"Play It By Trust" 1966/1999

by Yoko Ono

White pieces on white board

   

www.francisnaumann.com/EXHIBITIONS/DuchampChess/index.html

 

“Marcel Duchamp: The Art of Chess” is the first exhibition devoted to exploring the influence of Duchamp’s activities as a chess player on his artistic production. It debuted at the St. Louis University Museum of Art (May 6 – August 16, 2009), and the present gallery exhibition is an expanded version of that show. It will open at Francis M. Naumann Fine Art on September 10, 2009 (and run through October 31, 2009).

 

The exhibition features the magnificent early cubist drawing Study for Portrait of Chess Players (1911), which renders Duchamp’s two brothers—Raymond Duchamp-Villon and Jacques Villon—intently engaged in a game of chess; a large central “X” in the center of the composition represents the precise point where their minds meet, a cerebral focus common to much of Duchamp’s subsequent production. Among the highlights of the show will be an example of the readymade Trébuchet (1917/64), the coat rack that visitors to Duchamp’s studio were expected to trip over (the chess equivalent of a gambit offered in the opening of a game); the Nice chess poster (1925); regular and deluxe examples of his book on endgame strategy (1932); the Pocket Chess Set (1943); and Cupid (1943), a recently discovered original drawing for the announcement of a show at the Julien Levy Gallery (in which Duchamp seems to have embedded a hidden message). A number of photographs of Duchamp either playing chess or seated before a chessboard will also be displayed. A signed, limited edition photograph by Arnold Rosenberg of Marcel Duchamp moving chess pieces behind glass (1958) was issued to commemorate this exhibition.

 

Also included in the show will be works by a number of Duchamp’s contemporaries—Man Ray, Georges de Zayas, Max Ernst, Salvador Dalí, Leon Kelly, Beatrice Wood, Arman and Sarah Austin—that relate to Duchamp’s involvement with the game of chess, as well as a selection of works by contemporary artists—Charles Juhàsz Alvardo, Mike Bidlo, Donald Bradford, Russell Connor, Ingrid Evans, Mark Kostabi, Sophie Matisse, Daniel Meirom, James Meyer, Trong Gia Nguyen, Yoko Ono, Jennifer Shahade, Diana Thater, Douglas Vogel—some of whom have made works specially for inclusion in this show.

 

Accompanying the exhibition will be Marcel Duchamp: The Art of Chess, a book featuring essays by Francis M. Naumann and Bradley Bailey, both of which demonstrate that Duchamp’s identity as a chess player is so thoroughly interfused with his work as an artist that the two activities are aesthetically and conceptually inseparable. The book also includes the analyses of fifteen Duchamp games by Jennifer Shahade (two-time American Women’s Chess Champion). These games will be reenacted in the exhibition on a video monitor, on which visitors will be able to view the movement of the pieces, all laid out in the format of Duchamp’s Pocket Chess Set of 1943.

   

FRANCIS M. NAUMANN FINE ART

24 West 57th Street, Suite 305

New York, NY, 10019

Telephone: 212.582.3201

LHOOQ@FRANCISNAUMANN.COM

www.francisnaumann.com/

Mandarin Duck (Aix galericulata)

(Pato Mandarín (es),

Anatra mandarina (it),

Mandarinente (al),

Mandarijneend (nl),

 

Kingdom: Animalia

Phylum: Chordata

Class: Aves

Order: Anseriformes

Family: Anatidae

Genus: Aix

Species: A. galericulata

Binomial name : Aix galericulata

 

Kowloon Park

Hong-Kong

 

View On Black and Large

 

Located in the central zone of Tsim Sha Tsui in Hong Kong, Kowloon Park is one of the largest parks in Kowloon, covering an area of about 13.5 hectares (about 33 acres). It is said to be the 'green lung' at the centre of city.

 

The park was opened by the then Governor, Sir David Trench on June 24th. In 1989, it was rebuilt, funded by the former Royal Hong Kong Jockey Club at a cost of about HK$300 million.

