schutzner 22:14.92 46 43 6
47. Highland Katherine Mayberry 22:16.42 47 44 4
48. Centennial Jorey Braughton 22:18.95 48 45 5
49. North Kaylee Meyer 22:20.98 49 46 6
50. Garces Lauren Brown 22:21.19 50 47 2
51. Golden Valley Denise Silva 22:23.90 51 48 2
52. Foothill Violeta Quintanar 22:24.92 52 49 6
53. Highland Desiree Martinez 22:25.59 53 50 5
54. Independence Sara Sullivan 22:25.95 54 51 3
55. Garces Lizbeth Lopez 22:28.11 55 52 3
56. Garces Tammy Vu 22:35.68 56 53 4
57. West Selam Habebo 22:39.75 57 x 1
58. Shafter Leana Lara 22:51.69 58 54 5
59. Independence Carlie Croxton 22:55.06 59 55 4
60. Cesar Chavez Rosa Montanez 22:57.28 60 x 1
61. Foothill Maria Zepeda 22:57.55 61 56 7
62. Garces Marissa Machado 22:57.92 62 57 5
63. Shafter Mayra Torres 23:00.88 63 58 6
64. Golden Valley Carmelita Aguilar 23:04.07 64 59 3
65. Ridgeview M. Salgado 23:14.56 65 60 7
66. Golden Valley Anna Avina 23:20.23 66 61 4
67. Golden Valley Ninive Alveno 23:26.73 67 62 6
68. Golden Valley Mercedes Salgado 23:26.73 68 63 5
69. Centennial Paige Anderson 23:30.27 69 64 6
70. Garces Sammie Lobardo 23:34.37 70 65 6
71. Arvin Bianca Quinonez 23:41.85 71 x 2
72. Kern Valley S. Hinkey 23:42.47 72 x 1
73. Frontier Ariel Driskill 23:43.12 73 66 1
74. Centennial J. Estrada 23:50.91 74 67 7
75. Kern Valley S. Hazzard 23:51.80 75 x 2
76. Garces G. Ortiz 23:54.66 76 68 7
77. North Priscilla Cruz 23:55.51 77 69 7
78. BHS Kristina Logan 24:04.10 78 70 5
79. Frontier Jasmine Mattos 24:05.42 79 71 2
80. Stockdale Delilah Diaz 24:10.83 80 72 7
81. West Wennie Agbalog 24:28.90 81 x 2
82. Wasco Anna Orozco 24:29.57 82 73 2
83. Wasco Ruby Jacabo 24:30.22 83 74 3
84. Tehachapi Anna Duke 24:33.57 84 75 2
85. Wasco S. Castellon 24:42.66 85 76 6
86. Independence Shelby Woolf 24:58.35 86 77 6
87. BHS Sarah Stidham 24:58.76 87 78 6
88. Arvin Gaby Gomez 25:04.17 88 x 3
89. Highland Cristina Valenzuela 25:05.21 89 79 6
90. McFarland Monica Gonzalez 25:42.30 90 x 1
91. Tehachapi Susie Cuevas 25:57.15 91 x 3
92. Wasco B. Medina 26:00.11 92 80 4
93. Cesar Chavez Shannan Albay 26:00.32 93 x 2
94. BC Tiffany Rodriguez 26:26.77 94 x 1
95. Tehachapi Ariel Deval 26:50.73 95 81 4
96. Wasco A. Rios 27:14.74 96 82 5
97. Independence Samantha Antu 27:17.44 97 83 5
98. Tehachapi L. Shoemaker 27:44.92 98 84 5
99. BC Victoria Wheeler 28:09.47 99 x 2
100. Tehachapi J. Bahera 29:20:93 100 85 6
101. Frontier T. See 29:29.12 101 86 3
102. Frontier Savanah Olson 30:18.04 102 87 4
103. Frontier A. Rojas NT 103 88 5
BIENNALIST @ Venice Biennale
www.emergencyrooms.org/biennalist.html
by www.colonel.dk and www.emergencyrooms.org
www.emergencyrooms.org/formats.html about other art format
------------about Venice Biennale history from wikipedia ---------
The Venice Biennale in English also called the "Venice Biennial") refers to an arts organization based in Venice
The Art Biennale, a contemporary visual art exhibition and so called because it is held biennially
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]
In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Azerbaijan, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czech and Slovak Republics, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, ten new participant countries developed national pavilions for the Biennale: Angola, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada [4], Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[29]
----------
#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
, Photographic Source
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 artist
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
protestart
rappervn.net/music/download-246489-Khong_The_Thieu_Jeeboo...
Vers 1 : Jeeboo
Ghế đá nơi đây anh nhớ là ta đã từng đến
Lúc đó anh không hề lạnh khi anh có được em ở cạnh bên
Ngắm những vì sao lẻ loi hiu quạnh trên bầu trời cao
Em đâu có biết là khi không em thỳ cõi long anh lạnh ra sao
Xáo trộn lại tất cả mong thời gian quay ngược lại
Để lại được thấy giây phút hạnh phúc chứ không phải cảm giác chia hai
Đôi tay anh lạnh buốt cần em quay về sưởi ấm
Chứ không muốn phải u sầu tiếc nuối kỉ niệm dần xa theo thắng năm
Nhớ lại khi xưa ngồi bên anh em đã từng nói
Sẽ mãi yên anh bên anh nhưng mà thật sự chỉ là những câu nói dối
Anh hận chính bản thân này...tại sao không giữ được em
Để em ra đi rồi lại dằn vặt từng giờ từng phút chống chọi vs màn đem
Anh chán cái cảm giác này,muốn được như ngày xưa
Muốn được cùng em dạo phố đùa giỡn dù bầu trời nắng hay là mưa
Bật khóc trong khoảng lặng hình bong em dần dần hiện ra
Nhưng mà đó do anh tưởng tượng chứ thực sự em đã xa anh rồi mà
Mel : pý
Nhớ nhớ lúc trống vắng
Tay cầm tay đi bên nhau
Mà h đây tình ta mãi xa
Ôm anh trong cơn mơ
Mưa dần trôii đi nơi đâu
Lặng nhìn a rờiiii xa há (x2)
Vers 2 : F.O.N
Đã bao lâu rồi / e bõ anh sống lẻ loi với màn đêm
Cơn đau hòa vào nổi nhớ ngày càng tăng lên nhìu thêm
Nhắm mắt … a tìm hình bóng của em đang đâu đây?
Chẵng muốn thức zấc vì k dám tin e nói câu chia tay
Cố làm tất cả vì chĩ mong dk quay về như quá khứ
Chĩ muốn dk sống cạnh em như vậy có khó quá chứ ?
Thật sự không có em anh không thể nào sống tiếp
Ngày qua ngày / uống cho say cho đôi mắt mau chóng thiếp
Muốn anh và em cùng nhau quay về như ngày xưa
Cùng nhau ra về tan trường cùg nhau vui đùa trong chiều mưa
Tự trách lòng tại sao đôi tay quá yếu k zữ được em
đã để e đi xa còn lại mình anh nhớ e tha thiết trong từng đêm
đêm nay thật dài chĩ còn mình anh làm bạn cụng men say
chuốc cho hết chén nhớ về em khiến khóe mắt cay cay
r` bỗng trong cơn say hình bóng e lại chợt hiện ra
nhưng tất cả chì là hoang tưởng vì em đã xa anh ròi mà
[for the full Inauguration story, visit my blog]
Emerging into the lower levels of Union Station's Metro stop, the only way to go was outside – all the direct accesses into the main part of the station were closed off. So I went outside and hooked left to head up to the main entrance. A large crowd was amassed here full of would-be train riders – some destined for Amtrak, some for MARC, some for VRE, and others trying to get to Metro. Police officers walked the banisters calling out information.
It was a bit aggravating as people tried to figure out where which groups were supposed to go. It ultimately ended up that Amtrak went one way and MARC / VRE went another way. Metro folks were out of luck: this station was exit-only and was closed to people trying to get on. It was a bit crazy at first just trying to figure out which mass of people I was supposed to be standing in... and we were all trying to figure that out together. Once we started getting into the right groups, one of the officers led the MARC group in a chant: "MARC! MARC! MARC!" to get other would-be riders to take heed.
There was one slip-up where a guy carrying large signs reading “MARC” with an upward-pointing arrow went walking away from the crowd… and like chasing after the Pied Piper, I and many other would-be MARC riders followed. It was when he kept walking away from the train station and stopped to chat with some police officers when I inquired whether we were supposed to be following the sign, or if he was just moving it about. It was the latter… I really didn’t quite expect that answer, but I was glad I asked.
This event was a blessing in disguise. Seconds later, they started letting some people into the station (the officers were metering entering traffic so it didn’t get too crowded). With me approaching at a different angle, a police car and porta-potty formed a pick and I had almost a clear shot into the now-moving crowd. In all I waited perhaps 10 minutes to get inside, and then another 10 minutes or so inside. It wasn’t bad – I generally felt like I was moving most of that time. With much of the day gone by, the crowd itself was still in good spirits, and almost every person thanked & praised the police staff & volunteers.
Rightly so. Considering the pressure of maintaining security, controlling crowds, and offering directions – all at the same time – I’d say that they really did do a stellar job (except for that hiccup when I first arrived that morning). The force could’ve used some more officers and volunteers to provide & reiterate information, as it was often difficult to hear instructions over the wail of the crowd. Additionally, I found that the volunteers tended to be a bit lacking in information… I suspect they were trained moreso in maintaining their specific locations and duties than offering directions, and I’m sure many came from areas far beyond DC.
It would have also been immensely useful had there been better maps available. WMATA, which runs the Metro services, has an excellent base map, but all they did with it was plot a couple concentric circles to show how far things were – 1 mile, 2 miles, 3 miles. All the other maps coming from the Inauguration Committee or the District were absolutely useless, often so cluttered with information in a jack-of-all-trades map that they became inundated with too much information. Some of the news stations prepared their own maps, but the informal Google Maps mashups just didn’t cut it for the level of detail that was needed. I hope that next time the District and committees make use of WMATA’s map as a base and then tailor-make several maps geared toward specific audiences.
The lines moved more quickly thanks to the fact that the officers & volunteers were just putting people on trains... any trains... You got separated out by Amtrak, VRE, MARC Penn Line, and then MARC Brunswick / Camden Lines. After that, you just boarded whatever train was waiting... didn't matter what train your ticket was for, so long as you were going in the right direction.
Choquequirao ruins was most likely built during the reign of the Inca king Pachacuti Inca Yupanqui and is considered to be the last bastion of resistance and refuge of the Sons of the Sun, who fled from the city of Cusco when it was under siege in 1535. Led by Manco Inca Yupanqui, they took refuge in Choquequirao. Presumably, it was used both a check point to access the Vilcabamba Area and a cultural and religious center. The city played an important role as it was a connection between the Amazon Jungle and the city of Cusco. The region has a lot of microclimates and a landscape full of snow-covered peaks of about 6000m (19685f). Choquequirao trek is the place where yuo'll discover the great citadel of the last inca kings and also you'll rich the betiful ecosystem, choquequirao trekking.
Package Name: Choquequirao Trail Peru
Duration: 4 Days / 3 Nights
Type of Trek: Archaeological, Cultural, ecological and Adventure
Group Size: To suit group requirements
Difficulty degree of this hike: Moderate / Challenge
Departures Day:
- Our company organize daily departures
- All private service departure dates are adapted to your request.
- A minimum of 2 persons is needed for this trek
Activities: Trekking, Camping and Adventure
High Season: April - November
Route: Closed in February
Choquequirao Trek 4D Itinerary:
Day 1: Cusco - Cachora - Chiquisca
We will leave Cusco (3350m/10991f) approximately at 5:30 am. First, we will head for the village Cachora (2850m/9350f) to meet our horsemen and the mules that will carry all the camping equipment during the expedition. Thereafter, we will continue our journey towards the pass of Capuliyoc (2800m/9186f). The trek offers a beautiful view of the mythical mountain Padreyoc, of the deep canyon and of the river Apurímac, meaning “speaking river”. Thereupon, we will descend towards the canyon’s interior named Chiquisca (1930m/6332f), where we will spend the night.
Climate: warm
Hiking time: 7 hours
Day 2: Chiquisca - Playa Rosalina - Marampata - Choquequirao
After breakfast, we will descend to La Playa Rosalina (1550m/5085f). From there, we will continue heading for Marampata (2850m/9350f), where we will have a beautiful view of the archeological complex of Choquequirao (3033m/9951f). Our camping site is located 25 minutes from the settlement.
Climate: both cold and warm
Hiking time: 7 hours
Day 3: Choquequirao - San Ignacio - Carmen
At sunrise, we will first visit the archeological site of Choquequirao. By now, only 30% of this “golden cradle” has been exposed. Thereafter, we will descend to the Apurímac canyon’s deepest part called San Ignacio at 1500m/4921f and have lunch. After that, we will ascend to our camping site in the beautiful gardens of Carmen (2000m/6562f).
Climate: moderate climate with mosquitoes
Hiking time: 6 hours
Note: Due to the ecosystem’s constant changes, this day is considered to be the most beautiful one. Nevertheless, the route from Choquequirao to San Ignacio is at some parts very slippery. Therefore, we ask you to watch your steps carefully. Moreover, we recommend carrying sufficient water with you.
Day 4: Carmen - Manor of Tambo bamba - Huanipaca
The gardens of Carmen are situated close to the manor of Tambo bamba (2500m/8202f), a region having been governed by landowners during the 19th and 20th century and considered to be one of the most fertile valleys to cultivate maize and a variety of potatoes. We will pass little villages such as Pacobamba and Huanipaca (3150m/10335f) and will return to Cusco by bus.
Climate: moderate, warm
Hiking time: 5 hours
Transport time: 5 hours
What is Included:
Private transport from the hotel to the town of Cachora
Entrance fees to Choquequirao
Professional bilingual guide (Spanish and English)
High quality camping equipment (We use professional tents, Doite, Model Kailas 3, extra light/4.5kgs and Doite, Model Himalaya, extra light/4.5kgs, both are big enough for 2 persons. Mattresses, eating tent with table and chairs, bathroom tent)
Meals during the excursion (breakfast, lunch, dinner and snacks / option vegetarian
Cook and cooking equipment
Horseman and mules, for all camping and personal luggage
Emergency horse
First-aid kit, oxygen bottle and safety rope.
What is not Included:
Sleeping bag rent: US$ 5 per day. Our sleeping bags are –8ºC-comfort (0ºF) and mummy form and include a sleeping liner.
Lunch on the last day
Alcoholic drinks
Recomended Things To Take
Sleeping bag (you can rent at Cusco Expeditions office).
Bottle of mineral water.
Rain gear and/or plastic poncho (can be purchase in Cusco).
Hiking boots.
Warm jacket or fleece, t-shirts, shorts, long pants, sun hat and wool hat.
Flashlight.
Sun block.
Insect repellent.
Toilet paper and garbage bag.
Small towel and bathing suit (hot springs optional).
Camera, extra film and extra batteries.
Snacks, chocolates, energy bars.
Emergency money.
Walking stick (optional).
CALL US We are ready to take your call.
Call us: Telephone: (+51) (84) 632307, Telefax: (+51) (84) 632307
Cell Phone: (+51) (84) 974727031 / 958191179 / 984567085 (24 hours available)
Address: Triunfo Street 392 - Centro Artesanal Arte Inka 2nd Floor 212 - Main Square of Cusco
Business Hours: Monday to Sunday: (From 9:00am to 13:00PM) - ( From 15:00PM - 8:00PM)
E-mail: contact@cuscoexpeditions.com, info@cuscoexpeditions.com
MSN: cuscoexpeditions@hotmail.com
Website: www.cuscoexpeditions.com/
Copyright © 2005-2020 Cusco Expeditions E.I.R.L. - Peruvian Tour Operator - Travel Agency
Mémoire2cité il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain. archipostcard.blogspot.com/search?updated-max=2009-02-13T... - museedelacartepostale.fr/periode-semi-moderne/ - archipostalecarte.blogspot.com/ - museedelacartepostale.fr/blog/ - museedelacartepostale.fr/exposition-permanente/ - www.queenslandplaces.com.au/category/headwords/brisbane-c... - collection-jfm.fr/t/cartes-postales-anciennes/france#.XGe... - www.cparama.com/forum/la-collection-de-cpa-f1.html - www.dauphinomaniac.org/Cartespostales/Francaises/Cartes_F... - furtho.tumblr.com/archive
le Logement Collectif* 50,60,70's, dans tous ses états..Histoire & Mémoire d'H.L.M. de Copropriété Renouvellement Urbain-Réha-NPNRU., twitter.com/Memoire2cite tout içi sig.ville.gouv.fr/atlas/ZUS/ - media/InaEdu01827/la-creatio" rel="noreferrer nofollow">fresques.ina.fr/jalons/fiche-media/InaEdu01827/la-creatio Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije
Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.
Lieux géographiques : la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye
www.dailymotion.com/playlist/x34ije_territoiresgouv_cinem... - mémoire2cité - le monde de l'Architecture locative collective et bien plus encore - mémoire2cité - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
Le Joli Mai (Restauré) - Les grands ensembles BOBIGNY l Abreuvoir www.youtube.com/watch?v=eUY9XzjvWHE … et la www.youtube.com/watch?v=hK26k72xIkU … www.youtube.com/watch?v=xCKF0HEsWWo …
Genève Le Grand Saconnex & la Bulle Pirate - architecte Marçel Lachat -
Un film de Julien Donada içi www.youtube.com/watch?time_continue=1&v=4E723uQcpnU … … .Genève en 1970. pic.twitter.com/1dbtkAooLM è St-Etienne - La muraille de Chine, en 1973 ce grand immeuble du quartier de Montchovet, existait encore photos la Tribune/Progres.
www.youtube.com/watch?v=AJAylpe8G48 …, - la tour 80 HLM située au 1 rue Proudhon à Valentigney dans le quartier des Buis Cette tour emblématique du quartier avec ces 15 étages a été abattu par FERRARI DEMOLITION (68). VALENTIGNEY (25700) 1961 - Ville nouvelle-les Buis 3,11 mn www.youtube.com/watch?v=C_GvwSpQUMY … - Au nord-Est de St-Etienne, aux confins de la ville, se dresse une colline Montreynaud la ZUP de Raymond Martin l'architecte & Alexandre Chemetoff pour les paysages de St-Saens.. la vidéo içi * Réalisation : Dominique Bauguil www.youtube.com/watch?v=Sqfb27hXMDo … … - www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije
Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.