 

The park was built in a classical Chinese style, and is visited by many tourists. Flowers and trees are plenty in the park. There is an attractive variety of rarely-seen beautiful birds and flowers.

 

The park boasts an abundance of scenic spots and enough establishments for tourists to enjoy themselves. The scenic spots mainly include the Maze Garden, Color Garden, Chinese Garden, Roof Gardens, Banyan Court and Bird Lake. And the establishments comprise a mini soccer pitch, the Fitness Trail, Children's Playground, Discovery Playground, Sculpture Walk & Sculpture Garden, a piazza, an aviary, a swimming pool and a sports center. The swimming pool is one of the best equipped in Hong Kong and can hold 1,500 people.

 

From 07:30 to 09:30 on Fridays, the park provides the activity of watching birds for tourists free of charge. The gathering point is at the arcade of the park. And from 14:30 to 16:30 on Sundays, there are free performances on the Sculpture Walk, including lion/dragon dance and different disciplines of martial arts. Additionally, from 13:00 to 19:00 on Sundays and public holidays, at the loggia of the park exit, there are many stalls selling Chinese traditional handworks, calligraphy and many other souvenirs.

 

Next to the park is the Park Lane Shopper's Boulevard which imitates the American style. The shops there mainly sell the clothes from the native or abroad, which are very popular with the young people. After shopping, you can go to the park and find a comfortable place for a rest.

______

 

Camera: Canon EOS 30D

Exposure: 0.05 sec (1/20)

Aperture: f/5.6

Focal Length: 85 mm

ISO Speed: 200

Exposure Bias: 0 EV

Flash: Off, Did not fire

 

File Size: 2.4 MB

File Type: JPEG

MIME Type: image/jpeg

Image Width: 3504

Image Height: 2336

Encoding Process: Baseline DCT, Huffman coding

Bits Per Sample: 8

Color Components: 3

X-Resolution: 350 dpi

Y-Resolution: 350 dpi

Orientation: Horizontal (normal)

Software: Digital Photo Professional

Date and Time (Modified): 2009:04:07 10:37:59

YCbCr Positioning: Centered

Rating: 0

Custom Rendered: Normal

Exposure Mode: Manual

White Balance: Manual

Scene Capture Type: Standard

Gamma: 2.2

Exposure Program: Manual

Date and Time (Original): 2009:04:07 10:37:59

Date and Time (Digitized): 2009:04:07 10:37:59

Color Space: sRGB

Focal Plane X-Resolution: 3959.322034 dpi

Focal Plane Y-Resolution: 3959.322034 dpi

Viewing Conditions Illuminant Type: D50

Measurement Observer: CIE 1931

Measurement Flare: 0.999%

Measurement Illuminant: D65

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

 

www.emergencyrooms.org

www.emergencyrooms.org

  

www.colonel.dk/

 

lumbung

Short concept by ruangrupa for documenta 15

"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."

  

ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.

 

Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.

 

The main principles of the process are:

• Providing space to gather and explore ideas

• Collective decision making

• Non-centralization

• Playing between formalities and informalities

• Practicing assembly and meeting points

• Architectural awareness

• Being spatially active to promote conversation

• A melting pot for and from everyone’s thoughts, energies, and ideas

  

#documentakassel

#documenta

#documenta15

#artformat

#formatart

#rundebate

#thierrygeoffroy

#Colonel

#CriticalRun

#venicebiennale

#documentafifteen

#formatart

#documentacritic

#biennalist

#ultracontemporary art

protestart

 

Collaboration beetween Biennalist and Ultracontemporay

 

Art Format

www.emergencyrooms.org/formats.html

  

Documenta From Wikipedia,

 

The Fridericianum during documenta (13)

documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.

 

Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.

  

Etymology of documenta

The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]

 

Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]

 

History

 

Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7

Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.