la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye 1975 Réalisateur : Sydney Jézéquel, Karenty
la construction des Autoroutes en France - Les liaisons moins dangereuses 1972 www.dailymotion.com/video/xxi0ae?playlist=x34ije - Ministère de l'Équipement et de l'Aménagement du Territoire - Dotation par la France d'autoroutes modernes "nécessité vitale" pour palier à l'inadaptation du réseau routier de l'époque voué à la paralysie : le reportage nous montre des images d'embouteillages. Le ministre de l'Équipement et de l'Aménagement du Territoire dans les deux gouvernements de Pierre Messmer, de 1972 à 1974, Olivier Guichard explique les ambitions du programme de construction qui doit atteindre 800 km par ans en 1978. L'ouverture de section nouvelles va bon train : Nancy / Metz par exemple. Le reportage nous montre l'intérieur des bureaux d'études qui conçoivent ces autoroute dont la conception est assistée par ordinateurs dont le projet d'ensemble en 3D est visualisé sur un écran. La voix off nous informe sur le financement de ces équipements. Puis on peut voir des images de la construction du pont sur la Seine à Saint Cloud reliant l'autoroute de Normandie au périphérique, de l'échangeur de Palaiseau sur 4 niveau : record d'Europe précise le commentaire. Le reportage nous informe que des sociétés d'économies mixtes ont étés crées pour les tronçons : Paris / Lille, Paris / Marseille, Paris / Normandie. Pour accélérer la construction l’État a eu recours à des concessions privées par exemple pour le tronçon Paris / Chartres. "Les autoroutes changent le visage de la France : artères économiques favorisant le développement industriel elles permettent de revitaliser des régions en perte de vitesse et de l'intégrer dans le mouvement général de l'expansion" Sur le plan européen elles vont combler le retard de la France et réaliser son insertion. Images de l'inauguration de l'autoroute entre Paris et Bruxelles par le président Georges Pompidou. Le reportage rappel que l'autre fonction capitale des autoroute est de favoriser la sécurité. La question de la limitation de vitesse est posée au ministre de l’Équipement, qui n'y est favorable que sur certains tronçons. Un des facteur de sécurité selon le commentaire est l'humanisation des autoroutes : aires de repos, restaurants, signalisation touristiques... "Rien n'est impossible aux techniques modernes" nous apprend la voix off qui prend comme exemple le déplacement sur rail de 65 mètres d'un château classé afin de faire passer l'autoroute Lille / Dunkerque.Durée : 4 minutes 30 secondes
Sur les routes de France les ponts renaissent 1945 reconstruction de la France après la Seconde Guerre mondiale www.dailymotion.com/video/xuxrii?playlist=x34ije , Quelques mois après la fin de la Seconde Guerre mondiale, un triste constat s'impose : 5 944 passages sont coupés, soit plus de 110 km de brèches ; de nombreuses villes se trouvent isolées.Les chantiers s'activent dans toute la France pour "gagner la bataille des communications routières". Mais outre la pénurie de main d’œuvre, il faut faire face au manque de matériaux (béton, métal) et donc déployer des trésors d'imagination pour reconstruire les ponts détruits. Si le savoir faire des tailleurs de pierre est exploité, le plus spectaculaire est le relevage des ponts, comme le pont de Galliéni à Lyon, où 7 à 800 tonnes d'acier sont sorti de l'eau avec des moyens de l'époque. En avril 1945, il reste 5 700 ponts à reconstruire soit 200 000 tonnes d'acier, 600 000 tonnes de ciment, 250 000 m3 de bois, 10 millions de journées d'ouvrier, prix de l'effort de reconstruction.1945
Auteurs / réalisateurs : images : G.Delaunay, A.Pol, son : C.Gauguier Production : Direction Technique des Services des Ponts et Chaussées / Ministère des Travaux Publics et des Transports Support original : 16 mm noir et blanc Durée : 14 min Thèmes principaux : infrastructures-ouvrages d'art Mot clés : chantier, pont, Reconstruction, restauration, béton précontraint, ministère des travaux publics et des transports
Lieux : Lyon, Tournon, Caen - Le Bosquel, un village renait 1947 l'album cinématographique de la reconstruction, réalisation Paul de Roubaix production ministère de la Reconstruction et de l'Urbanisme, village prototype, architecte Paul Dufournet, www.dailymotion.com/video/xx5tx8?playlist=x34ije - Demain Paris 1959 dessin animé présentant l'aménagement de la capitale dans les années 60, Animation, dessin animé à vocation pédagogique visant à promouvoir la politique d’aménagement suivie dans les années 60 à Paris. Un raccourci historique sur l’extension de Paris du Moyen Âge au XIXe siècle (Lutèce, œuvres de Turgot, Napoléon, Haussmann), ce dessin animé retrace la naissance de la banlieue et de ses avatars au XXe siècle. Il annonce les grands principes d’aménagement des villes nouvelles et la restructuration du centre de Paris (référence implicite à la charte d’Athènes). Le texte est travaillé en rimes et vers. Une chanson du vieux Paris conclut poétiquement cette vision du futur. Thèmes principaux : Aménagement urbain / planification-aménagement régional Mots-clés : Banlieue, extension spatiale, histoire, quartier, ville, ville nouvelle Lieu géographique : Paris 75 Architectes ou personnalités : Eugène Haussmann, Napoléon, Turgot Réalisateurs : André Martin, Michel Boschet Production : les films Roger Leenhardt
www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije , Film d'archive actualités de 1952 Reconstruction de la France sept ans après la fin de la seconde guerre mondiale état des lieux de la crise du logement , Actualités de 1952. Sept ans après la fin de la seconde guerre Mondiale état des lieux de la reconstruction de la France et de la crise du logement à l’œuvre, pénurie de logement, logements insalubres. Les actualités montrent des images d'archives de la destruction de la France, les Chars de la division Leclerc qui défilent sur les Champs Elysees. Le commentaire dénonce la lenteur de la reconstruction et notamment des manifestations qui ont eu lieue à Royan afin d''accélérer la reconstruction de la ville détruite.Le film montre à Strasbourg, Mulhouse, des réalisation moderne de grands ensembles et des images d'archive de la reconstruction du Havre de Saint Nazaire.Le film se termine à Marseille sur les réalisation nouvelles autour du vieux port puis on assiste à l'inauguration de la Cité Radieuse par le ministre de la Reconstruction et de l'Urbanisme Eugène Claudius-Petit en présence de son architecte Le Corbusier à qui le ministre remet la cravate de commandeur de la légion d'honneur. www.dailymotion.com/video/xk1g5j?playlist=x34ije Brigitte Gros - Urbanisme - Filmer les grands ensembles 2016 - par Camille Canteux chercheuse au CHS -Centre d'Histoire Sociale - Jeanne Menjoulet - Ce film du CHS daté de 2014 www.youtube.com/watch?v=VDUBwVPNh0s … L'UNION SOCIALE POUR L'HABITAT le Musée des H.L.M. musee-hlm.fr/ union-habitat.org/ - EXPOSITION :LES 50 ANS DE LA RESIDENCe SALMSON POINT-Du JOUR www.salmsonlepointdujour.fr/pdf/Exposition_50_ans.pdf - Sotteville Construction de l’Anjou, le premier immeuble de la Zone Verte sottevilleaufildutemps.fr/2017/05/04/construction-de-limm... - www.20minutes.fr/paris/diaporama-7346-photo-854066-100-an... - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962-9... missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695...
Tourist attractions in Warangal city & surrounds and Warangal History
The design of the gateways is redolent like the ‘thoranas’ of the Great Stupa at Sanchi. The architecture and sculpture of these temples are magnificent as no one can fail to see the rich imagination, patient industry and skilful workmanship of the builders of the temples of the Kakatiya period.
History of Kakatiya Dynasty
The 12th and the 13th centuries saw the emergence of the Kakatiyas. They were at first the feudatories of the Western Chalukyas of Kalyana, ruling over a small territory near Warangal. A ruler of this dynasty, Prola II, who ruled from 1110 AD to 1158 AD, extended his sway to the south and declared his independence. His successor Rudra (1158 - 1195 AD) pushed the kingdom to the north up to the Godavari delta. He built a fort at Warangal to serve as a second capital and faced the invasions of the Yadavas of Devagiri. The next ruler Mahadeva extended the kingdom to the coastal area. In 1199 AD, Ganapati succeeded him. He was the greatest of the Kakatiyas and the first after the Satavahanas to bring the entire Telugu area under one rule. He put an end to the rule of the Velanati Cholas in 1210 AD. He forced the Telugu Cholas of Vikramasimhapura to accept his suzerainty. He established order in his vast dominion and encouraged trade.
As Ganapati Deva had no sons, his daughter Rudramba succeeded him in 1262 AD and carried on the administration. Some generals, who did not like to be ruled by her, rebelled. She could, however, suppress the internal rebellions and external invasions with the help of loyal subordinates. The Cholas and the Yadavas suffered such set backs at her hands that they did not think of troubling her for the rest of her rule.
Prataparudra succeeded his grandmother Rudramba in 1295 AD and ruled till 1323 AD. He pushed the western border of his kingdom up to Raichur. He introduced many administrative reforms. He divided the kingdom into 75 Nayakships, which was later adopted and developed by the Rayas of Vijayanagara. In his time the territory constituting Andhra Pradesh had the first experience of a Muslim invasion. In 1303 AD, the Delhi Sultan Ala-ud-din Khilji sent an army to plunder the kingdom, but Prataparudra defeated them at Upparapalli in Karimnagar district. In 1310 AD, when another army under Malik Kafur invaded Warangal, Prataparudra yielded and agreed to pay a large tribute. In 1318 AD when Ala-ud-din Khilji died, Prataparudra withheld the tribute. It provoked another invasion of the Muslims. In 1321 AD Ghiaz-ud-din Tughlaq sent a large army under Ulugh Khan to conquer the Telugu country then called Tilling. He laid siege to Warangal, but owing to internal dissensions he called off the siege and returned to Delhi. Within a short period, he came back with a much bigger army. In spite of unpreparedness, Prataparudra fought bravely. For want of supplies, he surrendered to the enemy who sent him to Delhi as a prisoner, and he died on the way. Thus ended the Kakatiya rule, opening the gates of the Telugu land to anarchy and confusion yielding place to an alien ruler.
performance event entitled “Climate Crisis Car Wash,” co-conceived by Canadian artist Celeste Pimm.
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academy-emergency-art.blogspot.dk/2014/05/why-should-berl...
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Biennalist @ Berlin Biennale . Should we debate global warming NOW or promote it ?
ARE BIENNALES DANGEROUS ?
Art Formats : ( including Emergency Art )
www.emergencyrooms.org/formats.html
Biennalist:
www.emergencyrooms.org/biennalist.html
THE EMERGENCY WILL REPLACE THE CONTEMPORARY
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----more about Berlin Biennale ---#BB8
Juan A. Gaitán appointed curator of the 8th Berlin Biennale for Contemporary Art
KW Institute for Contemporary Art in Berlin is delighted to announce the appointment of Juan A. Gaitán as curator of the 8th Berlin Biennale for Contemporary Art. The 8th Berlin Biennale will take place in spring 2014.
Juan A. Gaitán (Canada/Colombia) is an independent writer and curator, currently based in Mexico City and Berlin. He is trained as an artist and art historian at University of British Columbia and Emily Carr Institute of Art and Design in Vancouver (Canada). Between January 2009 and December 2011, he was curator at Witte de With Center for Contemporary Art in Rotterdam (The Netherlands), and between September 2011 and June 2012 adjunct professor in the Curatorial Practice Program at the California College of the Arts in San Francisco (USA). During the 2006 – 2008 period, he was on the Board of Directors of the Western Front Society, and worked as external curator at the Morris and Helen Belkin Art Gallery in Vancouver. His writings have been published in several journals, including Afterall, The Exhibitionist, Fillip, and Mousse. His most recent exhibition, Material Information, spans three venues in Bergen (Norway), and looks for a renewed critical approach to the contemporary global distribution of labor from the perspective of arts and crafts. He is presently member of the acquisitions committee at FRAC Nord-Pas de Calais in Dunquerke (France).
The Berlin Biennale for Contemporary Art is since its fourth edition one of the institutions supported by the German Federal Cultural Foundation as „outstanding cultural event“. The support of 2.5 Million Euros per edition ensures planning stability, enabling the organizers to address issues of content in an experimental way.
Since the first edition in 1998, the Berlin Biennale has become a major international event for contemporary art. Located in the midst of Berlin’s vibrant cultural scene in the fast-changing capital of Germany, the Berlin Biennale has received an enthusiastic response from the audience as an experimental, forward-looking and contextual show. The previous seven editions of the Berlin Biennale explored a variety of exhibition formats and involved diverse curatorial agendas.
Curators have been:
1st Berlin Biennale (1998): Klaus Biesenbach with Nancy Spector, and Hans Ulrich Obrist
2nd Berlin Biennale (2001): Saskia Bos
3rd Berlin Biennale (2004): Ute Meta Bauer
4th Berlin Biennale (2006): Maurizio Cattelan, Massimiliano Gioni, and Ali Subotnick
5th Berlin Biennale (2008): Adam Szymczyk and Elena Filipovic
6th Berlin Biennale (2010): Kathrin Rhomberg
7th Berlin Biennale (2012): Artur Żmijewski together with associate curators Voina and Joanna Warsza
The selection committee for the curatorship of the 8th Berlin Biennale consisted of Sergio Edelsztein (Director and Chief Curator, The Centre for Contemporary Art, Tel Aviv); Cao Fei (Artist, Bejing), Susanne Gaensheimer (Director, MMK Museum für Moderne Kunst, Frankfurt a. M.), Koyo Kouoh (Founding Director and Artistic Director, Raw Material Company - Center for Art, Knowledge and Society, Dakar), Matthias Mühling (Head of Department, Curator, Städtische Galerie im Lenbachhaus, Munich), Bisi Silva (Director and Founder, Centre for Contemporary Art, Lagos), and Patricia Sloane (Associate Curator, MUAC Museo Universitario Arte Contemporáneo and advisor to the Head of Visual Arts, UNAM Universidad Nacional Autónoma de México, Mexico City).
The Berlin Biennale is realized by KW Institute for Contemporary Art and funded by the German Federal Cultural Foundation.
KW Institute for Contemporary Art
Berlin Biennale für zeitgenössische Kunst
Auguststraße 69
#BB8
---artists participating ---
52 Künstler stehen auf der am gestrigen Sonntag veröffentlichten Künstlerliste der 8. Berlin Biennale: Zarouhie Abdalian, Bani Abidi, Mathieu Kleyebe Abonnenc, Saâdane Afif, David Chalmers Alesworth, Carlos Amorales, Andreas Angelidakis, Leonor Antunes, Julieta Aranda , Tarek Atoui, Nairy Baghramian, Bianca Baldi, Patrick Alan Banfield, Alberto Baraya , Rosa Barba, Gordon Bennett, Zachary Cahill, Mariana Castillo Deball, Carolina Caycedo, Tacita Dean, Mario García Torres, Beatriz González, Agatha Gothe-Snape, Shilpa Gupta, Cynthia Gutiérrez, Ganesh Haloi, Carsten Höller, Iman Issa, Irene Kopelman, Kemang Wa Lehulere, Matts Leiderstam, Li Xiaofei, Glenn Ligon, Goshka Macuga, Santu Mofokeng, Shahryar Nashat, Olaf Nicolai, Otobong Nkanga, Christodoulos Panayiotou, Judy Radul, Jimmy Robert, Anri Sala, Slavs and Tatars, Michael Stevenson, Mariam Suhail, Vivan Sundaram, Gaganendranath Tagore, Wolfgang Tillmans, Tonel, Danh Vo & Xiu Xiu, David Zink Yi, Carla Zaccagnini und das Center for Historical Reenactments.
Die 8. Berlin Biennale für zeitgenössische Kunst findet vom 29. Mai bis 3. August 2014 im Haus am Waldsee, den Museen Dahlem - Staatliche Museen zu Berlin, den KW Institute for Contemporary Art und dem "Crash Pad" in den KW statt.
Mémoire2cité il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain. archipostcard.blogspot.com/search?updated-max=2009-02-13T... - museedelacartepostale.fr/periode-semi-moderne/ - archipostalecarte.blogspot.com/ - museedelacartepostale.fr/blog/ - museedelacartepostale.fr/exposition-permanente/ - www.queenslandplaces.com.au/category/headwords/brisbane-c... - collection-jfm.fr/t/cartes-postales-anciennes/france#.XGe... - www.cparama.com/forum/la-collection-de-cpa-f1.html - www.dauphinomaniac.org/Cartespostales/Francaises/Cartes_F... - furtho.tumblr.com/archive
le Logement Collectif* 50,60,70's, dans tous ses états..Histoire & Mémoire d'H.L.M. de Copropriété Renouvellement Urbain-Réha-NPNRU., twitter.com/Memoire2cite tout içi sig.ville.gouv.fr/atlas/ZUS/ - media/InaEdu01827/la-creatio" rel="noreferrer nofollow">fresques.ina.fr/jalons/fiche-media/InaEdu01827/la-creatio Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije
Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.
Lieux géographiques : la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye
www.dailymotion.com/playlist/x34ije_territoiresgouv_cinem... - mémoire2cité - le monde de l'Architecture locative collective et bien plus encore - mémoire2cité - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,
Le Joli Mai (Restauré) - Les grands ensembles BOBIGNY l Abreuvoir www.youtube.com/watch?v=eUY9XzjvWHE … et la www.youtube.com/watch?v=hK26k72xIkU … www.youtube.com/watch?v=xCKF0HEsWWo …
Genève Le Grand Saconnex & la Bulle Pirate - architecte Marçel Lachat -
Un film de Julien Donada içi www.youtube.com/watch?time_continue=1&v=4E723uQcpnU … … .Genève en 1970. pic.twitter.com/1dbtkAooLM è St-Etienne - La muraille de Chine, en 1973 ce grand immeuble du quartier de Montchovet, existait encore photos la Tribune/Progres.
www.youtube.com/watch?v=AJAylpe8G48 …, - la tour 80 HLM située au 1 rue Proudhon à Valentigney dans le quartier des Buis Cette tour emblématique du quartier avec ces 15 étages a été abattu par FERRARI DEMOLITION (68). VALENTIGNEY (25700) 1961 - Ville nouvelle-les Buis 3,11 mn www.youtube.com/watch?v=C_GvwSpQUMY … - Au nord-Est de St-Etienne, aux confins de la ville, se dresse une colline Montreynaud la ZUP de Raymond Martin l'architecte & Alexandre Chemetoff pour les paysages de St-Saens.. la vidéo içi * Réalisation : Dominique Bauguil www.youtube.com/watch?v=Sqfb27hXMDo … … - www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije
Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.
la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye 1975 Réalisateur : Sydney Jézéquel, Karenty
la construction des Autoroutes en France - Les liaisons moins dangereuses 1972 www.dailymotion.com/video/xxi0ae?playlist=x34ije - Ministère de l'Équipement et de l'Aménagement du Territoire - Dotation par la France d'autoroutes modernes "nécessité vitale" pour palier à l'inadaptation du réseau routier de l'époque voué à la paralysie : le reportage nous montre des images d'embouteillages. Le ministre de l'Équipement et de l'Aménagement du Territoire dans les deux gouvernements de Pierre Messmer, de 1972 à 1974, Olivier Guichard explique les ambitions du programme de construction qui doit atteindre 800 km par ans en 1978. L'ouverture de section nouvelles va bon train : Nancy / Metz par exemple. Le reportage nous montre l'intérieur des bureaux d'études qui conçoivent ces autoroute dont la conception est assistée par ordinateurs dont le projet d'ensemble en 3D est visualisé sur un écran. La voix off nous informe sur le financement de ces équipements. Puis on peut voir des images de la construction du pont sur la Seine à Saint Cloud reliant l'autoroute de Normandie au périphérique, de l'échangeur de Palaiseau sur 4 niveau : record d'Europe précise le commentaire. Le reportage nous informe que des sociétés d'économies mixtes ont étés crées pour les tronçons : Paris / Lille, Paris / Marseille, Paris / Normandie. Pour accélérer la construction l’État a eu recours à des concessions privées par exemple pour le tronçon Paris / Chartres. "Les autoroutes changent le visage de la France : artères économiques favorisant le développement industriel elles permettent de revitaliser des régions en perte de vitesse et de l'intégrer dans le mouvement général de l'expansion" Sur le plan européen elles vont combler le retard de la France et réaliser son insertion. Images de l'inauguration de l'autoroute entre Paris et Bruxelles par le président Georges Pompidou. Le reportage rappel que l'autre fonction capitale des autoroute est de favoriser la sécurité. La question de la limitation de vitesse est posée au ministre de l’Équipement, qui n'y est favorable que sur certains tronçons. Un des facteur de sécurité selon le commentaire est l'humanisation des autoroutes : aires de repos, restaurants, signalisation touristiques... "Rien n'est impossible aux techniques modernes" nous apprend la voix off qui prend comme exemple le déplacement sur rail de 65 mètres d'un château classé afin de faire passer l'autoroute Lille / Dunkerque.Durée : 4 minutes 30 secondes
Sur les routes de France les ponts renaissent 1945 reconstruction de la France après la Seconde Guerre mondiale www.dailymotion.com/video/xuxrii?playlist=x34ije , Quelques mois après la fin de la Seconde Guerre mondiale, un triste constat s'impose : 5 944 passages sont coupés, soit plus de 110 km de brèches ; de nombreuses villes se trouvent isolées.Les chantiers s'activent dans toute la France pour "gagner la bataille des communications routières". Mais outre la pénurie de main d’œuvre, il faut faire face au manque de matériaux (béton, métal) et donc déployer des trésors d'imagination pour reconstruire les ponts détruits. Si le savoir faire des tailleurs de pierre est exploité, le plus spectaculaire est le relevage des ponts, comme le pont de Galliéni à Lyon, où 7 à 800 tonnes d'acier sont sorti de l'eau avec des moyens de l'époque. En avril 1945, il reste 5 700 ponts à reconstruire soit 200 000 tonnes d'acier, 600 000 tonnes de ciment, 250 000 m3 de bois, 10 millions de journées d'ouvrier, prix de l'effort de reconstruction.1945
Auteurs / réalisateurs : images : G.Delaunay, A.Pol, son : C.Gauguier Production : Direction Technique des Services des Ponts et Chaussées / Ministère des Travaux Publics et des Transports Support original : 16 mm noir et blanc Durée : 14 min Thèmes principaux : infrastructures-ouvrages d'art Mot clés : chantier, pont, Reconstruction, restauration, béton précontraint, ministère des travaux publics et des transports
Lieux : Lyon, Tournon, Caen - Le Bosquel, un village renait 1947 l'album cinématographique de la reconstruction, réalisation Paul de Roubaix production ministère de la Reconstruction et de l'Urbanisme, village prototype, architecte Paul Dufournet, www.dailymotion.com/video/xx5tx8?playlist=x34ije - Demain Paris 1959 dessin animé présentant l'aménagement de la capitale dans les années 60, Animation, dessin animé à vocation pédagogique visant à promouvoir la politique d’aménagement suivie dans les années 60 à Paris. Un raccourci historique sur l’extension de Paris du Moyen Âge au XIXe siècle (Lutèce, œuvres de Turgot, Napoléon, Haussmann), ce dessin animé retrace la naissance de la banlieue et de ses avatars au XXe siècle. Il annonce les grands principes d’aménagement des villes nouvelles et la restructuration du centre de Paris (référence implicite à la charte d’Athènes). Le texte est travaillé en rimes et vers. Une chanson du vieux Paris conclut poétiquement cette vision du futur. Thèmes principaux : Aménagement urbain / planification-aménagement régional Mots-clés : Banlieue, extension spatiale, histoire, quartier, ville, ville nouvelle Lieu géographique : Paris 75 Architectes ou personnalités : Eugène Haussmann, Napoléon, Turgot Réalisateurs : André Martin, Michel Boschet Production : les films Roger Leenhardt
www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije , Film d'archive actualités de 1952 Reconstruction de la France sept ans après la fin de la seconde guerre mondiale état des lieux de la crise du logement , Actualités de 1952. Sept ans après la fin de la seconde guerre Mondiale état des lieux de la reconstruction de la France et de la crise du logement à l’œuvre, pénurie de logement, logements insalubres. Les actualités montrent des images d'archives de la destruction de la France, les Chars de la division Leclerc qui défilent sur les Champs Elysees. Le commentaire dénonce la lenteur de la reconstruction et notamment des manifestations qui ont eu lieue à Royan afin d''accélérer la reconstruction de la ville détruite.Le film montre à Strasbourg, Mulhouse, des réalisation moderne de grands ensembles et des images d'archive de la reconstruction du Havre de Saint Nazaire.Le film se termine à Marseille sur les réalisation nouvelles autour du vieux port puis on assiste à l'inauguration de la Cité Radieuse par le ministre de la Reconstruction et de l'Urbanisme Eugène Claudius-Petit en présence de son architecte Le Corbusier à qui le ministre remet la cravate de commandeur de la légion d'honneur. www.dailymotion.com/video/xk1g5j?playlist=x34ije Brigitte Gros - Urbanisme - Filmer les grands ensembles 2016 - par Camille Canteux chercheuse au CHS -Centre d'Histoire Sociale - Jeanne Menjoulet - Ce film du CHS daté de 2014 www.youtube.com/watch?v=VDUBwVPNh0s … L'UNION SOCIALE POUR L'HABITAT le Musée des H.L.M. musee-hlm.fr/ union-habitat.org/ - EXPOSITION :LES 50 ANS DE LA RESIDENCe SALMSON POINT-Du JOUR www.salmsonlepointdujour.fr/pdf/Exposition_50_ans.pdf - Sotteville Construction de l’Anjou, le premier immeuble de la Zone Verte sottevilleaufildutemps.fr/2017/05/04/construction-de-limm... - www.20minutes.fr/paris/diaporama-7346-photo-854066-100-an... - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962-9... missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695...