 

Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]

 

Criticism

documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]

 

Directors

The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]

  

TitleDateDirectorExhibitorsExhibitsVisitors

documenta16 July – 18 September 1955Arnold Bode148670130,000

II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000

documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000

4. documenta27 June – 6 October 196824-strong documenta council1511000220,000

documenta 530 June – 8 October 1972Harald Szeemann218820228,621

documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410

documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691

documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417

documenta IX12 June – 20 September 1992Jan Hoet1891000603,456

documenta X21 June – 28 September 1997Catherine David120700628,776

documenta118 June – 15 September 2002Okwui Enwezor118450650,924

documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301

documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]

documenta 148 April – 16 July 2017 in Athens, Greece;

10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens

891.500 in Kassel

documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]

2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]

 

Venues

documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]

 

There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.

  

Rahmenbau (1977) by Haus Rucker und Co.

A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).

 

documenta archive

The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.

 

Management

Visitors

In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]

 

References

Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.

Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.

Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX

Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2

Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.

The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).

Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.

Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.

Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).

dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.

Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.

Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.

Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.

Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.

Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.

Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.

Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.

Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.

Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.

Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.

"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.

Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.

"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.

Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.

Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.

d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.

Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.

Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.

Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.

Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.

Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.

Further reading

Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.

Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.

 

other biennales :

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale

Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art

 

www.emergencyrooms.org

www.emergencyrooms.org

  

www.colonel.dk/

 

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

 

wallpaper-2017.com/african-bush-elephant-wallpaper.html

willowgrovedaycamp.com/willows.html

 

The Willows at Willow Grove Day Camp is a camp for 3 and 4 year old children. This unique camp experience offers your child an early opportunity to learn and socialize with children their own age.

 

During the first week of camp, lots of fun was had as the children and counselors got to know each other. “Sun and Surf” was our first week theme. The children really enjoyed decorating their bucket and shovel memo pads during Arts and Crafts. Along with this activity, the Polar Bears and Penguins enthusiastically participated in Nature, Gymnastics, Dance, Tennis and Soccer. We are looking forward to the next seven weeks of fun-filled activities.

 

Willow Grove Day Camp provides summer fun for kids who live in Willow Grove, Abington, Blue Bell, Hatboro, Horsham, Huntingdon Valley, Lafayette Hill, Philadelphia, Plymouth Meeting, Southampton and the surrounding areas. For more information on the Willows and Willow Grove Day Camp please visit: willowgrovedaycamp.com/willows.html

 

www.newscientist.com/article/mg21028126.400-sailbots-head...

 

Sailbots head for the high seas

 

17 May 2011 by Jacob Aron

Magazine issue 2812. Subscribe and save

PEOPLE have been sailing the world for centuries, but ask a robot to do the same and it quickly falls down.

 

Last year Mark Neal, a computer scientist at the University of Aberystwyth, UK, oversaw the launch of Pinta, a robotic sailing boat that set off from the west coast of Ireland in an attempt to be the first automaton to cross the Atlantic Ocean. His team lost communication with the boat just over two days later. The voyage was still an achievement: "Forty-nine hours is the longest period of unattended autonomous sailing that has happened," says Neal.

 

When uncrewed aircraft can master flight so readily, it might seem strange that it is so hard for a robot to sail a boat. In fact, the challenges are very different. "Some of the longest unmanned aerial vehicle (UAV) flights are a day or two. If something stays up for 24 hours, that's a pretty outstanding achievement," says Neal. In contrast, a useful robo-boat needs to run for months using only sails and solar power (see "Why build a robot sailor?"). During that time the solar panels could get caked with salt, the craft could be damaged, and barnacles and weed could grow on the rudder.

 

What's more, while UAVs have to cope with weather changes, the conditions they operate in are fairly stable compared with those of the ocean, Neal says. "The boat needs to deal flexibly with an unpredictable environment," says Roland Stelzer of the Austrian Society for Innovative Computer Sciences in Vienna. Stelzer is in charge of Roboat, an automated 3.75-metre-long boat that has won the World Robotic Sailing Championship for the past three years by successfully completing tasks including a 24-hour endurance race and navigation between tightly spaced buoys.