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39. Stockdale Cynthia Lopez 21:35.61 39 36 5
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41. Highland Hilaria Vasquez 21:43.76 41 38 3
42. North Yadira Perez 21:49.62 42 39 5
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48. Centennial Jorey Braughton 22:18.95 48 45 5
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50. Garces Lauren Brown 22:21.19 50 47 2
51. Golden Valley Denise Silva 22:23.90 51 48 2
52. Foothill Violeta Quintanar 22:24.92 52 49 6
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54. Independence Sara Sullivan 22:25.95 54 51 3
55. Garces Lizbeth Lopez 22:28.11 55 52 3
56. Garces Tammy Vu 22:35.68 56 53 4
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63. Shafter Mayra Torres 23:00.88 63 58 6
64. Golden Valley Carmelita Aguilar 23:04.07 64 59 3
65. Ridgeview M. Salgado 23:14.56 65 60 7
66. Golden Valley Anna Avina 23:20.23 66 61 4
67. Golden Valley Ninive Alveno 23:26.73 67 62 6
68. Golden Valley Mercedes Salgado 23:26.73 68 63 5
69. Centennial Paige Anderson 23:30.27 69 64 6
70. Garces Sammie Lobardo 23:34.37 70 65 6
71. Arvin Bianca Quinonez 23:41.85 71 x 2
72. Kern Valley S. Hinkey 23:42.47 72 x 1
73. Frontier Ariel Driskill 23:43.12 73 66 1
74. Centennial J. Estrada 23:50.91 74 67 7
75. Kern Valley S. Hazzard 23:51.80 75 x 2
76. Garces G. Ortiz 23:54.66 76 68 7
77. North Priscilla Cruz 23:55.51 77 69 7
78. BHS Kristina Logan 24:04.10 78 70 5
79. Frontier Jasmine Mattos 24:05.42 79 71 2
80. Stockdale Delilah Diaz 24:10.83 80 72 7
81. West Wennie Agbalog 24:28.90 81 x 2
82. Wasco Anna Orozco 24:29.57 82 73 2
83. Wasco Ruby Jacabo 24:30.22 83 74 3
84. Tehachapi Anna Duke 24:33.57 84 75 2
85. Wasco S. Castellon 24:42.66 85 76 6
86. Independence Shelby Woolf 24:58.35 86 77 6
87. BHS Sarah Stidham 24:58.76 87 78 6
88. Arvin Gaby Gomez 25:04.17 88 x 3
89. Highland Cristina Valenzuela 25:05.21 89 79 6
90. McFarland Monica Gonzalez 25:42.30 90 x 1
91. Tehachapi Susie Cuevas 25:57.15 91 x 3
92. Wasco B. Medina 26:00.11 92 80 4
93. Cesar Chavez Shannan Albay 26:00.32 93 x 2
94. BC Tiffany Rodriguez 26:26.77 94 x 1
95. Tehachapi Ariel Deval 26:50.73 95 81 4
96. Wasco A. Rios 27:14.74 96 82 5
97. Independence Samantha Antu 27:17.44 97 83 5
98. Tehachapi L. Shoemaker 27:44.92 98 84 5
99. BC Victoria Wheeler 28:09.47 99 x 2
100. Tehachapi J. Bahera 29:20:93 100 85 6
101. Frontier T. See 29:29.12 101 86 3
102. Frontier Savanah Olson 30:18.04 102 87 4
103. Frontier A. Rojas NT 103 88 5
Христианская проповедь: значение явления Господа Иисуса людям после Его воскресения
ru.godfootsteps.org/testimonies/Jesus-resurrection-why-He...
Описание: Господь Иисус был распят на кресте, тем самым выполняя работу по искуплению человечества. Почему же Он являлся людям в течение 40 дней после Своего воскресения? Каково было значение явления человеку после Его воскресения, и какая Его воля стояла за ним?
В Библии написано: «Когда они говорили о сем, Сам Иисус стал посреди них и сказал им: мир вам. Они, смутившись и испугавшись, подумали, что видят духа. Но Он сказал им: что смущаетесь, и для чего такие мысли входят в сердца ваши? Посмотрите на руки Мои и на ноги Мои; это Я Сам; осяжите Меня и рассмотрите; ибо дух плоти и костей не имеет, как видите у Меня. И, сказав это, показал им руки и ноги. 41 Когда же они от радости еще не верили и дивились, Он сказал им: есть ли у вас здесь какая пища? Они подали Ему часть печеной рыбы и сотового меда. И, взяв, ел пред ними» (От Луки 24:36-43). Всякий раз, читая эти стихи, я завидую Петру, Иоанну и другим. Когда Иисус выполнял Свою работу в Иудее, Он всегда был со Своими учениками, днем и ночью, а после Своего воскресения Он заботился о них как и прежде, являлся им, разъяснял им Писание и учил их. Петру и другим повезло, что Господь избрал их Своими учениками и они могли слышать учения Господа Иисуса своими собственными ушами, – они были так благословенны! Впоследствии я прочел слова Бога и понял, что на самом деле за Его явлением людям после Его воскресения стояла воля Господа Иисуса и что этот поступок еще больше олицетворял всемогущество и мудрость Бога. Я по-настоящему увидел, что явление Господа Иисуса людям после Его воскресения на самом деле было таким важным!
В Божьих словах говорится: «Первое, что сделал Господь Иисус после Своего воскресения, это позволил людям увидеть Его, убедиться в Его существовании и в факте Его воскресения. Кроме того, это послужило восстановлению Его прежних отношений с людьми, когда Он трудился во плоти и был Христом, Которого можно было увидеть и осязать. Таким образом, одним из результатов этого было то, что люди уже не сомневались в том, что Господь Иисус воскрес из мертвых после распятия на кресте, как не сомневались они в совершенном Господом Иисусом труде искупления человечества. Еще одним результатом было то, что явление Господа Иисуса людям после Его воскресения с позволением увидеть Его и прикоснуться к Нему основательно утвердило их в Периоде Благодати. Начиная с этого момента, люди больше не могли вернуться к прежним временам Периода Закона в связи с “исчезновением” или “уходом” Господа Иисуса. Они должны были двигаться вперед, следуя учению Господа Иисуса и свершенному Им труду. Таким образом, в труде Периода Благодати формально наступил новый этап, и, начиная с этого момента, люди, жившие по закону, “официально” вышли из данного периода и вошли в новую эру с новым началом. Таково многообразие значений явления Господа Иисуса людям после Своего воскресения» («Божий труд, Божий характер и Сам Бог. Часть III»).
Прочитав слова Бога, я наконец понял, что явление Господа Иисуса людям в течение 40 дней после Его воскресения имело два значения. Одно – Он пришел сказать людям, что Бог завершил Период Закона, начал Период Благодати и приведет человечество в новую эру. Другое значение заключалось в том, что Бог делал это, чтобы люди могли утверждать, что Господь Иисус – это Сам воплотившийся Бог, и тем самым укреплял их веру в Бога.
1. Господь Иисус воскрес и явился людям, чтобы ввести их в новую эру и прочно утвердить их в Периоде Благодати
Господь Иисус возвестил о начале Периода Благодати и завершил Период Закона. Он выразил способ «Покайтесь, ибо приблизилось Царство Небесное» (От Матфея 4:17). и совершил множество чудес, таких как исцеление больных, изгнание бесов, возвращение хромым возможности ходить, а слепым – видеть и прочее, чтобы люди могли наслаждаться обильной благодатью, исходившей от Бога. Но люди того времени не знали Божьей работы, и у них не было истинного понимания того, что Иисус – это воплощение Бога. Когда Господа Иисуса распяли, люди просто не осознавали, что это означало завершение Богом работы искупления, и поэтому впали в негативность и слабость. Люди начали сомневаться в личности Господа Иисуса, а некоторые даже вернулись в храм и стали соблюдать закон Ветхого Завета. Таким образом, людям по-прежнему грозила смерть по закону за их грехи, и работа, которую Господь Иисус совершил, чтобы искупить человечество, оказалась наполовину невыполненной. Господь Иисус тщательно исследовал самые сокровенные чувства людей и прекрасно понимал их нужды и недостатки. Поэтому после Своего воскресения Он явился и сначала говорил со Своими учениками, установил с ними реальный контакт и дал им возможность увидеть, что Он действительно вернулся из мертвых, выполнил Свою работу по искуплению человечества и начал новый период. После этого человечество оставило закон в прошлом и вошло в новый период – Период Благодати. Под руководством работы и слов Господа Иисуса люди начали практиковать в соответствии с Его учением, они несли крест, следовали за Господом и руководствовались Его учением: «Идите по всему миру и проповедуйте Евангелие всей твари» (От Марка 16:15). Таким образом, они начали проповедовать Евангелие Царства Небесного и свидетельствовали об имени Господа Иисуса, чтобы все люди могли принять это и достичь Его спасения. Сегодня Евангелие Господа Иисуса распространилось по всему миру, что полностью является результатом явления Иисуса людям после Его воскресения из мертвых. Из этого мы видим, насколько значимым было Его явление людям после воскресения!
2. Явление Господа Иисуса людям после Его воскресения позволило им утверждать, что Он был воплощением Самого Бога, укрепив тем самым их веру в Него
В Божьих словах говорится: «В то время как Господь Иисус совершал Свой труд во плоти, большинство Его последователей не могли полностью подтвердить Его личность и то, что Он говорил. Когда Он взошел на крест, отношение Его последователей переросло в выжидание. Все время, с момента Его распятия и до погребения, людьми владело разочарование. В это время они даже начали переходить от сомнений к отрицанию всего того, о чем говорил Господь Иисус, будучи во плоти. Когда же Он вышел из гробницы и начал являться людям, большинство людей, видевших Его собственными глазами или слышавших о Его воскресении, постепенно сменили свое отрицание на скептицизм. Они по-настоящему согласились с тем, что Господь Иисус является Христом во плоти, только лишь тогда, когда Он позволил Фоме “вложить руки в ребра” Его, когда Он после Своего воскресения преломил хлеб и ел его перед толпой, после чего ел перед ними печеную рыбу. Можно сказать, это было похоже на то, как если бы духовное тело из плоти и крови предстало перед людьми и пробудило их ото сна, ведь стоящий перед ними Сын Человеческий был Тем, Кто существовал с незапамятных времен. У Него было тело, Он имел плоть и кости, и Он уже долгое время жил среди людей и вкушал пищу с ними… В этот момент люди почувствовали, что Его существование реально и прекрасно. Они также были радостными и счастливыми, одновременно с этим их переполняли эмоции. Его повторное явление помогло людям по-настоящему увидеть Его смирение, ощутить Его близость, Его стремление и привязанность к человечеству. За время этого краткого воссоединения людям, видевшим Господа Иисуса, показалось, что перед ними прошла целая жизнь. Их растерянные, обескураженные, боязливые, встревоженные, тоскующие и оцепеневшие сердца обрели утешение. Они больше не были наполнены сомнениями и разочарованием, потому что теперь они обрели надежду и упование. Стоящий перед ними Сын Человеческий всегда будет рядом с ними. Он всегда будет для них крепостью и убежищем» («Божий труд, Божий характер и Сам Бог. Часть III»).
Божьи слова проясняют еще одно значение явления Господа Иисуса людям после Его воскресения. Господь Иисус воплотился среди людей и выполнял Свою работу в течение трех с половиной лет, и многие приняли Его спасение и последовали за Господом. Однако большинство людей не понимали по-настоящему, что Господь Иисус – это Христос и что Он – Сам Бог. Поэтому перед распятием Господа Иисуса они наблюдали за тем, как разворачивались события, начали сомневаться в душе и спрашивали себя: «Действительно ли Господь Иисус – Бог? Если Он – Христос и Сам Бог, то как же римские власти могли Его схватить, воины – избивать и осмеивать, а затем распять? Особенно когда Господа Иисуса распинали на кресте, они чувствовали полное разочарование в Нем, отрицали, что Он – воплощение Самого Бога, и отрицали сказанные Им слова, полагая, что Иисус умрет, как обычный человек, и не сможет выжить. Господь Иисус знал, что вера людей настолько мала, что они не знают Господа, и что еще больше людей станут слабыми и подавленными из-за того, что Он был распят. Поэтому после того как Господь Иисус воскрес из мертвых, Он пришел к Своим ученикам и говорил с ними, Он разъяснял Писания и общался с ними, Он ел с ними и позволил Фоме прикоснуться к Своим рукам и боку и так далее. На основании сказанных Господом Иисусом слов и совершенных Им действий после Его воскресения Его ученики утверждали, что Иисус действительно воскрес, и они знали, что Он – тот же Господь, Который до этого ел, пребывал и жил с ними, что Он – тот же Господь, Который проповедовал им, заботился о них и направлял их, Который любит их так же, как и прежде, что Он заботится о них и не оставил их и что Он – рядом с ними. Господь Иисус – воплощение Самого Бога, Непреходящего, вечной опоры человека, крепкой башни и убежища человека. Хотя Господь Иисус и был распят, Он – хранитель ключей от загробной жизни и имеет силу вернуться к жизни, ибо Он – Сам единый Бог… После этого люди больше не чувствовали себя потерянными или сбитыми с толку и больше не сомневались в Господе Иисусе, но, напротив, смогли верить в Иисуса и полагаться на Него всем сердцем. Это – полностью результат того, что Господь Иисус явился Своим ученикам и говорил с ними после Своего воскресения из мертвых.
…….
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वांग ज़ीहान, शांक्सी प्रान्त
पारस्परिक संबंध एक ऐसा विषय है जो कई लोगों के सिर में दर्द पैदा कर देता है। यह एक ऐसा विषय भी है जिसका अक्सर ईसाई के रूप में एक व्यक्ति पूरे जीवन भर सामना करता है। प्रभु यीशु की अपेक्षा है कि हम एक-दूसरे के साथ सामंजस्य में मिलकर रहें और दूसरों से अपने समान प्यार करें। कई आस्थावान ईसाई भी प्रभु की शिक्षाओं को अभ्यास में लाने के इच्छुक हैं। हालांकि, हकीकत में, जब हम दूसरों के साथ बातचीत करते हैं, तो हम अक्सर संघर्ष और गलतफहमी का सामना करते हैं, वो भी इतना कि हमारे रिश्ते कठोर होकर टूट जाते हैं। इससे हर किसी को दर्द होता है। क्या कारण है कि हम एक-दूसरे के साथ सामंजस्यपूर्ण रूप से रहने में असमर्थ हैं? प्रभु की मंशा के अनुसार हम ईसाई अपने जीवन में दूसरों के साथ कैसे बातचीत कर सकते हैं? अतीत में मुझे जो कठिनाई हुई है, उसमें यह समस्या भी रही है। प्रभु के मार्गदर्शन के लिए उनका धन्यवाद! बाद में, मुझे एक पुस्तक में इस सवाल का जवाब मिला, जिसने मेरी कठिनाइयों का समाधान कर दिया। यहां, मैं अपने अनुभव और समझ के बारे में कुछ बताने जा रही हूँ!
1. आपको दूसरों के साथ उचित और समान व्यवहार करना चाहिए। आपको अपनी भावनाओं और वरीयताओं के आधार पर काम नहीं करना चाहिए।
यीशु ने कहा: "क्योंकि यदि तुम अपने प्रेम रखनेवालों ही से प्रेम रखो, तो तुम्हारे लिये क्या फल होगा? क्या महसूल लेनेवाले भी ऐसा ही नहीं करते? "यदि तुम केवल अपने भाइयों ही को नमस्कार करो, तो कौन सा बड़ा काम करते हो? क्या अन्यजाति भी ऐसा नहीं करते? इसलिये चाहिये कि तुम सिद्ध बनो, जैसा तुम्हारा स्वर्गीय पिता सिद्ध है" (मत्ती 5:46–48)। प्रभु के वचनों से, मैं समझ गयी कि परमेश्वर की अपेक्षा है कि ईसाई जन अपने जीवन में दूसरों के साथ परमेश्वर के वचनों के अनुसार व्यवहार करें। उन्हें अपनी भावनाओं और वरीयताओं के अनुसार ऐसा नहीं करना चाहिए। जब मैं इस बारे में सोचती हूँ कि दूसरों के साथ हम कैसे बातचीत करते हैं, तो मुझे एहसास होता है कि जब हम दूसरों से लाभ या सहायता प्राप्त करते हैं, तो हम उस दूसरे पक्ष के प्रति आनंदित और आभारी हो जाते हैं। हालांकि, जब अन्य लोग कुछ ऐसा कहते या करते है जो हमें नुकसान पहुंचाता है, तो हम इस दूसरे व्यक्ति से घृणा करने लग जाते हैं और उस पर ज़्यादा ध्यान नहीं देते हैं। जब हम किसी ऐसे व्यक्ति का सामना करते हैं जिसे हम पसंद करते हैं, तो हम उसके करीब आते हैं और उसे अपने पास खींच लेते हैं; जब हम किसी ऐसे व्यक्ति का सामना करते हैं जिसे हम पसंद नहीं करते हैं, तो हम उसे अस्वीकार कर देते हैं और उससे दूर चले जाते हैं। जिनके पास ऊँची हैसियत या अधिक शक्ति है, हम उनकी खूब प्रशंसा करते हैं और उनकी चाटुकारिता करते हैं। जिनके पास हैसियत या शक्ति नहीं है, हम उन्हें अस्वीकार करते हैं और उन्हें अपमानित करते हैं। कोई ऐसा जिसके लिए हमारी वरीयता होती है यदि वो हमारी कमियों को बताता है, तो हम इसे स्वीकार करने में सक्षम होते हैं। लेकिन जिसके लिए हमारी वरीयता नहीं होती, यदि वो कुछ ऐसा करता है, तो हम इसे स्वीकार नहीं करते हैं, हम इसका औचित्य सिद्ध करते हैं और कभी-कभी हम उनसे घृणा भी करते हैं, उसके साथ लड़ने लगते हैं और यहां तक कि उस पर हमला भी करते हैं। ये सभी किसी व्यक्ति द्वारा अपनी खुद की भावनाओं और प्राथमिकताओं का पालन करने और दूसरों के साथ समान रूप से व्यवहार न करने के उदाहरण हैं। यह वह तरीका भी है जिसके अनुसार अविश्वासी दूसरों के साथ व्यवहार करते हैं। यदि कोई ईसाई दूसरों के साथ इस तरह से व्यवहार करता है, तो वो उसी रास्ते पर चल रहा है जिस पर एक अविश्वासी चलता है, वह प्रभु में विश्वासी कहलाने योग्य नहीं हैं और वो जो कर रहा है वह परमेश्वर के इरादे के अनुसार नहीं है। प्रभु में विश्वासियों के तौर पर, हमें उसकी शिक्षाओं को अभ्यास में लाना चाहिए। हमें दूसरों से अपने समान प्यार करना चाहिए। जब तक कि किसी की मानवता अच्छी है, वह वास्तव में परमेश्वर में विश्वास करता है और सत्य से प्यार करता है, तो वो हमारी प्राथमिकताओं, मिजाज़, चरित्र के साथ संगत हो या ना हो, चाहे हम उसे पसंद करते हों या न करते हों और भले ही वे साधारण भाई बहन हों या कलीसिया के अगुआ हों, हमें ईमानदारी से और निष्पक्षता से उनके साथ व्यवहार करना चाहिए। हमें उनके प्रति सहिष्णुता, धैर्य और प्यार दिखाना चाहिए। हमें धोखाधड़ी और भेदभाव नहीं करना चाहिए। केवल ऐसा करके ही हम परमेश्वर की मंशा के अनुसार होंगे।
2. दूसरों की कमियों और प्रकट की गयी भ्रष्टता को उचित ढंग से सम्बोधित करें। मनमाने ढंग से दूसरों को परिभाषित और उनकी आलोचना ना करें।
यीशु ने कहा: "दोष मत लगाओ कि तुम पर भी दोष न लगाया जाए। क्योंकि जिस प्रकार तुम दोष लगाते हो, उसी प्रकार तुम पर भी दोष लगाया जाएगा; और जिस नाप से तुम नापते हो, उसी नाप से तुम्हारे लिये भी नापा जाएगा" (मत्ती 7:1–2)। प्रभु की शिक्षाओं ने मुझे यह समझने में मदद की है कि हम सभी वो लोग हैं जो शैतान द्वारा भ्रष्ट किये गए हैं। हमारा भ्रष्ट स्वभाव एक जैसा है। अगर दूसरे एक घमंडी, दम्भी, स्वार्थी और घृणित शैतानी स्वभाव प्रकट करते हैं, तो हम भी वही स्वभाव प्रकट कर सकते हैं। हमारे अंदर दूसरों के समान ही कमियाँ हैं। हम दूसरों की तुलना में बेहतर नहीं हैं। अगर हम दूसरों की कमियों और भ्रष्टाचार के कारण उनकी आलोचना करते हैं और उन्हें परिभाषित करते हैं, तो हम वास्तव में घमंडी हैं और स्वयं के बारे में हमें बहुत कम ज्ञान है! इसलिए, दूसरे चाहे जो भ्रष्टाचार और अपराध प्रकट करें उसके बावजूद, हमें उन्हें सही तरीके से संबोधित करना होगा और हमें मनमाने ढंग से उनकी आलोचना और उन्हें परिभाषित नहीं करना चाहिए। पापियों को संबोधित करते समय यीशु का जो रवैया था, जैसा कि बाइबल में लिखा है, उसे याद रखें: फ़रीसी एक व्यभिचारी महिला को पकड़ कर यीशु के सामने लाये। उन्होंने यीशु से पूछा कि इस महिला के साथ कैसा व्यवहार किया जाना चाहिए। उस समय के कानूनों के मुताबिक, महिला की पत्थर मार-मार कर हत्या कर देनी चाहिए थी। हालाँकि, यीशु ने उसे उसके पापों के लिए दोषी नहीं ठहराया। उसने बस उस महिला को भविष्य में पाप ना करने के लिए कहा। (यूहन्ना 8: 3-11 देखें।) इस अवतरण से, हम देख सकते हैं कि यीशु उस दर्द और असहायता को समझता है जिसे वे लोग महसूस करते हैं जिन्हें शैतान द्वारा भ्रष्ट किया गया है और जो पाप में रहते हैं। उसने मनुष्य की कमज़ोरी के प्रति करुणा महसूस की। जब हमने भ्रष्टाचार प्रकट किया है या अपराध किए हैं, तो जब तक हम वास्तव में पश्चाताप करते हैं, परमेश्वर हमें पश्चाताप करने और बदलने के लिए पर्याप्त समय देगा। हमें यीशु के उदाहरण का भी पालन करना चाहिए और अन्य लोगों की कमियों और प्रकट की गयी भ्रष्टता को सही तरीके से संबोधित करना चाहिए। हमें विकास के परिप्रेक्ष्य के माध्यम से दूसरों को देखना चाहिए। यह अन्य लोगों से निपटने का एक सिद्धांत भी है जो ईसाइयों के जीवन में होना चाहिए। यदि अन्य लोगों के लिए हमारी मांगें कठोर हैं, हम बाल की खाल निकालते हैं और मनमाने ढंग से लोगों की आलोचना तक करते हैं, यदि हम लोगों को परिभाषित करते हैं और उनकी कमियों को खोजने के बाद यह निष्कर्ष निकालते हैं कि वे निकम्मे हैं, तो यह दूसरों के साथ निपटने के लिए एक अहंकारी और दम्भी भ्रष्ट स्वभाव का उपयोग करने का एक उदाहरण है। यदि आप ऐसा करते हैं, तो यह परमेश्वर के इरादे के अनुसार नहीं है और आप दूसरों के साथ सामान्य संबंध बिल्कुल नहीं रख पाएंगे।
अब मैं अपने कुछ अनुभव आप सभी को बताती हूँ। हमारी कलीसिया में, एक बहन है जो अपने अविश्वासी पति के कारण समय पर सभाओं में भाग लेने में असमर्थ है। मैंने कई बार इस बहन से बात की थी, लेकिन वह अभी भी नकारात्मकता और कमजोरी में जी रही थी। मैं इस लेकर बहुत नाराज थी और इसलिए मैंने उसे ऐसे व्यक्ति के रूप में परिभाषित किया जो वास्तव में परमेश्वर में विश्वास नहीं करती थी। मैं अब और उसकी मदद या सहायता नहीं करना चाहती थी। बाद में, मैंने बाइबल में लिखे ये वचन पढ़े: "खानेवाला न–खानेवाले को तुच्छ न जाने, और न–खानेवाला खानेवाले पर दोष न लगाए; क्योंकि परमेश्वर ने उसे ग्रहण किया है। तू कौन है जो दूसरे के सेवक पर दोष लगाता है? उसका स्थिर रहना या गिर जाना उसके स्वामी ही से सम्बन्ध रखता है; वरन् वह स्थिर ही कर दिया जाएगा, क्योंकि प्रभु उसे स्थिर रख सकता है" (रोमियों 14:3-4)। मुझे बहुत शर्मिंदगी महसूस हुयी। मैंने उन समयों के बारे में सोचा जब मैं पराजित, नकारात्मक और कमज़ोर महसूस करती थी। परमेश्वर ने मेरे भाई-बहनों को भावनात्मक रूप से छुआ ताकि वे आगे आएं और परमेश्वर के वचनों को कई बार पढ़कर मुझे सुनाएं। वे मेरी सहायता करने और मुझे सहारा देने के लिए मुझसे बातचीत करते और अपने अनुभव मुझे बताया करते। केवल परमेश्वर के वचनों के मार्गदर्शन से ही मैं दृढ़ता से खड़ी हो पायी। मेरे पास कुछ भी ऐसा नहीं था जिस पर मैं गर्व कर सकती थी। अब, यह बहन अपने पति की बाधाओं के कारण समय पर सभाओं में भाग लेने में असमर्थ थी। मुझे एक प्यार करने वाले दिल के साथ उसकी मदद करनी चाहिए थी, फिर भी मैं इस बहन के जीवन के बारे में चिंतित नहीं थी। मैंने उसे टालने की कोशिश भी की और उसे ऐसे व्यक्ति के रूप में परिभाषित किया जो वास्तव में परमेश्वर में विश्वास नहीं करती थी। जब मैंने खुद पर नज़र डाली, तो मुझे लगा कि मैं बहुत अहंकारी थी। मैंने इस बहन के साथ प्यार भरे दिल या धैर्य से व्यवहार नहीं किया। मेरे पास ऐसा कुछ भी नहीं था जो कि परमेश्वर के इरादों के अनुसार था। एक बार जब मैं यह समझ गयी, फिर मैंने परमेश्वर के सामने अपने पाप स्वीकार किए और पश्चाताप किया: मैं इस बहन की मदद करने और सहारा देने के लिए तैयार थी। इसके बाद, मैंने इस बहन को प्यार भरे दिल के साथ परमेश्वर के वचन सुनाये और मैंने अपने कुछ अनुभव और समझ को भी साझा किया। उसके साथ कुछ बार संवाद करने के बाद, वह अब अपने पति के नियंत्रण के अधीन नहीं थी और उसकी स्थितियों में धीरे-धीरे सुधार हुआ। इस अनुभव से मैंने जो सीखा वह यह है कि किसी भी भाई या बहन के अंदर चाहे जो भी कमियां और कमज़ोरियाँ हों, या वे जो भी भ्रष्टाचार प्रकट करें, जब तक कि वे वास्तव में परमेश्वर पर विश्वास करते हैं और जब वे गलती करते हैं तो परमेश्वर के सामने पश्चाताप कर सकते हैं, परमेश्वर उन्हें बदलने का एक अवसर देगा। यही कारण है कि हमें दूसरों की प्यार भरे दिल से मदद करनी चाहिए, उन्हें माफ करना चाहिए और प्रत्येक व्यक्ति के साथ परमेश्वर की अपेक्षाओं के अनुसार व्यवहार करना चाहिए। हमें बिल्कुल भी मनमाने ढंग से अन्य लोगों को परिभाषित नहीं करना चाहिए और उनकी आलोचना नहीं करनी चाहिए। इसी प्रकार से एक व्यक्ति लोगों के साथ समान रूप से और परमेश्वर की मंशा के अनुसार व्यवहार करता है।
3. आपको अन्य लोगों को कम या ज़्यादा करके नहीं आँकना चाहिए। दूसरों की खूबियों से सीखें और अपनी कमियों को दूर करें।
बाइबल कहती है: "विरोध या झूठी बड़ाई के लिये कुछ न करो, पर दीनता से एक दूसरे को अपने से अच्छा समझो" (फिलिप्पियों 2:3)। परमेश्वर ने हममें से प्रत्येक को अलग-अलग क्षमता, प्रतिभा और खूबियां दी है। इस कारण से, अपने भाइयों और बहनों के साथ बातचीत करते समय हमें विनम्र दिल रखना चाहिए और हमें दूसरों की खूबियों और कमियों को सही ढंग से देखना चाहिए। हमें दूसरों को कम या ज़्यादा करके नहीं आँकना चाहिए। हमें दूसरों की खूबियों को ग्रहण करना चाहिए ताकि हम अपनी कमियों को दूर कर सकें। यदि हम अपनी खूबियों, क्षमता और प्रतिभा के कारण दूसरों को नीची दृष्टि से देखते हैं और असीम ढंग से अपनी ताकत बढ़ाते हैं, जिसके माध्यम से हम दिखावा करते हैं और डींगे हाँकते हैं, साथ ही दूसरों की आलोचना करते हैं, नीचा दिखाते हैं और नुकसान पहुंचाते हैं, तो हम अपने अहंकारी और दम्भी भ्रष्ट स्वभाव द्वारा इस प्रकार से नियंत्रित किये जा रहे हैं। एक ईसाई को इस तरह का जीवन नहीं जीना चाहिए। उदाहरण के लिए, पहले, मैं हमेशा सोचती थी कि मेरी खुद की क्षमता अपने साथ काम कर रही एक बहन की तुलना में बेहतर थी, इसलिए मैं उसे नीची दृष्टि से देखती थी। एकसाथ हमारे काम के दौरान, मैं जाने-अनजाने में दिखावा करती थी और मेरा दिल अपने लिए घमंड से भरा हुआ था। मेरे भ्रष्ट स्वभाव के कारण परमेश्वर को मुझसे घृणा हो गयी और इसके कारण परमेश्वर ने मेरी ओर से अपना मुँह मोड़ लिया। मेरी आत्मा अँधेरी और निराशापूर्ण हो गई। मेरे काम में कई स्पष्ट समस्याएं थीं जिन्हें मैं खोज पाने में असमर्थ थी, जबकि इस बहन का काम धीरे-धीरे बेहतर होता चला गया। मैंने उस बारे में सोचा जो यीशु ने कहा था: "जो कोई अपने आप को बड़ा बनाएगा, वह छोटा किया जाएगा: और जो कोई अपने आपको छोटा बनाएगा, वह बड़ा किया जाएगा" (मत्ती 23:12)। इसी समय मैंने देखा कि मैं कितनी अहंकारी थी। मैं खुद से अवगत नहीं थी। असल में, यह पवित्र आत्मा के काम के कारण है कि मेरे काम ने कुछ परिणाम उत्पन्न किये थे या मैं कुछ समस्याओं को खोजने में सक्षम थी। हालाँकि, मैंने अभी भी परमेश्वर का सम्मान चुराया था और मैं बेहद आत्मतुष्ट थी और अपने खुद के अहंकार की प्रशंसा करती थी। मैं अपने साथी भाइयों और बहनों को नीची दृष्टि से देखती थी। हकीकत में, मैं बहुत ही अविवेकी थी! साथ ही, मुझे पता था कि मुझे खुद को कैसे जाने देना है यह सीखने की जरूरत है। मुझे अपनी कमियों को दूर करने के लिए उस बहन की खूबियों को खुले दिमाग से आत्मसात करना था। केवल अगर मैंने ऐसा किया तभी परमेश्वर प्रसन्न होगा और मेरा जीवन लगातार बढ़ेगा। नतीजतन, मैंने ऐसा करना शुरू कर दिया। जब ऐसी समस्याएं आतीं जिन्हें मैं समझ नहीं पाती थी, तो मैं उस बहन से उसकी सलाह माँगती। अगर मैं मुद्दों का सामना करती, तो मैं उनके साथ उन पर चर्चा करती। तब मैंने पाया कि वास्तव में उसमें ऐसी कई खूबियां थीं जिनका मुझमें अभाव था। मेरे दिल ने बहुत अपमानित महसूस किया। मैं यह भी समझ गयी कि परमेश्वर ने ऐसी व्यवस्था की थी कि मैं इस बहन के साथ काम करूँ क्योंकि वह चाहता था कि मैं अपनी कमियों को दूर करूँ। वह चाहता था कि जो काम उसने हमें सौंपा था उसको करने के लिए हम सामंजस्यपूर्ण रूप से सहयोग करें। धीरे-धीरे, इस बहन के साथ मेरा रिश्ता सामान्य हो गया और मुझे एक बार फिर पवित्र आत्मा का काम प्राप्त हुआ।
4. जब आप यह पाते हैं कि अन्य लोग ऐसी चीज़ें करते हैं जो आपके विचारों से मेल नहीं खाती हैं, तो दूसरे व्यक्ति पर अपनी नज़रें न गड़ायें। इसके बजाय, आपको पहले खुद को पहचानना चहिये और सत्य का अभ्यास करना चाहिये।
यीशु ने कहा: "तू क्यों अपने भाई की आँख के तिनके को देखता है, और अपनी आँख का लट्ठा तुझे नहीं सूझता? जब तेरी ही आँख में लट्ठा है, तो तू अपने भाई से कैसे कह सकता है, 'ला मैं तेरी आँख से तिनका निकाल दूँ?' हे कपटी, पहले अपनी आँख में से लट्ठा निकाल ले, तब तू अपने भाई की आँख का तिनका भली भाँति देखकर निकाल सकेगा" (मत्ती 7:3–5)। जब हम दूसरों के साथ बातचीत करते हैं, तो कुछ टकराव और पूर्वाग्रह होना निश्चित है। इन क्षणों पर, हमें इस बात पर ध्यान नहीं देना चाहिए कि दूसरा पक्ष क्या गलत कर रहा है और हमेशा यह नहीं मानना चाहिए कि दूसरे पक्ष की ही गलती है। इसके बजाय, हमें परमेश्वर के सामने आना और परमेश्वर के वचन के भीतर सत्य को तलाशना सीखना चाहिए ताकि हम यह पता लगा सकें कि हमारी अपनी समस्याएं कहाँ हैं। एक बार जब हम परमेश्वर के इरादे को समझ लेते हैं और अपने भ्रष्ट स्वभाव की समझ पा लेते हैं, तो हम खुद को अन्य लोगों की जगह रख कर देख पाएंगे और चीजों को उनके नज़रिए से समझ पाएंगे। हम दूसरों को समझ पायेंगे, उनके साथ सहानुभूति रखने और सहिष्णु होने में सक्षम होंगे। इस बिंदु पर, दूसरों के लिए हमारा पूर्वाग्रह स्वाभाविक रूप से कम हो जाएगा।
इस पहलू के संबंध में मुझे कुछ गहरे अनुभव हुए हैं। मुझे याद है कि एक बहन जिसके साथ मैंने काम किया था, उसने कई बार यह इशारा किया कि कलीसिया के काम के संबंध में मैंने अपना दायित्व नहीं निभाया था। हालाँकि, न केवल मैं इसे परमेश्वर से प्राप्त करने में असमर्थ थी, वास्तव में, मुझे यह भी संदेह था कि यह बहन जान-बूझकर मुझमें मीन-मेख निकाल रही थी और मेरी जिंदगी मुश्किल बना रही थी। मेरे दिल ने इस बहन की तरफ पूर्वाग्रह पैदा करना शुरू कर दिया और अब मैं इस बहन के साथ सेवा नहीं करना चाहती थी। जब मैंने परमेश्वर के वचन को पढ़ा और परमेश्वर की मंशा को ढूंढा, तो मुझे समझ में आया कि मेरा स्वयं का अहंकारी और दम्भी शैतानी स्वभाव मुझे नियंत्रित कर रहा था और मुझे इस बहन के सुझावों को स्वीकारने नहीं दे रहा था। इससे मुझे उसके बारे में संदेह भी हुआ। इसी कारण इस बहन के साथ सामान्य बातचीत करने में मैं असमर्थ हो गयी। साथ ही, मुझे पता था कि जिन लोगों, घटनाओं और चीजों का मैं हर रोज सामना करती थी, सभी परमेश्वर द्वारा निर्देशित और व्यवस्थित थे। यह परमेश्वर था जो सावधानी से इन चीजों को मुझे बदलने और बचाने के लिए व्यवस्थित कर रहा था, न कि वह बहन जानबूझकर मेरे लिए चीजों को मुश्किल बनाना चाहती थी। मुझे परमेश्वर को समर्पण करना चाहिए, खुद को जाने देना और उस बहन के सही सुझावों को स्वीकार करना सीखना चाहिए। इसके बाद, मैं परमेश्वर के सामने गयी और खुद पर विचार किया। बहन के सुझावों से, मैं देख सकती थी कि वास्तव में मैं कलीसिया के काम के संबंध में अपनी जिम्मेदारियों को नहीं उठा रही थी। जो भी अगुवा मेरे लिए करने की व्यवस्था करते थे, मैं वो करती थी, फिर भी मैंने कभी यह नहीं सोचा कि मैं कलीसिया के काम को और भी बेहतर कैसे कर सकती हूँ। एक बार जब मैं परमेश्वर के इरादे को समझ गयी, तो मैं चीजों को परमेश्वर की अपेक्षाओं के अनुरूप करने लगी। मैंने सक्रिय रूप से और खुले दिल से इस बहन के सामने अपना भ्रष्टाचार प्रकट किया और मैंने परमेश्वर से भी मुझे और अधिक ज़िम्मेदारियाँ देने को कहा। जब मैंने परिस्थितियों का सामना किया, तो मैंने इस बारे में और सोचा कि मैं कलीसिया को कैसे लाभ पहुंचा सकती हूँ। जब मैं चीजों को इस तरह से अभ्यास में लायी, तो एक समय जो गलतफहमी इस बहन के साथ हुआ करती थी वो खत्म हो गयी। हम आध्यात्मिक रूप से जुड़ गये और जो सद्भावना पहले हमारे बीच थी, वो एक बार फिर बहाल हो गयी।
अभ्यास के चार सिद्धांत वे चीजें थीं जिन्हें मैंने अपने अनुभवों से सीखा था। मैंने सचमुच अनुभव किया कि एक ईसाई के जीवन में परमेश्वर का वचन मार्ग दिखाने वाला प्रकाश है। यह हमारे पथ के लिए दिशासूचक है। परमेश्वर के वचन के मार्गदर्शन के बिना, हमारे पास चलने को कोई रास्ता नहीं होगा। हमें बस इतना करना है कि हम परमेश्वर की शिक्षाओं को अभ्यास में लायें और सभी के साथ समान रूप से व्यवहार करें। केवल तभी हम वास्तविक मनुष्य के समान जीवन जीने में सक्षम होंगे, दूसरों के साथ अच्छी तरह से मिल-जुलकर रह पाएंगे, हमारे आस-पास के लोगों को लाभ पाने देंगे, साथ ही, हम परमेश्वर को संतुष्ट करने और हमें सराहने का कारण देंगे।
परमेश्वर के मार्गदर्शन के लिए उसका धन्यवाद। परमेश्वर की महिमा बनी रहे!
संपादक की टिप्पणी: परमेश्वर के प्रबोधन और मार्गदर्शन के कारण, जब तक कि इस निबंध में वर्णित चार सिद्धांतों का कोई अभ्यास करता है, तो मानव संबंधों के विषय में जिन समस्याओं का सामना उसे करना पड़ता है, वे जादुई रूप से गायब हो जाएंगीं। कल्पना कीजिए कि हमारे जीवन कितने बेहतर होंगे यदि हम ईसाईयों के रूप में परमेश्वर के वचनों को अभ्यास में लाने और दूसरों के साथ सामंजस्यपूर्ण ढंग से जीने में सक्षम हों जाएँ! इस तरह का जीवन कोई कहाँ पा सकता है? संपादक की सलाह है कि आप इस ईसाई भजन को सुनें: "परमेश्वर का प्यार हमें एक दूसरे के करीब लाता है"। इस भजन को सुनने के बाद, आपको आपका जवाब मिल जाएगा।
स्रोत: सर्वशक्तिमान परमेश्वर की कलीसिया
उपयोग की शर्तें: hi.kingdomsalvation.org/disclaimer.html
[Una versión más legible se encontrará en la entrada del blog, cuyo enlace se señala a continuación.]
enriqueviolanevado.blogspot.com.es/2016/06/preparatorio-d...
Para la preparación de la prueba de Selectividad de Andalucía del curso 2015-2016 se ofrece aquí una selección de doce ejercicios prácticos (un mapa de localización, ocho mapas temáticos, un perfil topográfico, un fotoplano y una comparativa de pirámides de población) que, a nuestro juicio, cuentan con grandes posibilidades de ser escogidos para las propuestas del curso 2015-2016. Para facilitar la edición (y su consulta) la hemos fraccionado en dos partes: Geografía Física por una parte y Geografía Humana y Económica por otra.
Conviene indicar que las informaciones ofrecidas por este medio tienen exclusivamente carácter ilustrativo, y no originarán derechos ni expectativas de derechos. En palabras de Michael Crichton «No podemos evaluar el futuro, ni podemos predecirlo. Estos son eufemismos. Solo podemos hacer suposiciones. Una suposición bien fundada sigue siendo solo una suposición.»
Nuestras suposiciones se basan en lo siguiente:
-Prácticas que han aparecido en numerosas ocasiones.
-Prácticas que se han repetido en los dos últimos juegos de pruebas.
-Prácticas que llevan muchos cursos sin ser seleccionadas.
Evidentemente, el número de criterios podría prolongarse hasta el infinito y parecer (o ser) cada vez más absurdos. El mejor ejemplo es «ejercicios que nadie pensaría que iban a volverlos a escoger». Pero este es más bien un anticriterio. Volvemos a insistir en lo aleatorio y personal de nuestras previsiones, pero arriesgarse a predecir es mejor que insistir en prepararse todo el repertorio de mapas y demás ejercicios.
Un indicio que nos parece digno de confianza es el análisis de los ejercicios aparecidos en el juego de exámenes de 2014-2015. Así, no se registran novedades, recurriendo bien a propuestas de los años inmediatamente anteriores, bien a esos ejercicios «veteranos» que aparecen en las convocatorias de toda la vida. De hecho, cuando en estos casos existen varias versiones, se ha optado siempre por la que cuenta con más apariciones. La voluntad de ayudar al alumnado parece, pues, evidente.
Lamentablemente, en el juego de propuestas 2013 – 2014 el número de prácticas sin precedentes o remozadas de arriba a abajo asciende a nada menos que siete. Y es que la selectividad andaluza es, en líneas generales y a largo plazo, conservadora y predecible, pero entre un año y otro puede variar de criterio por completo. Dicho sea de paso, tampoco es que la Ponencia sea un modelo de coherencia.
Si se registraran novedades (Dios no lo quiera), una página que se ha transformado en la cantera de la selectividad andaluza es la sección didáctica del Instituto Geográfico Nacional denominada «España a través de los mapas».
Este es el enlace de la página en cuestión:
Evidentemente, lo último que habría que realizar a estas alturas es analizar la cartografía publicada en esta web. Por lo demás, allí aparecen los mapas, pero no las preguntas que se realizan sobre ello.