 

Stelzer puts Roboat's success down to its computer "brain", which mimics two human sailing abilities. One system plots the best route by calculating the heading that takes best advantage of wind speed and direction in relation to the destination.

 

The other keeps the boat on the desired course. It does this by considering factors like how far the boat is heeling and whether waves have pushed it off course, and then adjusting the rudder position to make both small corrections and sudden turns.

 

However, each competition took place within 4 kilometres of the shore. "We had to monitor the boat all the time either from shore or on a chasing boat," Stelzer says.

 

The Pinta is smaller and less sophisticated, in case the boat is lost at sea. Stelzer's craft might be robust enough to cross the Atlantic, but he is reluctant to try - losing such an expensive rig would be a huge setback.

 

Instead, the first robotic sailors to spend long periods at sea may come from the Protei project, which aims to build autonomous craft for cleaning up oil spills. Conceived by designer Cesar Harada, who also leads the project, the boats have a unique articulated design that allows the hull to flex in order to best use the wind while turning.

 

The hardware is open source, meaning that anyone can work on or modify the design and help solve problems. "It's a collaboration with people worldwide contributing their best knowledge and enthusiasm," says Peim Wirtz, who manages the project from the V2 centre in Rotterdam, the Netherlands. The concepts behind Protei have undergone small-scale tests, and the team will now build a full-scale prototype after raising nearly $35,000 on the crowd-funding website Kickstarter last month. "We have over 300 backers that thought the initiative was worth sponsoring," says Wirtz.

 

So will we see robots sail the seas any time soon? Wirtz hopes to complete the Protei prototype by September and Pinta will be making another transatlantic attempt at the same time. "If we didn't think it was possible, we wouldn't be trying," Neal says. "Someone will do it, and I'd like that to be us."

 

Why build a robot sailor?

A boat that sails itself would be a nice bit of tech, but what are the practical benefits? A craft using only sails and solar power would be ideal for long-term missions, says Roland Stelzer of the Austrian Society for Innovative Computer Sciences.

 

"In the future, autonomous sailing boats will be used for tasks such as maritime monitoring, reconnaissance and surveillance, and carbon dioxide-neutral transportation of goods," he says. Robotic sailboats could also operate in swarms, allowing them to tackle large-scale problems like gathering meteorological data in remote stretches of ocean or measuring water pollution. They could even be used to rescue refugees.

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.

 

Our Lady of Lourdes & St Joseph, Leigh on Sea, Essex

 

Blog page

I passed OLoL&SJ (apologies for the acronym) on my way to St Clement and had to stop. This RC church had fallen off my radar and would have been missed had it not been so arresting.

Built in the 1920's to the design of the parish priest, Fr FW Gilbert, it stands as his personal testament to God. Full of good period glass, a very Catholic reredos, lectern and rood; unusually a SE tower but, to my mind, the most exceptional feature is the Lady Chapel which is a scaled replica of Lourdes.

A rich priest's homage to Gothic architecture with a distinct Catholic twist - I wish this was my parish church!

Neither Pevsner nor Mee covered it (inherent anti Catholicism at work?) so Taking Stock instead:

An idiosyncratic Gothic church of the 1920s, very much a personal work by the parish priest Fr F. W. Gilbert, but closely following the design of Charles Nicholson’s church of St Alban at Westcliff-on-Sea. The church was sympathetically extended in the 1960s. The interior is rich in fittings, some designed by Fr Gilbert.

The original church (now the parish hall) began life as a timber-framed, corrugated iron drill hall, originally built for the Essex Volunteers in 1900 under the supervision of Major Burles and purchased in 1913. The site of the present church was purchased by the Rev. F.W. Gilbert in 1924, using donations and his private money. It appears that Fr Gilbert acted as his own architect, his design borrowing heavily from that of the Anglican church of St Alban the Martyr at Westcliff-on-Sea, built in 1898-1908 from designs by Nicholson & Corlette. The Gilbert family promised £2,000 once building work commenced. The contract price was £12,234. The builders were Messrs Marshall & Smith of Grays but Fr Gilbert acted as his own clerk of works, using local labour, including unemployed men from Grays. The foundation stone was laid on 7 October 1924 and the church opened in September 1925. The presbytery was built in 1925.

The church was sympathetically extended in 1965-66 by Burles, Newton & Partners, in the same style and materials; the west wall was moved twenty feet further out to create a choir gallery, west door and porch and a baptistery with organ chamber above. Proposals to replace the old hall with a new and larger building were prepared in 2007 but have not yet been implemented.

The church is a large and handsome structure in a free Gothic style. The walls are faced with random rubble with stone dressings. Apparently much of the stone was quarried near Glasgow and was originally used as ballast in lighters intended for the Gallipoli campaign, which were later bought by a local ship owner, who donated the stone for the building of the church. The roof is covered in plain tiles. On plan the church comprises a long nave and sanctuary under a continuous roof swept down over north and south aisles, southwest porch, northwest organ chamber, southeast double transept and southeast tower. The gabled west end is Burles & Newton’s work of the 1960s and has a broad straight-headed doorway flanked by small trefoiled windows with a large six-light traceried window above. On the north side is a tall transeptal organ chamber and then the low side wall of the north aisle with three pairs of small trefoiled windows. On the south side is a small projecting porch and then the low side wall of the south aisle, a double transept with three-light traceried windows in the gabled ends and then the bold square south east tower. The tower is of three stages with a traceried two-light window on the south side of the lowest stage and pairs of small openings in the two stages above. The tower has a single large diagonal buttress at the southeast corner, crenellated flint-faced parapets and a tiled spirelet. The east end wall of the sanctuary is articulated with three round-headed blind arches. This wall fronts the garden of the large presbytery which is attached to the northeast corner of the church, and the church and presbytery together form a strong architectural composition.

The interior walls are all plastered and painted with plain flooring of timber. There is a west gallery in the 1960s extension and nave arcades of four bays of simple pointed chamfered arches on square chamfered concrete piers. Above each pier the nave is spanned by the tie beams of the roof and above them is a five-sided timbered ceiling. The aisles have lean-to roofs and are also timbered. The east bay on the south side is a small transept. There is no chancel arch in the usual sense, but the division between nave and sanctuary is marked by pilaster strips on the walls with a rood beam at half- height and a timber rib spanning the roof between them. The sanctuary has a single large open arch on each side and is richly furnished. The east wall in particular is lined to full-height with carved decoration. The floor is black and white marble. On the south side of the sanctuary is a second transept divided from the first by a double arch resting on dwarf double columns with ornamental Gothic capitals. In the east wall of this transept a chamfered pointed arch leads to the base of the tower which contains a Lourdes grotto.

The church is rich in fittings. These include the carved timber reredos filling the whole east wall, the extraordinary pulpit with figures of evangelists supported by cherubs, apparently designed by Fr Gilbert, who also designed the figures of the rood beam, the elaborate oak stalls in the sanctuary and the font at the west end of the nave given in memory of Col. Knight (d.1891) with its stone bowl on clustered columns and a surrounding floor of Cosmati work.

There is some stained glass in the church including the west window by Whitefriars and other windows by Goddard & Gibbs. The scale model of the Lourdes grotto was built by Cyril Psaila (d. 1931).

REVISTA DE FILOSOFIA: REVISTA DE FILOSOFÍA CONTEMPORANEA

 

REVISTA OBSERVACIONES FILOSÓFICAS

www.observacionesfilosoficas.net/

 

Dr. Adolfo Vasquez Rocca _ Director

www.danoex.net/adolfovasquezrocca.html

 

Revista de Filosofía Contemporánea

www.observacionesfilosoficas.net/indexcategorias.htm

 

Adolfo Vásquez Rocca PH.D.