Lo razonable (y lo previsible) sería esperar que en este curso no aparecieran novedades, dado que el actual modelo de selectividad concluye este año, Que este estado de expectativa pase a ser una realidad es algo que está por ver.
Pasando ya a nuestras previsiones, señalar que al final nos hemos decidido por doce pruebas. No se trata de un ranquin (pues no llegamos a discernir cuál de ellas cuenta con más posibilidades de ser elegidas); tampoco se trata de una selección por temas (bien que más o menos la selección se ajusta a un panorama sobre la asignatura). Tampoco hemos tratado de ofrecer una selección representativa de los distintos tipos de las figuraciones cartográficas y estadísticas que caracterizan al repertorio de la selectividad andaluza (aunque ha acabado pareciéndose mucho a esto último). En fin, que nada más lejos de nuestra intención que reconstruir el juego de doce pruebas (y doce ejercicios prácticos) del presente curso. Se trata simplemente de doce prácticas que cuentan con bastantes posibilidades de ser elegidas. Su ordenación sigue el esquema tradicional de la sucesión de contenidos de la asignatura, y no refleja ni sus posibilidades ni su importancia.
Hemos incluido algunos ejercicios que fueron elegidos en los exámenes titulares de junio y septiembre del curso 2013-2014. En principio esta circunstancia debía vetarlos para el curso siguiente. Pero en junio de 2013 se escogió el mismo mapa de las pruebas de junio del año anterior. La veda de los cálculos más desaforados había caído para siempre.
Un último apunte. La elección de los exámenes de junio y de septiembre se realiza recurriendo al azar (o eso nos cuentan). Por tanto igual acertamos ocho de las doce pruebas, pero fallamos en las cuatro que acaban como exámenes titulares. Y esto es válido para toda estadística o visión del futuro: al basarse en cálculos realizados tanto en las propuestas que acabaron como exámenes, como las que quedaron desechadas, se corre el riego de acertar lo que precisamente va a quedarse en el tintero.
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Mapa de altitudes sobre el nivel del mar de España
Los mapas orográficos con números son una de las especialidades de la selectividad de Andalucía. También lo es el recurrir a las pruebas de reserva del curso anterior. Así, este ejercicio figuró en el juego de exámenes del curso 2013-2014. En el 2015 fue escogido como examen de septiembre, hecho que, en principio, limita (pero no excluye) sus posibilidades de ser escogido en el presente curso.
El mapa procede de la sección didáctica del Instituto Geográfico Nacional denominada «España a través de los mapas».
Las preguntas que se realizan sobre él son las siguientes:
-Localice en el mapa las unidades de relieve señaladas numéricamente del 1 al 5.
1.-Cordillera Cantábrica, 2.-Submeseta Norte / Cuenca del Duero, 3.- Sistema Ibérico, 4.- Depresión del Ebro, 5.- Isla de Tenerife.
-Identifique y describa las características de los relieves señalados con las letras A y B.
A-Sierra Morena caracterizado por el relieve herciniano y B-Cordillera Penibética formada, en lo fundamental, por materiales paleozoicos (de la orogenia herciniana igualmente) levantados de nuevo en la orogenia alpina.
-Desarrolle las principales características de las unidades exteriores a la Meseta.
Las unidades exteriores son depresiones (Ebro, Guadalquivir y Tajo [esta última en territorio portugués] y cordilleras (Pirineos, Montes Vascos, Costero-Catalanas y Béticas). Unas y otras formaban parte de fondos marinos y fueron elevadas en la orogenia alpina. Las primeras acabaron por rellenarse con materiales como arcillas y calizas procedentes de la erosión de las segundas.
-Explique el origen de la formación de las principales zonas altitudinales que se observan en el mapa.
Las principales zonas altitudinales son los Pirineos, las Béticas y el Teide.
Las dos primeras presentan un roquedo paleozoico elevado de nuevo en la orogenia alpina y retocados por el glaciarismo en el cuaternario. Aquí se localizan las montañas más altas de la Península: El Mulhacén (3478 metros) en Sierra Nevada y el Aneto (3.404 metros) en el macizo de la Maladeta.
El Teide presenta rasgos totalmente distintos. Se trata de un estratovolcán que se eleva hasta los 3718 metros (aunque llegó a elevarse a cotas mayores en el pasado). Desde finales de la era terciaria se produce una sucesión de distintos edificios volcánicos, siendo el actual el quinto, con una antigüedad que se remonta al millón de años.
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Perfil topográfico de la Península Ibérica
El perfil topográfico lleva rodando por las pruebas de la selectividad andaluza desde 2003, siendo la séptima vez que fue escogido en el 2014. Dos de estas propuestas acabaron convertidas en exámenes titulares.
El esquema DACEB 3241 o más bien D3A2C4E1V se repite invariablemente en todas las manifestaciones de esta prueba.
La representación gráfica ha tenido que ser completamente rehecha dada la nula calidad de la reproducción en los exámenes.
Las preguntas que se realizan sobre él son las siguientes:
-Enuncie, ordenados de norte a sur, la letra y el nombre correspondiente de los sistemas de relieve que aparecen en el gráfico.
D: Cordillera Cantábrica.
A: Sistema Central.
C: Montes de Toledo.
E: Sierra Morena.
B: Cordilleras Béticas [Penibética].
-Enumere, ordenados de Norte-Sur, el número y nombre correspondiente, de los ríos que fluyen en los valles del gráfico.
3: Río Duero.
2: Río Tajo.
1: Río Guadiana.
4: Río Guadalquivir.
-Diga el nombre, y los números correspondientes, de los ríos que aparecen en el gráfico, ordenados de Sur a Norte.
4: Guadalquivir.
1: Guadiana
2: Tajo.
3: Duero.
-Describa las características del río que fluye en el valle señalado con el número 4.
Se trata del Guadalquivir, el quinto río más largo de la península ibérica con 657 km. Su cuenca se extiende ocupa la mayor parte de la comunidad de Andalucía, bien que se extiende por Extremadura, Castilla-La Mancha y Murcia. Se trata de un río con régimen pluvial-nival en su primer tramos (Sierra de Cazorla) y subtropical en el resto. Presenta un caudal considerable (164 m3/s en Sevilla). El principal afluente es el Genil, río que puede paragonarse con el Guadalquivir tanto por el caudal como por la extensión de la Cuenca.
El Guadalquivir desemboca en el océano Atlántico en un amplio estuario. Anteriormente lo realizaba en una amplia bahía, conocida por los geográfos antiguos como «Lago Ligustino» y que fue transformada progresivamente en un área de marismas por el continuo aporte de los sedimentos.
-De los sistemas de relieve, diga, con letra y nombre, cuáles de ellos son:
Interiores a la Meseta.
(A) Sistema Central y (C) Montes de Toledo.
Periféricos a la Meseta.
(D) Cordillera Cantábrica y (E) Sierra Morena.
Exteriores a la Meseta.
Cordilleras Béticas.
-¿Qué ríos de los que ha identificado desembocan en el Océano Atlántico?
Todos los ríos que aparecen en el corte (Duero, Tajo, Guadiana y Guadalquivir) tributan en el Océano Atlántico, a causa de la presencia del Sistema Ibérico que divide España en dos mitades asimétricas, y a causa también de la suave inclinación que presenta la Meseta hacia el Océano. La forma triangular de la Depresión del Guadalquivir con la base en las costas atlánticas y la parte de mayor altura en el vértice, explica que el Guadalquivir sea paralelo a los ríos mesetarios.
-Analice la estructura del relieve peninsular guiándose por perfil topográfico que se presenta.
El relieve español se estructura en la Meseta, zona de tierras de elevada altitud (entre 600 y 800 metros) divididas en dos sectores por el Sistema Central (A): la submeseta norte y la submeseta sur, esta última ligeramente accidentada por los Montes de Toledo (C). Estas cadenas montañosas se denominan «sierras interiores».
La Meseta está circundada por los rebordes montañosos. En el corte aparecen la Cordillera Cantábrica (D) al norte y Sierra Morena (E) al sur. Como se comprueba en el perfil, la Cordillera Cantábrica presenta mayor altura y un relieve más abrupto que Sierra Morena.
Más allá de los rebordes montañosos se sitúan los relieves exteriores a la Meseta. Se trata de depresiones y cordilleras. En el corte figuran la Depresión del Guadalquivir (4) y las Cordilleras Béticas (B). Como se advierte en el perfil, la primera es la zona con menor altitud de España mientras que en la segunda se sitúa la mayor altura de la Península: El Mulhacén (3478 metros) en Sierra Nevada
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Unidades litológicas de la Península Ibérica
Desde 2005, este mapa ha aparecido en cinco ocasiones, siendo la última una de las propuesta de 2015. Fue escogido como examen de septiembre en 2009. Ni las cuestiones ni los números han variado a lo largo (y a lo ancho de sus apariciones).
La representación gráfica ha tenido que ser completamente rehecha dada la escasa calidad de la reproducción en los exámenes.
Las preguntas que se realizan sobre él son las siguientes:
-Enumere, por separado, con sus números y nombre: las unidades interiores de la Meseta; las periféricas de la Meseta; y las exteriores a la Meseta.
Unidades Interiores de la Meseta:
-9 (Cuenca de la Submeseta Norte).
-10 (Sistema Central).
-11 (Cuenca de la Submeseta Sur).
- 12 (Montes de Toledo).
Unidades Periféricas a la Meseta:
- 1 (Macizo Galaico).
- 2 (Sector Occidental de la Cordillera Cantábrica).
- 3 (Sector Oriental de la Cordillera Cantábrica).
- 8 (Sistema Ibérico).
- 13 (Sierra Morena).
Unidades Exteriores a la Meseta:
- 4 (Pirineo Axial)
- 5 (Prepirineo).
- 6 (Cordillera Costero-Catalana).
- 7 (Depresión del Ebro)
- 14 (Depresión del Guadalquivir).
- 15 (Cordillera Subbética)
- 16 (Cordillera Penibética)
- ¿Qué Comunidades Autónomas tienen parte o todo su territorio asentado sobre la Iberia silícea en el Oeste peninsular?
Galicia, Asturias, Castilla-León, Extremadura y Andalucía.
-¿Qué relación básica guarda cada una de estas tres Iberias con distintos usos y aprovechamientos del territorio?
En la Iberia Silícea los suelos tienen poca profundidad y resultan muy pobres para la agricultura. Predomina la actividad ganadera, destacando el paisaje de la dehesa.
En la Iberia Caliza se encuentran paisajes escarpados en el que se sitúan las principales cadenas montañosas de la Península, como los Pirineos. Los únicos aprovechamientos agrarios son la explotación forestal y alguna ganadería.
En la Iberia Arcillosa predomina un relieve básicamente horizontal, apto para los cereales, viñedo y otros cultivos extensivos. De hecho la mayor parte de la actividad agrícola hispana se concentra en estos suelos.
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Distribución de las Precipitaciones en España
Desde 2002, este dinosaurio de la selectividad andaluza ha aparecido en siete ocasiones, siendo la las dos últimas las propuesta de 2014 y de 2015. Fue escogido como examen de septiembre en 20092, junio de 2011 y junio de 2015. Esta última selección limita (pero no excluye) sus posibilidades de que vuelva a ser escogido para el presente curso.
Las precipitaciones medias se miden en milímetros, oscilando entre los 200 y los 2000, y a partir de su distribución se trazan isoyetas (líneas que unen puntos con igual temperatura). Con puntos rojos se indican las áreas de máxima torrencialidad, lugares en los que han caído más de 400 milímetros en un solo día en el período comprendido entre el período 1956 – 1985.
En todas sus apariciones las preguntas que se realizan son siempre las mismas, salvo en el caso del juego de 2014.
Estas son las cuestiones:
-Compare las precipitaciones que se reciben en el Noroeste peninsular y las que se recogen en el Sureste de la península. Diga las diferencias que existen y explique las posibles causas.
En el Noroeste peninsular, en concreto en Galicia, Asturias y norte de la provincia de León las precipitaciones son muy altas, alcanzando los 800 milímetros como mínimo, y superando los 2000 milímetros en algunas cotas. Son cifras propias de la España Húmeda y del Clima Oceánico
En el Sureste peninsular (extremo oriental de Andalucía, Murcia, provincias de Albacete y Alicante). Las precipitaciones son inferiores a los 200 litros, y como máximo se acercan a los 400 milímetros. Se trata de valores típicos de la España Árida, y propios de un clima estepario o mediterráneo subdesértico.
La diferencia resulta, pues notoria, superando los 1000 milímetros. Mientras que la región noroeste presenta un superávit de agua que permite la existencia de una red de ríos caudalosos y una abundante vegetación natural, el extremo oriental se caracteriza por una red de torrentes y cárcavas secos gran parte del año y una vegetación escasa y discontinua de tipo arbustivo.
El Noroeste peninsular se encuentra todo el año bajo la acción de las borrascas atlánticas, mientras que la región sureste se encuentra totalmente aislada de las influencias atlánticas, pues se sitúa tras las cordilleras béticas. El Mediterráneo, en cambio, es un mar cerrado y cálido, que aporta escasas precipitaciones y además de forma torrencial. Por si fuera poco, esta zonas se ve afectada por las advecciones (tormentas secas) procedentes de África.
-Comente la relación existente entre los valores de precipitaciones y el relieve de la Península.
El volumen de las precipitaciones aumentan con la altura, pues las nubes al ascender se enfrían y el vapor se condensa (lluvias orográficas). Estos meteoros pueden caer en forma de nieve. Las cordilleras que reciben más lluvias son los Pirineos y la Cordillera Cantábrica, pues aparte de la altura, se encuentran en el extremo norte de la Península, y las precipitaciones aumentan con la latitud. En el resto de España existen focos aislados, verdaderos islotes de la España Húmeda, enclavados en las cumbres más elevadas, por encima de los mil metros normalmente, como las sierras de Guadalupe (Montes de Toledo), Guadarrama (Sistema Central), Segura (Cordilleras Béticas…). Hay que señalar que las cadenas montañosas que se sitúan en el oeste reciben lluvias más abundantes, al recibir las influencias atlánticas (Gredos, Grazalema…)
En las islas también las cumbres concentran las precipitaciones (sierra de la Tramontana en Mallorca y el Teide en Tenerife).
Diga el nombre de las provincias que se ven afectadas por la máxima torrencialidad de las precipitaciones.
Como queda dicho la máxima torrencialidad consiste en precipitaciones catastróficas (en un solo día se recogen más de 400 milímetros o sea la mitad de las precipitaciones de un lugar con lluvias abundantes en todo un año). Se localizan en Gerona, Tarragona, Castellón, Valencia, Murcia, Granada, Cádiz, Cáceres, Lugo y Vizcaya. (La localización es aproximada pues algunos puntos se sitúan en zonas limítrofes entre provincias y regiones como la sierra de Guadalupe). Se trata en todos los casos de regiones montañosas, en las que las tormentas y los cambios bruscos de tiempo son más frecuentes. Más de dos tercios se sitúan en la zona mediterránea. El clima mediterráneo se caracteriza precisamente, por lluvias torrenciales, causadas en otoño por el rápido enfriamiento de este mar y que suele asociarse con fenómenos de gota fría (presencia de aire muy frío en altura).
-Diga en qué sistemas montañosos se registran precipitaciones mayores de 1800 mm.
El Macizo Galaico, la Cordillera Cantábrica, los Montes Vascos, los Pirineos y la Cordillera Penibética (sierra de Grazalema).
-Describa el comportamiento de las precipitaciones en la costa mediterránea.
Las precipitaciones en esta área son escasas (entre 800 y 300 mm al año) y se distribuyen irregularmente, concentrándose en primavera y en otoño. En esta última estación es cuando suele alcanzarse el máximo pluviométrico. Al concentrarse en pocos días las precipitaciones, las lluvias torrenciales son relativamente frecuentes, provocando inundaciones y riadas. El enfriamiento súbito del Mediterráneo a principios del otoño suele provocar el fenómeno conocido como Gota Fría.
-Realice una síntesis de los procesos que originan la desigual distribución de las precipitaciones en España.
La disminución desde el noroeste al sureste, ya que los frentes occidentales pierden actividad.
La disminución desde la costa hacia el interior (la cercanía al mar favorece la llegada de frentes).
La situación periférica de los relieves montañosos obstaculiza la entrada de los frentes (y hace que llueva más en la periferia que en el interior).
El aumento en las vertientes de barlovento (el flanco más cercano al mar) y con la altura (el frío aumenta las posibilidades de condensación del agua). ________________________________________________
Tipos de regímenes fluviales de España
Este ejercicio práctico del examen ha aparecido en tres ocasiones 2012, 2013 y 2015. En sus dos primeras manifestaciones fue escogido como examen de junio, evidenciando que los ejercicios que se muestran en los exámenes titulares de un año, pueden volver a aparecer en los del siguiente. En todos los casos se repiten las mismas preguntas.
Este ejercicio cuenta con evidentes posibilidades de aparecer en las propuestas de 2016. Que aparezca en los exámenes de junio o de septiembre, es ya harina de otro costal.
Las preguntas que se realizan sobre él son las siguientes:
-Identifique las unidades de relieve que presentan un régimen fluvial de montaña.
La Cordillera Cantábrica, los Pirineos, el Sistema Central, el Sistema Ibérico y la Cordillera Penibética.
-Exponga las razones de la inexistencia de redes fluviales importantes en los dos archipiélagos representados.
Las Baleares están situadas en el Mar Mediterráneo, alejadas de los frentes que se forman en el Atlántico. La reducida extensión de estas islas, además, no atrae las lluvias que se forman en el Mediterráneo. Por último el predominio de la roca caliza favorece la filtración de las precipitaciones y la formación de acuíferos, pero dificulta la creación de una red fluvial.
Las Canarias están situadas en las inmediaciones del Trópico de Cáncer, en un área de clima desértico donde predomina la influencia del anticiclón de las Azores. Igualmente la reducida extensión de las islas no favorece la llegada de las lluvias. Por último el predominio de la roca volcánica favorece la escorrentía, pero por su dureza y relieve abrupto dificulta la formación de cursos fluviales.
Por tanto, en ambos archipiélagos predominan los torrentes y los arroyos.
-Explique qué factores influyen en la distribución de los diferentes regímenes fluviales en la España peninsular.
El clima (pero especialmente las precipitaciones). Dependiendo de la distribución de las precipitaciones podemos distinguir entre régimen nival, régimen pluvial y régimen mixto.
El relieve y la topografía, que determinan la organización de las cuencas y vertientes hidrográficas.
El basculamiento de la Meseta hacia el oeste y la presencia del Sistema Ibérico y de la Cordillera Cantábrica determinan la existencia de tres vertientes hidrográficas, con una evidente disimetría entre la atlántica y las otras dos. De todas formas, algunos geógrafos consideran que los ríos atlánticos y los cantábricos forman parte de una misma vertiente.
La topografía, por último, favorece la creación de obras hidráulicas cuando es abrupta.
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Balance Hídrico de las Principales Cuencas Hidrográficas de la Península Ibérica, Baleares y Canarias
Este ejercicio práctico del examen registra seis apariciones en las propuesta de 2001, 2002, 2007, 2008, 2009 y 2015. Sorprendentemente, todas quedaron relegadas al nivel de examen de reserva. En la de 2001 el mapa varía (es monocromo) y las cuestiones que se plantean presentan variaciones entre una convocatoria y otra. En el ejercicio de 2015 se reiteran las mismas preguntas que las de 2002 y 2007. Los números de localización de las cuencas no registran variaciones.
Nos encontramos, por tanto, ante uno de los ejercicios más veteranos de la selectividad y por tanto, terriblemente anticuado. Cuenta con evidentes posibilidades de aparecer en las propuestas de 2016. Que aparezca en los exámenes de junio o de septiembre, es ya harina de otro costal.
Las preguntas que se realizan sobre él son las siguientes:
-Exprese del 1 al 11 los nombres de los principales ríos que alimentan cada una de esas cuencas.
1-Ríos Gallegos (Tambre, Ulla...).
2-El Miño y los ríos de la vertiente cantábrica (Nalón, Deva, Nervión…).
3-Duero.
4-Tajo.
5-Guadiana, Tinto y Odiel.
6-Guadalquivir y Guadalete.
7-Ríos de la vertiente mediterránea sur (Andarax, Almanzora…)
8-Segura.
9-Ríos de la vertiente mediterránea levantina (Júcar, Turia y Mijares)
10-Ebro.
11-Ríos de la vertiente mediterránea catalana (Ter, Llobregat…)
12-Islas Baleares
13-Islas Canarias.
-¿Qué Comunidades Autónomas tienen un balance hídrico negativo?
Cataluña, Comunidad Valenciana, Murcia, Baleares, Canarias y el Este de Andalucía y Castilla-La Mancha.
-Explique los contrastes y variación de los valores del balance hídrico en las cuencas de la vertiente atlántica peninsular.
En la vertiente atlántica existen grandes contrastes entre los ríos gallegos con los balances hídricos más elevados de la Península y el resto. La causa radica en las abundantes lluvias que se registran en esa comunidad autónoma, frente a la relativa escasez del resto del país.
El régimen de los ríos gallegos es, además, bastante regular. En el resto se advierten crecidas en otoño y primavera y un estiaje en el verano que coincide con el mínimo de la precipitación (mayor cuando más meridional es el río).
-Explique las diferencias, en cuanto a la extensión y a la configuración del relieve de las cuencas, de las vertientes cantábrica, atlántica y mediterránea.
La vertiente cantábrica presenta una extensión reducida con ríos cortos (nacen en montañas cercanas a las costas), que presentan un gran desnivel. Los ríos resultan caudalosos y con un régimen bastante regular, por la abundancia y regularidad de lluvias.
La vertiente atlántica ocupa la mayor parte del territorio peninsular. Sus ríos son largos, con escaso desnivel, bien que en muchos tramos van encajonados. La gran extensión de las cuencas los hace más o menos caudalosos. El régimen suele ser irregular, con pronunciados estiajes y crecidas en otoño y primavera.
La vertiente mediterránea ocupa un tercio del territorio peninsular. Con la excepción del Ebro, sus ríos son cortos (nace en montañas cercanas a las costas). El desnivel es notorio y además el curso de estas corrientes suele ir embarrancado. El caudal resulta muy escaso. El régimen es sumamente irregular, con pronunciados estiajes y crecidas en otoño, a menudo catastróficas.
-Explique las causas de la variación de los balances hídricos entre las distintas cuencas.
El balance hídrico relaciona los recursos hídricos existentes y el consumo que se hace de ellos.
La disponibilidad de agua Depende de la extensión de las cuencas, el las precipitaciones medias y la demanda para el uso agrícola, la industria y el consumo humano.
Así nos encontraremos con cuencas con claros sobrantes (ríos cantábricos, ríos gallegos, el Duero, el Tajo y el Ebro), cuencas con equilibrio entre recursos y demanda (Guadiana, Pirineo Oriental y Júcar) y cuencas con déficit evidente (las restantes).
Precisamente la demanda se concentra en áreas con mayor dinamismo económico y geográfico (el arco mediterráneo, los archipiélagos) cuyos recursos hídricos son escasos.
La red de presas y la construcción de plantas desalinizadoras resulta insuficiente para cubrir una demanda en alza.
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La pintura que hemos escogido como emblema es una obra de la pintora inglesa Dora Carrington titulado «Paisaje español con montañas» («Spanish Landscape with Mountains»). Se trata de un óleo sobre lienzo pintado en torno a 1924.
Sus medidas son 55,9 x 66,7 centímetros. Pertenece a la colección de la Tate Gallery (Londres, Inglaterrra, Reino Unido). Entró en la institución en el 2004 como legado de la escritora Frances Partridge. Frances (de soltera Marshall) se casó en 1933 con Ralph Partridge, desconsolado viudo de la propia Carrington. Este vínculo probablemente explique la forma en la que el cuadro acabó en mano de Frances. Fuerza es decir que Dora se suicidó en 1932.
Con bastantes libertades, el óleo debe reproducir el paisaje de Yegen, municipio de las Alpujarras granadina o de sus alrededores. La pintora acudió allí en 1924 (o el año interior) al ser invitada por Gerald Brenan. Este escritor (a quién le negamos olímpicamente el título de «hispanista») mantenía un amor obsesivo (y no correspondido) por Carrington. Y es que los ingleses cuando se autoexilian o hacen viajes de largo recorrido por el extranjero (léase «Continente») llevan bien cargadas las maletas de traumas, conflictos personales y amores difíciles.
Los datos técnicos y la imagen proceden del catálogo virtual de la Tate Gallery:
www.tate.org.uk/art/artworks/carrington-spanish-landscape...
Spanish Landscape with Mountains circa 1924 Dora Carrington 1893-1932 Bequeathed by Frances Partridge 2004 www.tate.org.uk/art/work/T11896
A reclaimed lumber dining table made in our factory of salvaged lumber from old homes throughout L.A. and San Fransisco.
Web site link: www.mortisetenon.com/Old-Wood-Sawhorse-Dining-Table_p_372...
Facebook fan page: www.facebook.com/jerod.lazan#!/pages/Mortise-Tenon/157396...
Old Wood Sawhorse Dining Table
Built in reclaimed lumber salvaged from 1920's homes throughout Los Angeles
Finish: distressed grey wash with flat lacquer top coat
Custom sizes and finished available
Built in our local wood shop
Based on Bonsaibirder's blog, I think it's a rock bunting...
Wednesday 19 February 2014: Neltner Refuge (3207 m / 10522 ft) - Toubkal (جبل توبقال) (4167 m / 13671 ft) - Neltner Refuge (3207 m / 10522 ft)
An early rise and shine at the Neltner Refuge - 5.53am alarm, breakfast back down in the dining room at 6.30am ish, donning waterproofs, boots, then outside for crampon lacing and ice axe wrangling (and photos) and we were ready and raring to go on our Mt Toubkal ascent by 7.15am. Beautiful clear blue skies, pristine snow and very cold. We'd had feather patterned ice on the inside of our dorm window this morning.
After a bit of stopping and starting we found our pace, with Hussein-the-guide leading the way and Mohammed bringing up the rear, and eventually splitting into two groups. Strong winds en route brought the temperature down further and whipped up the snow - beautiful but occasionally painful. You needed to keep moving. My ears got very cold (hence the scarf-as-headscarf look in the photos). Towards the top of the valley, the morning sun caught up with us, providing a touch of warmth but making the snowscape very bright. Time to don the Julbo sunglasses (another image element I'd rather be without!).
Just after 11am we reached the head of the valley - Tizi'n'Toubkal (3940 m / 12926 ft) - and were rewarded with a magical view east of misty blue ridges and, somewhere beyond that, the Sahara. Looking behind us we could see the valley we'd climbed through, to the north the path up to the peak - the metal pyramid on top making it easy to identify. A very photogenic stop, and Hussein found us a sheltered spot for a bit of a breather before the final push up and round to the very top of Toubkal.
We summited at 11.45am or there abouts, and once we'd caught our breaths it was time for celebratory snaps, sweets and mélange courtesy of Hussein. Tara, Liz, Denyse and Mohammed arrived about half an hour later accompanied by another group who were carrying skis on their packs, planning to a ski descent. Now that's what I call nuts (but then again, I don't ski....). More photos, plus bread and cheese triangles to celebrate. Beautiful panoramic views under blue skies - who could ask for more?
A speedy descent - due to a combination of taking a more direct path down and gravity, plus the lure of lunch back at the refuge. The wind had dropped and it got hot clad in accumulated thermals. I'd settled on Uniqlo polo neck base layer, M&S thermal top, Mountain Kingdoms fleece, plus my Goretex jacket on top; for bottoms, Icebreaker thermal leggings, Gelert trousers, Tibetan waterproof trews (admittedly a little on the short side) plus gaiters - a lower half look reminiscent of Little Lord Fauntleroy. As I'd absent-mindedly done yesterday's crampon training in my Salomon hiking boots (Women's Sector Mid GTX), I'd worn them again today - my new Scarpas didn't get a look in on this trip. My Mountain Equipment Women's Randonee Mitts were invaluable, as were (Hazel's - thank you...) trekking poles.
We were back at the refuge around 3.30pm, and by 4 o'clock were feasting on a late lunch of pasta, lentils, carrots, peas, cucumber/tomato/red onion/sweetcorn salad, bread and olives, accompanied by lots of tea and rounded off with the zingyest clementines I've ever tasted - it's citrus season, and these are fully ripened, fresh fruit.
As the wood stove warmed the dining room, afternoon tea followed at 5.30pm - paratha-y pancakes drizzled with honey - followed by dinner at 7pm. Bed followed not long after (and a good night's sleep, partly due to escaping last night's condensation drips).
A fantastic day.
PS It looks like we did the South Col / Cwm (Irhzer n'Ikhibi Janoub) route.
Read more on sparklytrainers.com ....
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Our Lady & The English Martyrs, Cambridge
stepneyrobarts.blogspot.co.uk/2013/02/our-lady-english-ma...
Yesterday I revisited St Peter for internals and finished of Cambridge, visiting seven Victorian built churches only one of which, Our Lady & The English Martyrs, is worth writing up.
At first sight I wrote OLEM off as a Victorian Gothic monstrosity but as I wandered around the exterior I was struck by the quality of the building and the interior stunned me with lots of rather good glass and impressive architecture (oh and apart from three revisits, Babraham, Guilden Morden and Stow cum Quy, that finished the north west quadrant).
The Church of Our Lady and the English Martyrs, or OLEM, is situated in the heart of the city of Cambridge. An imposing example of the 19th Century Gothic Revival, it was built to the designs of Dunn & Hansom of Newcastle between 1885 and 1890, and founded solely by Mrs Yolande Marie Louise Lyne-Stephens, a former ballet dancer at the Paris Opera and Drury Lane, London, and widow of a wealthy banker. She promised to build the church on the feast of Our Lady of the Assumption, and Monsignor Christopher Scott - the first Rector - also wished to commemorate the Catholic Martyrs who died between 1535 and 1681, over thirty of whom had been in residence at the University.
Designed by architects Dunn and Hansom of Newcastle and built by the Cambridge firm of Rattee and Kett, OLEM is constructed in Casterton, Ancaster and Combe Down Stone. The church is a traditional cruciform structure in the early-decorated style with a large tower at the crossing, a polygonal apse and a west bell tower with a 65-metre spire, visible for miles around Cambridge. Quite often, it is quoted by visitors and local residents as a location point. The approximate internal dimensions of the church are: length 48 meters [156 ft] width across the aisles 16 meters [51 ft] width at the transepts 22 meters [71 ft], the height of the nave 15 meters [71ft].
Inside and over the west door stands the figure of Our Lady of the Assumption crowned with lilies and standing on the crescent moon with the vanquished serpent beneath. The west window shows the English Martyrs arranged in two principal groups, the clergy on the south side with St John Fisher in their midst and the laity on the north grouped round St Thomas More.
Beside the South aisle is an ancient statue of Our Lady with the Child Jesus. This statue is understood to be a gift in 1850 from Emmanuel College, which was built on the site of a Dominican Priory dating back to 1274. The Church of the Black Friars of Cambridge contained a statue of Our Blessed Lady to which much pilgrimage was had. Although unconfirmed this could be that statue.
The Chapel of the Holy Souls with the book of Remembrance is located at the west end of the south aisle. The sculpture above the altar depicts the solace and relief of the Holy Souls in Purgatory through the intercession of Our Lady and the angel who comforted Our Lord in Gethsemane. The Chapel is now appropriately used at the two great Christian celebrations: at Easter for the Empty Tomb indicating the Risen Lord, and at Christmas for the Crib.
The aisle windows were almost completely destroyed when the church was struck by a bomb on 1941, but were subsequently replaced in their original form. They epitomise the various sufferings of the English Martyrs, their being brought before the Council, racked, hung, drawn and quartered in the sight and sympathy of the faithful. The windows of the north aisle portray Carthusians, St Thomas Moore, B. Margaret Pole and others, while the south aisle is made a “Fisher Aisle”, devoted to scenes from the life of St John, Cardinal Bishop of Rochester, who in so many important ways is identified with Cambridge.
The best general impression of the interior is obtained from the gateway in the iron screen dividing the nave from the ante-chapel. The heads of the four great preachers of Our Lady’s Graces are carved in the four corners of the nave. The windows along the nave represent saints connected with the Church in Britain, arranged approximately in chronological order from east to west with a few additional figures in the eastern windows.
The Rood which is between the nave and the sanctuary is of the type known as “Majestas”; the figure of Our Lord, with glorified wounds, robed in alb, stole and pallium [as High Priest] and crowned [as King “reigning from the Tree”]. This was the earliest type of crucifix; the realistic figure, now almost universal, did not come into general use until the beginning of the thirteenth century. The cross, inspired by that at Nuremberg, is about 6 metres high, carved in oak; the figures of Christ and of Our Lady and of Saint John are of Kauri pine. They were carved locally by Mr. B. Maclean Leach and completed and blessed in 1914.
Beyond the present, modern altar is the High Altar with the relics of Saints Felix and Constantia, martyrs of the early Church. The tabernacle and ornaments of the altar are of exquisite French workmanship from Lyons. The baldacchino which covers the High Altar is similar to that over the tomb of Robert the Wise (1275-1343) at Santa Chiara, Naples. It is one of the earliest forms of adornment of a Christian altar. At the top is the figure of Our Lord in glory supported on each side by angels in act of adoration.
The design and the re-ordering of the sanctuary was done by Mr. Gerard Goalen of Harlow after the Second Vatican Council. On 7th April, 1973, Bishop Charles Grant consecrated the present central. The original High Altar has subsequently been used mainly for reservation of the Blessed Sacrament.
maizehutton.blogspot.com/2011/02/house-that-love-built.html
You will find me.
We'll buy some land in the country and build our house by hand.
Everything inside will be made by us.
We'll have a front porch with a swing.
In the back will be a garden where we'll grow our own food & flowers.
We'll sit on the porch swing every evening and watch the sunset.
Then, one day we'll be blessed with a blond curly haired, brown eyed girl with cupid's bow lips and will fill the house with 6 of them.
Our home will be showered with laughter every day and we'll both stay there to teach them.
You'll have a place to work and when you're ever away, you'll return to have your girls yell 'Daddy's Home!'
They'll run out the door to embrace you and you'll be surrounded by bouncy yellow curls and sweet little faces hugging and kissing you.
You'll smile at me and I'll smile back, knowing we'd made this promise to each other.
And when we're old and the last girl has left, we'll curl up together on that porch swing and watch the sunset.
When the time comes for us, we'll both lie down,
cuddled together in a lace of arms and legs.
God will take us at the same time and the girls will know it was the way we were meant to leave.
Together.
For we will travel into the next life arm in arm.
There will be no sadness.
Only love.
The girls will understand.
They'll be proud of us and miss us.
That is how we'll leave our mark.
Six beautiful, happy, loving girls who will teach their children to love.
Because they grew up in....
The house that love built.
faizakhalida.blogspot.com.br/2010/08/a-demissao-das-minha...
"A felicidade que senti com a realização da cirurgia feita não conseguiu compensar o adoecimento pela quantidade de ofensas que sofri. A fase mais tranquila de minha vida foi o pós-cirúrgico, pois vi um sonho realizado e o acolhimento que recebi do médico e sua equipe, mas ao chegar ao Brasil me vi diante do meu real contexto".
Dr. Kamol Pansritum
"LÁ NA TAILÂNDIA EM 2004, VIAJANDO SÓ E NO TSUNAMI, ME DIZIAM QUE EU ERA A PRIMEIRA BRASILEIRA OPERADA COM O DR. KAMOL PANSRITUM, QUE NENHUMA MULHER TRANSEXUAL DO BRASIL O HAVIA ESCOLHIDO ANTERIORMENTE. O ÚNICO OUTRO CIRURGIÃO TAILANDÊS CONFIADO PELAS BRASILEIRAS ATÉ ENTÃO ERA INACESSÍVEL PORQUE COBRAVA PELO MENOS 3 VEZES MAIS".
No ano de 2004 eu realizei uma cirurgia de redesignação sexual no exterior após o fim do ano letivo deste ano e o último compromisso de trabalho. Aproximadamente, eu viajei dia 22, cheguei no dia 23, mas não pude operar no mesmo dia porque o cirurgião estava cansado por ter realizado outra operação no mesmo dia. Acordei operada no Natal daquele ano, durante a ocasião do Tsunami, lá na Tailândia e me diziam que eu era a primeira brasileira a realizar a cirurgia de redesignação sexual com o médico cirurgião Kamol Pansristum.
PRIMEIRA FUNCIONÁRIA PÚBLICA DO MUNICÍPIO DE BELFORD ROXO A CORRIGIR A DOCUMENTAÇÃO EM RELAÇÃO AO PRENOME E AO SEXO EM VIRTUDE DO PROCESSO TRANSEXUALIZADOR REALIZADO DURANTE O TRABALHO NA REDE PÚBLICA MUNICIPAL.
"Viver a experiência do preconceito, do desprezo
Viver o desprezo de construir um caminho que nunca se percorreu.
Ver e conhecer as pessoas e os inimigos como eles são realmente, e não como se disfarçam.
Ser mulher é nascer no fogo e morrer com a missão cumprida".
VIVÊNCIA DA TRANSFOBIA ADMITIDA E VELADA
Marcelino santos de araújo (mat. 17994) ofendia professora transexual na internet. Foi descoberto pela delegacia de crimes virtuais . Ele é funcionário público municipal de Belford Roxo no cargo de eletricista de baixa tensão. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Registro de ocorrência na Delegacia de Polícia da transfobia do subsecretário municipal de Duque de Caxias Paulo Allevato RG 3473270 IFP no banheiro do prédio do IPTU da prefeitura municipal. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Segunda parte do registro de ocorrência na delegacia de polícia da transfobia do subsecretário municipal de Duque de Caxias Paulo Allevato RG 3473270 IFP no banheiro do prédio do IPTU da Prefeitura Municipal de Duque de Caxias. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Antes de realizar a cirurgia na Tailândia em dezembro de 2004, eu havia iniciado um acompanhamento médico no Hospital Estadual do Rio de Janeiro chamado IEDE em 06/03/2004. Logo na primeira consulta, que foi uma entrevista longa com o Doutor psiquiatra eu relatei a ele, inclusive, um grande abalo psicológico e mental em virtude do meu trabalho na rede de educação municipal de Belford Roxo no cargo de professorx. Caminhavam juntos nesse momento a minha disforia de gênero e o meu adoecimento psicológico e mental. As pessoas questionam se a cirurgia realizada não curaria todos os meus problemas e adoecimentos psicológicos e mentais. Uma coisa é a disforia de gênero com indicação cirúrgica de redesignação sexual. Outra coisa é o transtorno afetivo bipolar. Outra coisa também é o preconceito. Também o assédio moral. Também o bullying, etc.
PRECONCEITO ERA RELATADO EM PROCESSOS ADMINISTRATIVOS
2006
FOLHA 05 - PROCESSO 04/3977/06 - Esse diretor já me fez passar por inúmeros constrangimentos ... sempre usando brincadeiras ridículas perante as pessoas debochando da minha sexualidade e inclusive me proibia de trabalhar de saia ou vestido from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Era desrespeitada no exercício da minha função, dava aulas sendo chamada de viado, discriminada, me jogavam terra. Os alunos realizaram manifestação na Escola, na SEMED e ao vereador local pedindo o meu retorno à Escola, que me aceitassem (04/2743/03) from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
FOLHA 03 DO PROCESSO ADMINISTRATIVO 04/2743/03 - Fiquei perturbada, fragilizada, desorientada, com os nervos pronto pra explodir, paranoica, EM DEPRESSÃO com as pessoas que ficavam me chamando de Xxxxxxxxx debochando da minha sexualidade - Discriminação from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
"sentimento de tristeza, desânimo, dificuldades para dormir, cheia de pensamentos, irritabilidade, sentindo-se um lixo ..." (texto transcrito do prontuário médico de 15/06/2004 IEDE)
Após o psiquiatra do IEDE diagnosticar a transexualidade, ele me encaminhou para o tratamento endócrinológico em março de 2004 iniciando oficialmente o processo transexualizador acompanhado por lá. Juntamente com antidepressivo e ansiolítico sedativo, eu fazia uso de hormônio feminino transdérmico e bloqueador antiandrogênico oral. Quando eu cheguei ao IEDE eu já fazia uso de hormônio, estrogênio e progesterona e tive que mudar o que eu já tomava a partir daí.
Usuária Faiza Khálida Fagundes Coutinho - "a pressão social e o constrangimento sofridos fizeram com que apresentasse sintomas de depressão, relatados pela psiquiatra no prontuário da usuária, e este fato a fez deixar de comparecer ao trabalho". IEDE from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
O hormônio estrogênio mexe com o psicológico e com o mental assim como a medicação psicotrópica também. Um dos sintomas que se desenvolveram em mim foi a depressão por exemplo. Eu já sentia depressão quando cheguei ao Hospital do IEDE e essa questão foi relatada em prontuário médico do Hospital. Outra questão agravante, era que eu tinha também o transtorno afetivo bipolar que só foi diagnosticado uns 7 anos depois. É normal haver o diagnóstico demorado do transtorno bipolar. O uso dos remédios psicotrópicos podem piorar o quadro de quem tem o transtorno bipolar quando não se tem a ciência desta doença mental, eclodindo mania, euforia, quadros de humor e sintomas psicóticos por exemplo.
Diagnóstico do transtorno bipolar leva até 10 anos ou mais
DOCUMENTOS MÉDICOS EM PROCESSOS ADMINISTRATIVOS DE 2003 JÁ APONTAVAM DEPRESSÃO E ADOECIMENTO PSÍQUICO E MENTAL
O Formulário de Referência do Centro Psiquiátrico do Rio de Janeiro consta de processos administrativos de 2003 da professora Faiza Khálida arquivados pela Procuradoria Municipal de Belford Roxo. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
MÉDICA PSIQUIATRA TÉCNICA DO SUS SOLICITA TRATAMENTO AMBULATORIAL PSIQUIÁTRICO EM 17/07/03 PARA A PROFESSORA TRANSEXUAL FAIZA KHÁLIDA DA REDE MUNICIPAL DE EDUCAÇÃO DE BELFORD ROXO. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Em 2009 nos primeiros meses, eu estive na secretaria municipal de educação levada por uma amiga também funcionária pública municipal da rede de educação de Belford Roxo mostrando o documento médico psiquiátrico da médica que me acompanhava desde maio de 2008 cientificando a Prefeitura Municipal essas minhas realidades a fim de comprovação médica: que eu estava doente, em acompanhamento psiquiátrico, usando medicação psicotrópica, comprometida psicológica e mentalmente para o trabalho e para a vida social; mas o próprio gestor da secretaria de educação, coagido, 2 semanas depois, me disse que iria esquecer que ele tinha recebido ciência desse documento médico porque ele estava sendo pressionado pelo supervisor educacional da secretaria municipal de educação que também atuava como assessor jurídico da procuradoria de Belford Roxo Jorge Silva. O interesse e a mobilização do grupo dominante da Prefeitura Municipal de Belford Roxo era pela minha condenação, pela minha exclusão e pelo silenciamento do que eu passava e passei inclusive em relação a minha saúde psicológica e mental.