 

www.danoex.net/adolfovasquezroccainvestigacion.html

Dr. Adolfo Vasquez Rocca | Universidad Complutense de Madrid

 

www.danoex.net/adolfovasquezrocca.html

Adolfo Vasquez Rocca, Academic staff at Universidad Andrés Bello UNAB

  

emui.academia.edu/AdolfoVasquezRocca

  

ADOLFO VÁSQUEZ ROCCA PH.D.

Pontificia Universidad Católica de Valparaíso

Universidad Andrés Bello UNAB

Escuela Matríztica

Universidad Complutense de Madrid

Eastern Mediterranean University - Academia.edu

E-mail: adolfovrocca@gmail.com

  

ADOLFO VÁSQUEZ ROCCA PH.D.

 

Web personal:

www.danoex.net/adolfovasquezrocca.html

  

Publicaciones Internacionales Catalogadas en DIALNET Directorio de Publicaciones Científicas Hispanoamericanas

 

dialnet.unirioja.es/servlet/autor?codigo=1053859

 

Pontificia Universidad Católica de Valparaíso

Universidad Andrés Bello UNAB

Universidad Complutense de Madrid

E-mail: adolfovrocca@gmail.com

 

PROFESOR DR. ADOLFO VÁSQUEZ ROCCA

 

Profesor Adjunto Escuela de Psicología y de la Facultad de Arquitectura UNAB Miembro del Consejo Editorial Internacional de la 'Fundación Ética Mundial'. Director del Consejo Consultivo Internacional de 'Konvergencias', Revista de Filosofía, Bs. Aires; Miembro del Consejo Editorial Internacional de Revista Praxis – Facultad de Filosofía y Letras, Universidad Nacional. Miembro del Conselho Editorial da Humanidades em Revista, Universidade Regional do Noroeste do Estado do Rio Grande do Sul, Brasil y de Sophia –Revista de Filosofía de la Pontificia Universidad Católica del Ecuador–. –Secretario Ejecutivo de Revista Philosophica PUCV. – Director de Revista Observaciones Filosóficas. Profesor visitante en la Maestría en Filosofía de la Benemérita Universidad Autónoma de Puebla. – Profesor visitante Florida Christian University USA y Profesor Asociado al Grupo Theoria –Proyecto europeo de Investigaciones de Postgrado– UCM. Académico Investigador de la Vicerrectoría de Investigación y Postgrado, Universidad Andrés Bello. Ha publicado entre otros el Libro: Peter Sloterdijk; Esferas, helada cósmica y políticas de climatización, Colección Novatores, Nº 28, Editorial de la Institución Alfons el Magnànim (IAM), Valencia, España, 2008. Invitado especial a la International Conference de la Trienal de Arquitectura de Lisboa | Lisbon Architecture Triennale 2011

 

Prof. Adjunto Escuela de Psicología y de la Facultad de Arquitectura UNAB Director del Consejo Consultivo Internacional de Revista 'Konvergencias'; Miembro del Consejo Editorial Internacional de Revista Praxis – Facultad de Filosofía y Letras, UNA. Miembro del Conselho Editorial da Humanidades em Revista, Universidade do Noroeste do Estado do Rio Grande Brasil. –Secretario Ejecutivo Revista Philosophica PUCV. – Director de Revista Observaciones Filosóficas.

 

VÁSQUEZ ROCCA, Adolfo, "SLOTERDIJK: SECRETOS BIZARROS DE FREUD, DISCRETAS OBSESIONES TELECOMUNICATIVAS Y PRIMERAS FORMACIONES DE PSICOLOGÍA PROFUNDA EUROPEAS" 1 , En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - Universidad Complutense de Madrid, NÓMADAS. 31 - (I) 31 | Julio-Diciembre 2011, pp. 339-368.