2003
HISTÓRICO DE ADOECIMENTO PSÍQUICO NO TRABALHO E PEDIDO DE SOCORRO A PROCURADORIA DE BELFORD ROXO "Não me encontro em condições mentais de desenvolver as minhas atividades. Por Jesus Cristo, preciso de ajuda médica"
REGISTRO DO CENTRO DE ATENÇÃO PSICOSSOCIAL LESLIE CHAVIN 17/07/2003 - DEPRESSÃO diagnóstico sindrômico PROBLEMAS NO TRABALHO DE PROFESSOR EM BELFORD ROXO Histórico de adoecimento psíquico MEDICAÇÃO ENCAMINHAMENTO - professora municipal Faiza Khálida. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
SEGUNDA FOLHA DO REGISTRO DO CAPS DE DUQUE DE CAXIAS (17/07/2003) MEDICAMENTO DOSE DIÁRIA - DIAGNÓSTICO SINDRÔMICO - ENCAMINHAMENTO - ASSINATURA DA MÉDICA PSIQUIATRA TÉCNICA - CRM E CONFERÊNCIA COM O DOCUMENTO ORIGINAL. ADOECIMENTO PSÍQUICO FAIZA KHÁLIDA. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
NO VERSO DA PRIMEIRA FOLHA DO REGISTRO DO CENTRO DE ATENÇÃO PSICOSSOCIAL LESLIE CHAVIN DE DUQUE DE CAXIAS A MÉDICA PSIQUIATRA RELATOU POUCA MELHORA COM O ANTIDEPRESSIVO AMYTRIL QUE A PROFESSORA FAIZA KHÁLIDA ESTAVA USANDO HÁ 7 DIAS (17/07/2003). from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
PARTE DO PROCESSO DE 2003 escrito à mão COM ASSINATURA E MATRÍCULAS MUNICIPAIS. "... Peço a Prefeitura que custeie para mim um tratamento Psicológico e Psiquiátrico pois sei que não me encontro mais, depois de tudo isso, no meu senso normal ..." from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
O meu diagnóstico do transtorno bipolar foi fechado apenas em 2011 e somente após o diagnóstico houve melhora. Antes, eu tomava entre as medicações o antidepressivo por indicação médica mas sem considerar essa realidade, podendo isso ter contribuído para os outros quadros graves que eu apresentei como euforia e sintomas psicóticos.
Devido à intensificação de transtornos de ordem psicológica, no ano de 2008 a usuária Faiza Khálida faltou sucessivamente. A usuária Faiza Khálida desde maio de 2008 encontrava-se sob os cuidados da médica psiquiatra Dra. - RIO SEM HOMOFOBIA from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Em 2015 um médico psiquiatra do posto de saúde público municipal de Duque de Caxias que também já me medicou e uma psicóloga perita que faz inclusive perícias para o Tribunal de Justiça do estado do Rio de Janeiro me falaram que o uso dos hormônios durante o meu processo transexualizador também ajudou que eu tivesse apresentado esse quadro de adoecimento mental grave que me levou a demissão nas minhas duas matrículas municipais de Belford Roxo.
A sua especial condição de transexual lhe trazia inúmeros dissabores aos quais não lhe era dado suportar, injúria, agrura e constrangimento ilegal sofridos. Faiza passou a apresentar depressão, comportamento delirante persecutório e sintomas psicóticos from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
As perícias concluíram que não apenas o uso e o não uso dos hormônios e o uso das medicações psicotrópicas, mas também as alterações bioquímicas e hormonais ocorridas durante este processo influenciaram neste quadro de adoecimento juntamente com as questões que me eram estressoras relacionadas ao preconceito, assédio e bullying no trabalho.
Seu prenome masculino sempre lhe causou muito constrangimento, sobretudo atualmente, após a operação de reversão sexual. Seu prenome causa constante ridicularização sendo fonte de risos, chacotas e discriminação. (2005 DEFENSORIA PÚBLICA Faiza Khalida) from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Em 2010 os processos administrativos realizados pela Procuradoria Municipal de Belford Roxo e que originaram os atos administrativos que me demitiram não consideraram que eu estava doente conforme relatam as diversas referências médicas.
Os processos que levaram aos atos administrativos que me demitiram também não consideraram o processo transexualizador que eu realizava tão conhecido publicamente pelos Procuradores Municipais e funcionários das diversas secretarias do município de Belford Roxo como a de educação e das escolas em que eu trabalhava.
O uso dos medicamentos que eu fazia também não foram considerados nestes processos.
"Meu nome de homem foi uma agressão imposta. Eu só quero ter paz no trabalho. Faiza Khálida 35 anos, professora 2008"
"Após uma operação bem-sucedida na Tailândia, Faiza Khálida ainda enfrenta dificuldades em escola municipal"
"Professora transexual luta contra o preconceito
Quatro anos depois de se submeter a uma cirurgia para mudança de sexo, Faiza Khálida, de 35 anos, ainda sofre preconceito na escola em que leciona inglês, em Belford Roxo"
"Tenho tido dores-de-cabeça e chorado muito - conta Faiza"
"Trauma do passado - Faiza foi afastada da primeira escola municipal em que trabalhou pela diretora após começar a fazer mudanças no seu corpo e no seu modo de vestir"
20/08/2007
A Sra Faiza Khálida Fagundes Coutinho apresentava tristeza, falta de prazer nas atividades, choro fácil, irritabilidade, impaciência com os alunos, insônia, ansiedade, cefaleias frequentes e dificuldades para cumprir suas tarefas no trabalho (Dra Isabella Vieira Médica CRM 5268631-0)
20/08/2007 - A Sra Faiza Khálida apresentava tristeza, falta de prazer nas atividades, choro fácil, irritabilidade, impaciência com os alunos (era professora), insônia, ansiedade, cefaleias frequentes E DIFICULDADES PARA CUMPRIR SUAS TAREFAS NO TRABALHO from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
A pressão social, a vulnerabilidade social, os problemas sociais presentes como a transfobia relatada pelo Jornal Extra em 2008, a homofobia relatada em processos administrativos e o bullying escolar também não foram citados. Nem mesmo os setores de Assistência Social e Direitos Humanos da Prefeitura Municipal de Belford Roxo e a coordenadoria LGBT (Lésbicas, Gays, Bissexuais, Travestis, Transexuais e Transgêneros) me ligaram ou procuraram para me dar uma palavra de conforto, assistência. Até esses setores que deveriam apoiar grupos marginalizados foram também dominados pelo grupo político dominante.
Embora a Secretaria de Assistência Social e Direitos Humanos e a Coordenadoria LGBT da Prefeitura Municipal de Belford Roxo saibam da situação de vulnerabilidade, dificuldade, isolamento, exclusão e carência de apoio e serviços públicos que muitas transexuais e transgêneros se encontram na escola, no trabalho e na sociedade, eu nunca fui procurada por esses setores responsáveis pela assistência social a LGBTs da Prefeitura Municipal. Em 2011, me foi dito na SEMPOPU (Secretaria Municipal de Políticas Públicas de Belford Roxo) que eu parasse de recorrer da minha demissão, que eu parasse de apresentar documentos e pareceres médicos comprobatórios e não aparecesse mais na Prefeitura mesmo se ainda tivesse algo a dizer já que eu não era bem-vinda.
DIGA NÃO A TODAS AS FORMAS DE PRECONCEITO
NOVEMBRO DA DIVERSIDADE BELFORD ROXO
CAMPANHA DA PREFEITURA MUNICIPAL
PROCESSO 04/1497/03
"Fui humilhada muitas vezes. Tem muita gente que tem ódio de homossexual e o preconceito é muito grande nas escolas. É um ambiente doentio. Eu sendo professorx não aguentei"
Fui humilhada muitas vezes. Tem muita gente que tem ódio de homossexual e o preconceito é muito grande nas escolas. Eu sendo professora não aguentei. É um ambiente doentio. (Professora em processo transexualizador Faiza Khálida) - 04 de junho de 2003 from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Uma pessoa de minha família me levou ao programa Rio sem Homofobia para ter apoio psicológico e jurídico. Eles me encaminharam para o núcleo da Defensoria Pública especializado em Diversidade (NUDIVERSIS) que entrou na Justiça em Belford Roxo contra esse ato administrativo que me demitiu.
Louvado seja o Senhor Jesus Cristo para sempre.
Professora Faiza Khálida Fagundes Coutinho
Prefeitura Municipal de Belford Roxo
Matrículas 5508 e 14725
Identidade 09089680-4
CPF 024114147-81
CLICAR PARA ACESSAR OS LINKS:
1- Ameaça de morte, assédio, bullying, tratamento discriminatório e adoecimento psíquico mental quando eu trabalhava na Escola Municipal São Bento em 2002.
RECEITUÁRIO DE CONTROLE ESPECIAL PASSADO PELA MÉDICA PSIQUIATRA TÉCNICA DO CAPS DE DUQUE DE CAXIAS - MEDICAMENTO PARA DEPRESSÃO (17/07/2003) Professora transexual de Belford Roxo Faiza Khálida após relato de tratamento discriminatório no trabalho. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
REMÉDIO TAMBÉM PASSADO PELA PSIQUIATRA E HOMEOPATA TÉCNICA DO CAPS DE DUQUE DE CAXIAS EM 17/07/2003 - 2 TABLETS MANHÃ / TARDE / NOITE - (HOMEOPATIA) - Quadro depressivo - professora transexual Faiza Khálida da rede municipal de educação de Belford Roxo from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
RECEITUÁRIO DE CONTROLE ESPECIAL CENTRO PSIQUIÁTRICO RIO DE JANEIRO PRESCRIÇÃO AMITRIPTILINA 10/07/03. OS PRIMEIROS TRATAMENTOS PSICOLÓGICOS APÓS VIVÊNCIAS TRAUMÁTICAS NO TRABALHO e INÍCIO DO USO DE MEDICAMENTOS PSICOTRÓPICOS PARA CONSEGUIR TRABALHAR. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Medicamento / remédio psiquiátrico DIAZEPAM prescrito no Centro Psiquiatrico do Rio de Janeiro para a professora transexual Faiza Khálida em 10 de julho de 2003 após depressão profunda causada por discriminação no trabalho na educação de Belford Roxo from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Data 10 de julho de 2003 registro dos sintomas psiquiátricos no trabalho da rede municipal de educação de Belford Roxo. (Doença do trabalho na Prefeitura Municipal de Belford Roxo e sintomas depressivos). Relatos de discriminação em processos de 2003. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
REGISTRO DO CENTRO DE ATENÇÃO PSICOSSOCIAL LESLIE CHAVIN 17/07/2003 - DEPRESSÃO diagnóstico sindrômico PROBLEMAS NO TRABALHO DE PROFESSOR EM BELFORD ROXO Histórico de adoecimento psíquico MEDICAÇÃO ENCAMINHAMENTO - professora municipal Faiza Khálida. de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Folha 03 do Processo 04/002061/03 - Diretora Vera e orientadora pedagógica Fátima da Escola Municipal São Bento sacanearam a professora Faiza Khálida mentindo em relatório técnico de 2002 dizendo que ela não entregou o planejamento from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
2- Buscando eu ajuda psicológica e iniciando o uso de medicamento contínuo para conseguir trabalhar em 2003 após vivencias traumáticas no trabalho.
O Formulário de Referência do Centro Psiquiátrico do Rio de Janeiro consta de processos administrativos de 2003 da professora Faiza Khálida arquivados pela Procuradoria Municipal de Belford Roxo. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
PARTE DO PROCESSO DE 2003 escrito à mão COM ASSINATURA E MATRÍCULAS MUNICIPAIS. "... Peço a Prefeitura que custeie para mim um tratamento Psicológico e Psiquiátrico pois sei que não me encontro mais, depois de tudo isso, no meu senso normal ..." from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
MÉDICO PSIQUIATRA EDGAR TAVARES DA CLÍNICA DE REABILITAÇÃO CASA DAS PALMEIRAS ENCAMINHOU PROFESSORA TRANSEXUAL FAIZA KHÁLIDA DA REDE DE EDUCACAO DE BELFORD ROXO PARA PSICOTERAPIA AMBULATORIAL EM 21 DE JULHO 2003 - ADOECIMENTO PSÍQUICO from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
NO VERSO do encaminhamento do médico Edgar Tavares da Clínica Casa das Palmeiras FOI ESCRITO O TELEFONE E O ENDEREÇO DO AMBULATÓRIO DO IPUB (Ufrj) - Encaminhando professora Faiza Khálida para psicoterapia ambulatorial em 21/7/2003 from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
MÉDICA PSIQUIATRA TÉCNICA DO SUS SOLICITA TRATAMENTO AMBULATORIAL PSIQUIÁTRICO EM 17/07/03 PARA A PROFESSORA TRANSEXUAL FAIZA KHÁLIDA DA REDE MUNICIPAL DE EDUCAÇÃO DE BELFORD ROXO. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
3- Processo administrativo 04/14/97/03 - Assunto: Homofobia - AMBIENTE DOENTIO - onde registrei - "Eu sendo professorx não aguentei a homofobia. O preconceito é muito grande nas escolas municipais. Fui humilhada muitas vezes. É um ambiente doentio".
Prefeitura Municipal de Belford Roxo - Protocolo 04/001497/03 - Requerente: Xxxxxx (Faiza Khálida) Fagundes Coutinho - Matrículas 5508 e 14725 - professora em processo transexualizador - Assunto: Homofobia - Data: 04/06/2003 - escrito à mão from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Tem muita gente que tem ódio de homossexual e o preconceito é muito grande nas escolas, é um ambiente doentio. PROCESSO 04/001497/03 página 03 - 04 de junho de 2003 - Prefeitura Municipal de Belford Roxo - Assunto: HOMOFOBIA from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Fui humilhada muitas vezes. Tem muita gente que tem ódio de homossexual e o preconceito é muito grande nas escolas. Eu sendo professora não aguentei. É um ambiente doentio. (Professora em processo transexualizador Faiza Khálida) - 04 de junho de 2003 from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
4- PROCESSO ADMINISTRATIVO 04/2061/03 - Apresentei o Formulário Referência do Centro Psiquiátrico Rio de Janeiro de 10/07/2003 que também consta em vários outros processos administrativos: "MUITA CEFALEIA, INSÔNIA, MUITO AGRESSIVA, CHORA COM FACILIDADE, VONTADE DE SE MATAR, TRISTEZA, CID PSIQUIÁTRICO E SOLICITAÇÃO DE ATENDIMENTO E CONSULTAS PSIQUIÁTRICAS".
O Formulário de Referência do Centro Psiquiátrico do Rio de Janeiro consta de processos administrativos de 2003 da professora Faiza Khálida arquivados pela Procuradoria Municipal de Belford Roxo. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
MÉDICA PSIQUIATRA TÉCNICA DO SUS SOLICITA TRATAMENTO AMBULATORIAL PSIQUIÁTRICO EM 17/07/03 PARA A PROFESSORA TRANSEXUAL FAIZA KHÁLIDA DA REDE MUNICIPAL DE EDUCAÇÃO DE BELFORD ROXO. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Folha 03 do Processo 04/002061/03 - Diretora Vera e orientadora pedagógica Fátima da Escola Municipal São Bento sacanearam a professora Faiza Khálida mentindo em relatório técnico de 2002 dizendo que ela não entregou o planejamento from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Processo Administrativo da Prefeitura Municipal de Belford Roxo relata mentira usada em relatório técnico de 2002 para excluir professora transexual Faiza Khálida da escola e documentos médicos com CID psiquiátrico e sintomas depressivos from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Processo administrativo 04/2061/03 - Prefeitura Municipal de Belford Roxo - Estado do Rio de Janeiro - A professora Faiza Khálida em processo transexualizador de 30 anos foi atendida na emergência em 10/07/2003.CID psiquiátrico - Folha 04 from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
5- Processo Administrativo 04/2743/03 - Assunto: PROVIDÊNCIAS POR DISCRIMINAÇÃO - Vem requerer providências pela DISCRIMINAÇÃO por orientação sexual que sofri na Escola Municipal São Bento em cumprimento a lei. - Assédio Moral, Danos Morais, Discriminação, Relatório criminoso. "ERA DESRESPEITADA NO EXERCÍCIO DA MINHA FUNÇÃO. DAVA AULAS SENDO CHAMADA DE VIADO, ME JOGAVAM TERRA". "FIQUEI PERTURBADA, FRAGILIZADA, DESORIENTADA, COM OS NERVOS PRONTOS PRA EXPLODIR, PARANOICA, EM DEPRESSÃO COM AS PESSOAS QUE FICAVAM ME CHAMANDO DE VIADINHO DEBOCHANDO DA MINHA SEXUALIDADE". Também constam o Formulário Referência do Centro Psiquiátrico Rio de Janeiro e solicitação da médica do CAPS de tratamento psiquiátrico.
PROCESSO ADMINISTRATIVO NÚMERO 04/002743/03 - Assunto: PROVIDÊNCIAS POR DISCRIMINAÇÃO - Data: 07/10/2003 - PREFEITURA MUNICIPAL DE BELFORD ROXO - Requerente: Xxxxxx FAGUNDES COUTINHO (PROFESSORA FAIZA KHÁLIDA) de Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
EXCELENTÍSSIMO SENHOR PREFEITO DO MUNICÍPIO DE BELFORD ROXO Vem requerer a Vossa Excelência que se digne a conceder: Providências pela discriminação por orientação sexual que sofri na Escola Municipal São Bento em cumprimento a lei estadual número 3406/00 from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
FOLHA 03 DO PROCESSO ADMINISTRATIVO 04/2743/03 - Fiquei perturbada, fragilizada, desorientada, com os nervos pronto pra explodir, paranoica, EM DEPRESSÃO com as pessoas que ficavam me chamando de Xxxxxxxxx debochando da minha sexualidade - Discriminação from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Era desrespeitada no exercício da minha função, dava aulas sendo chamada de viado, discriminada, me jogavam terra. Os alunos realizaram manifestação na Escola, na SEMED e ao vereador local pedindo o meu retorno à Escola, que me aceitassem (04/2743/03) from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
O relatório criminoso discriminatório da diretora Vera Lúcia Castelar de 2002 sobre meu desempenho técnico usado para me excluir da Escola Municipal São Bento foi assinado apenas por 2 pessoas que não exerciam na Escola funções de nível superior. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Procurador Municipal e Presidente da Comissão Permanente de Inquérito Administrativo José Domingos Lucena (mat 11/20.972) diz no processo 04/002743/03 em 24/10/2005 que a professora Leila Bonine deve ser convidada a ler a lei antidiscriminatória from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
O Formulário de Referência do Centro Psiquiátrico do Rio de Janeiro consta de processos administrativos de 2003 da professora Faiza Khálida arquivados pela Procuradoria Municipal de Belford Roxo. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
MÉDICA PSIQUIATRA TÉCNICA DO SUS SOLICITA TRATAMENTO AMBULATORIAL PSIQUIÁTRICO EM 17/07/03 PARA A PROFESSORA TRANSEXUAL FAIZA KHÁLIDA DA REDE MUNICIPAL DE EDUCAÇÃO DE BELFORD ROXO. from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
6- Diretora Vera Lúcia Castelar (mat. 53165) preparou relatório técnico criminoso em 2002 para me afastar da Escola Municipal São Bentos nas 2 matrículas. Eu fui ameaçada de ruína completa por causa deste relatório pela subsecretária de educação Rosângela Maria Gonçalves de Oliveira em 2002 e ameaçada de morte caso chegasse a 100 metros da escola em que eu trabalhava sofrendo discriminação. Após eu pedir reparação pelos DANOS, AMEAÇAS, CONSTRANGIMENTOS E TRAUMAS que me ocorreram por causa deste relatório técnico analisado também pelos 8 supervisores educacionais entre eles Jorge Silva (mat. 54368) , Antônio Carlos Lustosa (mat. 54434) e Joelma Milão, o relatório sumiu dentro da secretaria municipal de educação de Belford Roxo sendo anunciado em 2005 como se ele nunca tivesse existido. Eu continuava sendo tratada como homem na secretaria de educação mesmo após cirurgia transgenital.
7- Em 2005 a reportagem do Jornal O Dia informava que eu havia começado a tomar hormônios 3 anos antes em processo transexualizador. Mesmo após cirurgia e decisão judicial o nome social ainda não era mudado no diário da escola e na ficha funcional. Nesse momento o diretor da escola municipal Jorge Ayres me proibia de usar saia ou vestido conforme relatei em processo de 2006.
8- Em 2007, voltei a caminhar para o agravamento do meu estado mental revivendo traumas do passado na rede de educação em Belford Roxo após orientadora Conceição dizer que eu deveria sair da escola por ser transexual, promover inquérito administrativo disciplinar contra mim, ameaça de morte e dificuldades como abaixo-assinado para sair da escola.
20/08/2007 - A Sra Faiza Khálida apresentava tristeza, falta de prazer nas atividades, choro fácil, irritabilidade, impaciência com os alunos (era professora), insônia, ansiedade, cefaleias frequentes E DIFICULDADES PARA CUMPRIR SUAS TAREFAS NO TRABALHO from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
Usuária Faiza Khálida Fagundes Coutinho - "a pressão social e o constrangimento sofridos fizeram com que apresentasse sintomas de depressão, relatados pela psiquiatra no prontuário da usuária, e este fato a fez deixar de comparecer ao trabalho". IEDE from Ruim no Psicológico .por PRECONCEITO, BULLYING, INJUSTIÇA
9- Em dezembro de 2007, Procurador-Geral de Belford Roxo Lorival Almeida de Oliveira e José Domingos Lucena abriram inquérito promovido pela orientadora Conceição que me dizia que eu não podia estar na escola Jorge Ayres por ser transexual. A advogada da Secretaria Estadual de Direitos Difusos pediu cópia do processo para ela poder me defender. Não me foi permitido ter cópia do processo nem mesmo quando fui intimada a assinar a punição administrativa na secretaria de educação, sendo lá tratada como homem.
10- O contexto profissional em 2008 me causava abatimento e depressão, os meus 2 aparelhos de som que eu utilizava para dar aulas foram roubados ao mesmo tempo nas 2 escolas municipais em que eu lecionava. A orientadora da escola teria tratado com o rapaz que entrou na escola para danificar minha câmera digital na sala dos professores na frente dela.
11- O relatório discriminatório da diretora Vera Lucia Castelar em 2003 me ocasionou diversos danos inclusive psicológicos, mentais e administrativos, este relatório foi usado para me ameaçar, coagir e chantagear. No relatório técnico da diretora constava a mentira que eu não havia entregado o planejamento. Isso causava indignação inclusive da professora que havia entregado o planejamento junto comigo.
CLICAR AQUI TAMBÉM PARA LER SOBRE OS DANOS ME OCASIONADOS PELO RELATÓRIO TÉCNICO DISCRIMINATÓRIO DE 2002 DA DIRETORA VERA CASTELAR SOBRE MIM.
12- Em 2008 eu não conseguia desenvolver as minhas atividades devido ao meu quadro mental. A pressão social e o constrangimento sofrido fizeram com que eu apresentasse sintomas como depressão relatados em prontuários médicos, e este fato me fez deixar de comparecer ao trabalho.
13- Secretaria Municipal de Educação de Belford Roxo e Procuradoria Municipal silenciaram o preconceito que eu passei na rede pública de educação.
14- O julgamento fundamentalista religioso moral condenatório da identidade de gênero e da orientação sexual, piadinhas, deboches, ofensas, agressões e desrespeitos no trabalho me causavam cefaleia, choro, tristeza, ideação suicida e depressão desde 2003. Esse preconceito social cisnormativo me levava ao sofrimento e a ideação suicida.
15- A médica psiquiatra atestou em maio de 2008 que dificilmente haveria solução do meu quadro de adoecimento mental porque não havia resolução dos problemas sociais e referentes ao meu trabalho que me estressavam.
16- Para me condenar em inquérito administrativo disciplinar, procurador-geral de Belofrd Roxo Lorival Almeida de Oliveira mentiu em processo declarando que eu havia recebido cópia de processo, não permitindo que a advogada da Secretaria Estadual de Direitos Humanos e Difusos do Estado do Rio de Janeiro recebesse cópia do processo.
17- Orientadora pedagógica mobilizava para me tirar da escola. Vivenciava o isolamento.
18- Funcionários públicos municipais de Belford Roxo desrespeitavam a identidade de gênero de transexuais e transgêneros.
19- Transfobia que sofri no banheiro da Prefeitura em 13/10/2008 com o subsecretário Paulo Allevato RG 3473270 IFP.
20- Uma semana após eu ser levada em 2009 a secretaria municipal de educação de Belford Roxo por uma colega também funcionária pública do município mostrando ao subsecretário de educação Miguel de Sousa Ramiro o laudo médico atestando que eu estava comprometida para o trabalho e para a vida social, o subsecretário municipal de educação Miguel de Sousa Ramiro me disse pelo seu telefone celular que esqueceria que ele tinha conhecimento do laudo médico psiquiátrico porque ele tinha que obedecer as ordens do supervisor Jorge Silva (mat. 54368).
21- Em tudo o que me acontecia no meu trabalho de professora da rede municipal de Belford Roxo, nos documentos e relatórios administrativos, não era admitida essa realidade que eu enfrentava com todos os medos, embates, incertezas, discriminações, constrangimentos, prejuízos emocionais e psicológicos. Na escola, eu me sentia um ser do outro mundo em espetáculo circense, alvo do julgamento, conceitos e preconceitos de todos os agentes. As mudanças hormonais, físicas e cerebrais também não eram levadas em conta quando se avaliava minha conduta profissional. Eu era uma funcionária pública julgada fora da minha realidade que eu sou, fui e vivia. Somadas as alterações físicas eu tinha osteopenia, hérnias de disco com irradiação nas pernas e braços, fraturas, grande redução e aumento de peso chegando aos 100 kg, pressão alta e baixa. Eu atravessava um processo transexualizador. O direito à saúde que eu tinha por ser diagnosticada transexual não era apenas a questão da cirurgia transgenital paga com minhas economias de trabalho. Era um processo de adequação física, psicológica,mental, profissional, afetiva e social.
22- Relatório, ocorrência, inquérito, reunião e abaixo-assinado pela minha saída da escola municipal Jorge Ayres de Lima a partir da chegada da orientadora Conceição em 2007.
23- História - professora Faiza Khálida da rede municipal de educação de Belford Roxo.
24- Procuradora Municipal Débora Fernandes C. Pinto (mat. 80/28.585) indicada e fundamentalista religiosa, de posse do meu laudo médico psiquiátrico comprobatório de transtorno bipolar incapacitante, CRM, endereço e telefone da médica que me avaliava desde maio de 2008 e relato sobre problemas sociais relacionados a transexualidade, transfobia, homofobia, assédio e bullying, ignorou tudo e negou por 2 vezes a solicitação determinando que eu ficasse excluída do serviço público de Belford Roxo municipal.
25- A minha doença transtorno bipolar com sintomas psicóticos.
Louvado O Senhor Jesus Cristo para sempre.
Biennalist
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
About artist Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
Biennalist :
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
-------------------------------------------
links about Biennalist :
Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
—--Biennale from wikipedia —--
The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.
Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).
Characteristics[edit]
According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]
The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.
A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.
The Venice Biennale as an archetype[edit]
The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.
The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.
Biennials after the 1990s[edit]
The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.
International biennales[edit]
In the term's most commonly used context of major recurrent art exhibitions:
Adelaide Biennial of Australian Art, South Australia
Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Athens Biennale, in Athens, Greece
Bienal de Arte Paiz, in Guatemala City, Guatemala[4]
Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)
Bamako Encounters, a biennale of photography in Mali
Bat-Yam International Biennale of Landscape Urbanism
Beijing Biennale
Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)
Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no
Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China
Bienal de Arte de Ponce in Ponce, Puerto Rico
Biënnale van België, Biennial of Belgium, Belgium
BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.
Biennial of Hawaii Artists
Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]
Biwako Biennale [ja], in Shiga, Japan
La Biennale de Montreal
Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola
Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal
Bucharest Biennale in Bucharest, Romania
Bushwick Biennial, in Bushwick, Brooklyn, New York
Canakkale Biennial, in Canakkale, Turkey
Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]
Changwon Sculpture Biennale in Changwon, South Korea
Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal
Documenta, contemporary art exhibition held every five years in Kassel, Germany
Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France
EVA International, biennial in Limerick, Republic of Ireland
Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]
Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan
Gwangju Biennale, Asia's first and most prestigious contemporary art biennale
Havana biennial, in Havana, Cuba
Helsinki Biennial, in Helsinki, Finland
Herzliya Biennial For Contemporary Art, in Herzliya, Israel
Incheon Women Artists' Biennale, in Incheon, South Korea
Iowa Biennial, in Iowa, USA
Istanbul Biennial, in Istanbul, Turkey
International Roaming Biennial of Tehran, in Tehran and Istanbul
Jakarta Biennale, in Jakarta, Indonesia
Jerusalem Biennale, in Jerusalem, Israel
Jogja Biennale, in Yogyakarta, Indonesia
Karachi Biennale, in Karachi, Pakistan
Keelung Harbor Biennale, in Keelung, Taiwan
Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India
Kortrijk Design Biennale Interieur, in Kortrijk, Belgium
Kobe Biennale, in Japan
Kuandu Biennale, in Taipei, Taiwan
Lagos Biennial, in Lagos, Nigeria[10]
Light Art Biennale Austria, in Austria
Liverpool Biennial, in Liverpool, UK
Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]
Manifesta, European Biennale of contemporary art in different European cities
Mediations Biennale, in Poznań, Poland
Melbourne International Biennial 1999
Mediterranean Biennale in Sakhnin 2013
MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada
MOMENTUM [no], in Moss, Norway[12]
Moscow Biennale, in Moscow, Russia
Munich Biennale, new opera and music-theatre in even-numbered years
Mykonos Biennale
Nakanojo Biennale[13]
NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia
October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]
OSTEN Biennial of Drawing Skopje, North Macedonia[15]
Biennale de Paris
Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]
São Paulo Art Biennial, in São Paulo, Brazil
SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]
Prospect New Orleans
Seoul Biennale of Architecture and Urbanism
Sequences, in Reykjavík, Iceland[18]
Shanghai Biennale
Sharjah Biennale, in Sharjah, UAE
Singapore Biennale, held in various locations across the city-state island of Singapore
Screen City Biennial, in Stavanger, Norway
Biennale of Sydney
Taipei Biennale, in Taipei, Taiwan
Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.
Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]
Dream city, produced by ART Rue Association in Tunisia
Vancouver Biennale
Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]
Venice Biennale, in Venice, Italy, which includes:
Venice Biennale of Contemporary Art
Venice Biennale of Architecture
Venice Film Festival
Vladivostok biennale of Visual Arts, in Vladivostok, Russia
Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA
Web Biennial, produced with teams from Athens, Berlin and Istanbul.
West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.
WRO Biennale, in Wrocław, Poland[22]
Music Biennale Zagreb
[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.
—---Venice Biennale from wikipedia —
The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]
Organization[edit]
Art Biennale
Art Biennale
International Art Exhibition
1895
Even-numbered years (since 2022)
Venice Biennale of Architecture
International Architecture Exhibition
1980
Odd-numbered years (since 2021)
Biennale Musica
International Festival of Contemporary Music
1930
Annually (Sep/Oct)
Biennale Teatro
International Theatre Festival
1934
Annually (Jul/Aug)
Venice Film Festival
Venice International Film Festival
1932
Annually (Aug/Sep)
Venice Dance Biennale
International Festival of Contemporary Dance
1999
Annually (June; biennially 2010–16)
International Kids' Carnival
2009
Annually (during Carnevale)
History
1895–1947
On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]
A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]
The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.
The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).
During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.
1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.
In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.
In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.
During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]
1948–1973[edit]
The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.
1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.
In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.
1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.
The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]
In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").
Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]
1974–1998[edit]
1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.
On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]
In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.
In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]
The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.
For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]
1999–present[edit]
In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.
In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).
The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.
The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.
In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.
Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".
The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".
The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]
Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]
The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]
The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]
The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]
The Biennale has an attendance today of over 500,000 visitors.[30][31][32]
Role in the art market[edit]
When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]
Central Pavilion and Arsenale[edit]
The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.
Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]
A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi
Vidya Balan's Bobby Jasoos starts rolling! - www.bolegaindia.com/gossips/Vidya_Balans_Bobby_Jasoos_sta...
Believed to be in Public Domain From Library of Congress, Prints and Photographs Collections. More on copyright: What does "no known restrictions" mean?
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Public Domain. Suggested credit: Lewis Hine/Library of Congress via pingnews. Additional information from source:
TITLE: Spooler tenders - 14 years old. Berkshire Cotton Mills. Location: Adams, Massachusetts / Lewis W. Hine.
CALL NUMBER: LOT 7479, v. 7, no. 4371[P&P]
Check for an online group record (may link to related items)
REPRODUCTION NUMBER: LC-DIG-nclc-03107 (color digital file from b&w original print)
LC-USZ62-101557 (b&w film copy negative)
No known restrictions on publication.
MEDIUM: 1 photographic print.
CREATED/PUBLISHED: 1916 July 10.
CREATOR:
Hine, Lewis Wickes, 1874-1940, photographer.
NOTES:
Title from NCLC caption card.
In album: Mills.
Hine no. 4371.
SUBJECTS:
United States--Massachusetts--Adams.
FORMAT:
Photographic prints.
PART OF: Photographs from the records of the National Child Labor Committee (U.S.)
REPOSITORY: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA
DIGITAL ID: (color digital file from b&w original print) nclc 03107 hdl.loc.gov/loc.pnp/nclc.03107
CARD #: ncl2004003505/PP
Kern Invite - 11/01/08
Hart Park - Bakersfield, CA
www.andynoise.com/kernxcinvite08.html
Varsity Girls - 2008 Kern County Cross Country
Championships
School Athlete Time Overall Scoring Team
1. Ridgeview Tijerra Lynch 18:58.24 1 1 1
2. Shafter Elizabeth Wittenberg 19:02.62 2 2 1
3. Garces Monica Guzman 19:15.89 3 3 1
4. North Celilia Lopez 19:21.87 4 4 1
5. Ridgeview Ashley Duran 19:23.47 5 5 2
6. Ridgeview Jessica Huizar 19:25.81 6 6 3
7. Foothill Natalie Fernandez 19:35.65 7 7 1
8. East Lucia Garcia 19:46.20 8 x 1
9. Stockdale Amber Nelson 19:59.40 9 8 1
10. Taft Megan Thompson 20:01.34 10 x 1
11. Stockdale Carolin Haney 20:01.70 11 9 2
12. Stockdale Shelbe Pennel 20:03.86 12 10 3
13. Shafter Moriah Milwee 20:05.23 13 11 2
14. Ridgeview Desiree Armendariz 20:08.00 14 12 4
15. Arvin Tanya Hernandez 20:10.02 15 x 1
16. Highland Nichole Berry 20:19:01 16 13 1
17. BHS Sarah Baker 20:25.37 17 14 1
18. North Medeline Maier 20:29.38 18 15 2
19. Ridgeview Monica Lazo 20:33.39 19 16 5
20. Shafter Lindsee Handel 20:36.70 20 17 3
21. Centennial Jessica Folsom 20:41.80 21 18 1
22. BHS Emily Shuford 20:45.35 22 19 2
23. Ridgeview Linda Gonzalez 20:58:28 23 20 6
24. BHS Gabrielle Lerma 21:03.97 24 21 3
25. Stockdale Courtney Moore 21:06.02 25 22 4
26. North Meagan Menzel 21:10.17 26 23 3
27. BHS Gracie Garcia 21:11.76 27 24 4
28. Foothill Perla Veloz 21:13.21 28 25 2
29. Foothill Crystal Rodriguez 21:20.30 29 26 3
30. Independence Katelynn Webb 21:21.51 30 27 1
31. Golden Valley Karina Rocha 21:23.57 31 28 1
32. Shafter Katerina Plaza 21:27.21 32 29 4
33. North Blanca Perez 21:27.98 33 30 4
34. Wasco Amanda Castellon 21:28.25 34 31 1
35. Foothill Kaitlyn Mrasak 21:31.45 35 32 4
36. Tehachapi Brenda Gonzalez 21:33.34 36 33 1
37. Highland Gabi Rodier 21:34.56 37 34 2
38. Centennial Margaret Martinez 21:35.39 38 35 2
39. Stockdale Cynthia Lopez 21:35.61 39 36 5
40. Centennial Jessica Crowe 21:43.49 40 37 3
41. Highland Hilaria Vasquez 21:43.76 41 38 3
42. North Yadira Perez 21:49.62 42 39 5
43. Foothill Erica Castro 21:53.39 43 40 5
44. Centennial Stephanie Dittman 21:55.56 44 41 4
45. Independence Natalie Ambriz 22:08.45 45 42 2
46. Stockdale Madison Schutzner 22:14.92 46 43 6
47. Highland Katherine Mayberry 22:16.42 47 44 4
48. Centennial Jorey Braughton 22:18.95 48 45 5
49. North Kaylee Meyer 22:20.98 49 46 6
50. Garces Lauren Brown 22:21.19 50 47 2
51. Golden Valley Denise Silva 22:23.90 51 48 2
52. Foothill Violeta Quintanar 22:24.92 52 49 6
53. Highland Desiree Martinez 22:25.59 53 50 5
54. Independence Sara Sullivan 22:25.95 54 51 3
55. Garces Lizbeth Lopez 22:28.11 55 52 3
56. Garces Tammy Vu 22:35.68 56 53 4
57. West Selam Habebo 22:39.75 57 x 1
58. Shafter Leana Lara 22:51.69 58 54 5
59. Independence Carlie Croxton 22:55.06 59 55 4
60. Cesar Chavez Rosa Montanez 22:57.28 60 x 1
61. Foothill Maria Zepeda 22:57.55 61 56 7
62. Garces Marissa Machado 22:57.92 62 57 5
63. Shafter Mayra Torres 23:00.88 63 58 6
64. Golden Valley Carmelita Aguilar 23:04.07 64 59 3
65. Ridgeview M. Salgado 23:14.56 65 60 7
66. Golden Valley Anna Avina 23:20.23 66 61 4
67. Golden Valley Ninive Alveno 23:26.73 67 62 6
68. Golden Valley Mercedes Salgado 23:26.73 68 63 5
69. Centennial Paige Anderson 23:30.27 69 64 6
70. Garces Sammie Lobardo 23:34.37 70 65 6
71. Arvin Bianca Quinonez 23:41.85 71 x 2
72. Kern Valley S. Hinkey 23:42.47 72 x 1
73. Frontier Ariel Driskill 23:43.12 73 66 1
74. Centennial J. Estrada 23:50.91 74 67 7
75. Kern Valley S. Hazzard 23:51.80 75 x 2
76. Garces G. Ortiz 23:54.66 76 68 7
77. North Priscilla Cruz 23:55.51 77 69 7
78. BHS Kristina Logan 24:04.10 78 70 5
79. Frontier Jasmine Mattos 24:05.42 79 71 2
80. Stockdale Delilah Diaz 24:10.83 80 72 7
81. West Wennie Agbalog 24:28.90 81 x 2
82. Wasco Anna Orozco 24:29.57 82 73 2
83. Wasco Ruby Jacabo 24:30.22 83 74 3
84. Tehachapi Anna Duke 24:33.57 84 75 2
85. Wasco S. Castellon 24:42.66 85 76 6
86. Independence Shelby Woolf 24:58.35 86 77 6
87. BHS Sarah Stidham 24:58.76 87 78 6
88. Arvin Gaby Gomez 25:04.17 88 x 3
89. Highland Cristina Valenzuela 25:05.21 89 79 6
90. McFarland Monica Gonzalez 25:42.30 90 x 1
91. Tehachapi Susie Cuevas 25:57.15 91 x 3
92. Wasco B. Medina 26:00.11 92 80 4
93. Cesar Chavez Shannan Albay 26:00.32 93 x 2
94. BC Tiffany Rodriguez 26:26.77 94 x 1
95. Tehachapi Ariel Deval 26:50.73 95 81 4
96. Wasco A. Rios 27:14.74 96 82 5
97. Independence Samantha Antu 27:17.44 97 83 5
98. Tehachapi L. Shoemaker 27:44.92 98 84 5
99. BC Victoria Wheeler 28:09.47 99 x 2
100. Tehachapi J. Bahera 29:20:93 100 85 6
101. Frontier T. See 29:29.12 101 86 3
102. Frontier Savanah Olson 30:18.04 102 87 4
103. Frontier A. Rojas NT 103 88 5
Eliss -$2.99- Already one of my favorite iPhone games from 2009, Eliss plays even better on an iPad. In order to master this game, you'll need to get good at using both hands to manage all the action on screen. Luckily the iPad's larger screen works in your favor with this addictive app.
IsoWords -$1.99- The larger screen totally works in your favor for selecting letters in this 3 dimensional Boggle like game. I was a fan of the pass-to-play feature before, but now I can lend my iPad to a friend and play multi-player over wifi using my iPhone.
Saucelifter -$1.99- The graphics look even better on the iPad than on the iPhone in this stylish take on the classic Choplifter genre. The controls are a bit sensitive at first, but you can adjust them in the options menu.
PAC-MAN Championship Edition -$2.99- Admittedly, I'm a big fan of the paku-paku franchise, but I didn't really grok the iPhone version till I rocked it on the iPad. It totally brings back memories of Friday night's at the skate rink. There are several different control interfaces available, but I recommend the swipe "joystick" control.
Platypus -$4.99- All I have to say is "claymation videogame" and I know I already have your attention. Most of the games on this list look great on an iPad because they happen to use vector graphics, but for whatever reason this non-vector artwork scales wonderfully onto the iPad's screen. Platypus also has local multi-player mode, so if you have an iPhone and an iPad you are all set to multiplay with friends with just one app purchase.
Ground Effect -$2.99- Ground Effect is like F-Zero with ekranoplans. The graphics port to the iPad well, and the rendering is nice and fast. Ground Effect also has several options for viewing the game in 3D anaglyph, so dig out those red/cyan glasses you have laying around.
Light Bike -$2.99- I honestly feel this game is virtually unplayable on the iPhone, but it's perfect for the iPad. Now it's way easier to navigate those split-second right-angle maneuvers.
Surfacer -Free- Surfacer is a great time-killing game about filling negative space.
Plants Versus Zombies -$2.99- You could pay $10 (!!!) for the iPad version of this game, but I felt the iPhone version didn't look too bad on the larger screen and only costs $3. Again, why pay 3 times as much for something that isn't iPhone compatible? Now the graphics of the iPhone version are a little blurry on the Pad, but they still look pretty good.
Racer Coaster -$0.99- This 3D racing game pits you against crazy curvy roads and obstacles. Fans of the classic Hard Drivin' games will love this game on the iPad, but not so much on the iPhone.
Fieldrunners -$2.99- Like PvZombies, the difference between Fieldrunners and Fieldrunners HD is certainly not worth triple the price. Maybe the developers will take some time in the future to make a more unique experience for the iPad to justify the increased price, but currently the old version of Fieldrunners works just fine for me.
Galcon Labs -$0.99- Like real time Risk in space, Galcon is another classic iPhone game that benefits from the larger screen real estate without losing too much visual. I'd also like to note that while the iPad version of this game is $10, he developer has really gone out of his way to create a unique experience for the iPad rather than a straightforward copy.
Star Defense -$0.99- There are hundreds of Tower Defense games to choose from, but Star Defense seemed to shine out on the iPad.
Bike Or Die 2 -$5.99- This game really made my last overseas flight go by quickly. I was pleased to see the game looks and feels great on the iPad too. Tons of maps to keep you playing for weeks.
Bit Pilot -$0.99- Bit Pilot is a pixelized shooter in which you try to avoid getting smashed by asteroids, but what really keeps me playing is Sabrepulse's anthemic chiptune soundtrack... which sounds fantastic on the iPad's speakers. Pro tip; use two fingers on the screen to control your ship at 2X speed.
Horror Racing -$0.99-
The steering wheel interface works much better on this larger screen and the graphics don't seem to take a big hit from the higher resolution.
C64 -Free- C64 is a Commodore emulator with tons of free games from the classic system. Unfortunately C64's UI looks extremely blurry on the iPad, the actual game screen itself looks nice and sharp. Luckily you remove most of the UI by keeping your device in horizontal view to full size the game screen. Retro heaven.
Time Loop -$0.99- This fun single player co-operative looks great on the iPad and is an easy puzzler for any age to get into.
Totemo -$0.99- Another puzzler that's just a good way to kill time and doesn't look too bad on your iPad.
Sentinel -$1.99- I was really impressed with how nice these graphics look on the iPad. The Sentinel games were some of my favorite iPhone games from last year, but not every graphic heavy iPhone game looks as good as this does on the iPad.