 

Referencia indexación Universidad Complutense:

 

Revistas Científicas Complutenses +Madrid

usuarios.universia.net/verActividad.action?loginUsuario=a...

  

VÁSQUEZ ROCCA, Adolfo, "NIETZSCHE Y DERRIDA: DE LA VOLUNTAD DE ILUSIÓN A LA MITOLOGÍA BLANCA", En CUENTA Y RAZÓN DEL PENSAMIENTO ACTUAL Nº 145 – 2008 - Revista de la Fundación de Estudios Sociológicos de Madrid, (FUNDES) Nº 145 – 2008, pp. 45 a 64 - ISSN : 0211-1381

www.cuentayrazon.org/revista/pdf/145/Num145_006.pdf

  

- VÁSQUEZ ROCCA, Adolfo, "SLOTERDIJK 'NORMAS PARA EL PARQUE HUMANO'; DE LA CARTA SOBRE EL HUMANISMO A LAS ANTROPOTECNIAS Y EL DISCURSO DEL POS-THUMANISMO", En

Revista Observaciones Filosóficas - Nº 5 / 2007 | ISSN 0718-3712

www.observacionesfilosoficas.net/petersloterdijkdelasnorm...

  

- VÁSQUEZ ROCCA, Adolfo, PETER SLOTERDIJK; DEL PESIMISMO METODOLÓGICO AL CINISMO DIFUSO DE NUESTRAS SOCIEDADES EXHAUSTAS, En Konvergencias: Revista de Filosofía y Culturas en Diálogo, ISSN 1669-9092, Nº. 15, 2007 , págs. 84-92

 

VÁSQUEZ ROCCA, Adolfo, “PETER SLOTERDIJK: EXTRAÑAMIENTO DEL MUNDO; ABSTINENCIA, DROGAS Y RITUAL”, Konvergencias, Filosofía y Culturas en Diálogo - ISSN 1669-9092, Número 11 Año III Enero 2006.

 

“¡Ay! quién nos contara la historia completa de los narcóticos! Ella es punto menos que la historia de la 'formación', de lo que suele llamarse civilización”.

F. NIETZSCHE , Die fröhliche Wissenschaft, 86

 

VÁSQUEZ ROCCA, Adolfo, "PETER SLOTERDIJK: 'EXTRAÑAMIENTO DEL MUNDO'. ABSTINENCIA, DROGAS Y RITUAL" En Gazeta de Antropología, Nº 22, 2006

Texto 22-12. | UNIVERSIDAD DE GRANADA, ESPAÑA, UE. ISSN 0214-7564

y CUADERNO DE MATERIALES, Nº22 Enero 2006, UNIVERSIDAD COMPLUTENSE DE MADRID. ISSN: 1138-7734

 

VÁSQUEZ ROCCA, Adolfo, "PETER SLOTERDIJK; EXTRAÑAMIENTO DEL MUNDO; ABSTINENCIA, DROGAS Y RITUAL", Revista ZONA MOEBIUS, Año 4 / enero, 2006.

  

- VÁSQUEZ ROCCA, Adolfo, “PETER SLOTERDIJK; LA MÚSICA DE LAS ESFERAS Y LA ERA ANTROPOTÉCNICA”. Konvergencias, Filosofía y Culturas en Diálogo. ISSN 1669-9092

Número 12 Año III Mayo 2006, www.konvergencias.net/musicaps01.htm

  

Peter Sloterdijk ¿dónde estamos, cuando escuchamos música? Número 12 Año III Mayo 2006

Konvergencias, Filosofía y Culturas en Diálogo. www.konvergencias.net/musicaps.htm

  

Periodista y escritor. Profesor de Sociología en la Staatliche Hochschule für Gestaltung de Karlsruhe.

Director periodístico de ZDF, alemania. www.peter-voss.eu/

Sloterdijk y Canetti; el detonante iconográfico y operístico de la política de masas ; Konvergencias: Revista de Filosofía y Culturas en Diálogo, ISSN 1669-9092, Nº. 13, 2006, www.konvergencias.net/vasquezrocca115.htm

 

VÁSQUEZ ROCCA, Adolfo, "SLOTERDIJK: SECRETOS BIZARROS DE FREUD, DISCRETAS OBSESIONES TELECOMUNICATIVAS Y PRIMERAS FORMACIONES DE PSICOLOGÍA PROFUNDA EUROPEAS" 2 , En NÓMADAS, Revista Crítica de Ciencias Sociales y Jurídicas - Universidad Complutense de Madrid, NÓMADAS. 31 - (I) 31 | Julio-Diciembre 2011, pp. 339-368.

 

Referencia indexación Universidad Complutense:

 

Revistas Científicas Complutenses +Madrid

usuarios.universia.net/verActividad.action?loginUsuario=a...

  

VÁSQUEZ ROCCA, Adolfo, "NIETZSCHE Y DERRIDA: DE LA VOLUNTAD DE ILUSIÓN A LA MITOLOGÍA BLANCA", En CUENTA Y RAZÓN DEL PENSAMIENTO ACTUAL Nº 145 – 2008 - Revista de la Fundación de Estudios Sociológicos de Madrid, (FUNDES) Nº 145 – 2008, pp. 45 a 64 - ISSN : 0211-1381

www.cuentayrazon.org/revista/pdf/145/Num145_006.pdf

  

VÁSQUEZ ROCCA, Adolfo, "EDWARD HOPPER Y EL OCASO DEL SUEÑO AMERICANO", En HOMINES –Arte y Cultura– MA-739-2004, 2009, Málaga, 2005.

www.homines.com/arte_xx/hopper_ocaso_americano/index.htm

 

Peter Sloterdijk; temblores de aire, atmoterrorismo y crepúsculo de la inmunidad

Konvergencias: Revista de Filosofía y Culturas en Diálogo, ISSN-e 1669-9092, Nº. 16, 2007 , 196-216

dialnet.unirioja.es/servlet/articulo?codigo=2377373&o...

  

______________

Peter Sloterdijk; espumas, mundo poliesférico y ciencia ampliada de invernaderos

Autores: Adolfo Vásquez Rocca

Localización: Konvergencias: Revista de Filosofía y Culturas en Diálogo, ISSN-e 1669-9092, Nº. 16, 2007 , págs. 217-228

dialnet.unirioja.es/servlet/articulo?codigo=2377372&o...

KONVERGENCIAS Filosofía y Culturas en Diálogo

ISSN 1669-9092

Año V, No 16 Tercer Cuatrimestre 2007

____________

 

- Vásquez Rocca, Adolfo, Peter Sloterdijk; del pesimismo metodológico al cinismo difuso de nuestras sociedades exhaustas, En Konvergencias: Revista de Filosofía y Culturas en Diálogo, ISSN 1669-9092, Nº. 15, 2007 , págs. 84-92

 

PETER SLOTERDIJK; DEL PESIMISMO METODOLÓGICO AL CINISMO DIFUSO DE NUESTRAS SOCIEDADES EXHAUSTAS Dr. ADOLFO VÁSQUEZ ROCCA

dialnet.unirioja.es/servlet/articulo?codigo=2310343&o...

  

ISSN 1669-9092

  

- VÁSQUEZ ROCCA, Adolfo, “PETER SLOTERDIJK: EXTRAÑAMIENTO DEL MUNDO; ABSTINENCIA, DROGAS Y RITUAL”, Konvergencias, Filosofía y Culturas en Diálogo - ISSN 1669-9092, Número 11 Año III Enero 2006.

“¡Ay! quién nos contara la historia completa de los narcóticos! Ella es punto menos que la historia de la 'formación', de lo que suele llamarse civilización”.

F. NIETZSCHE , Die fröhliche Wissenschaft, 86 /

 

- VÁSQUEZ ROCCA, Adolfo, "PETER SLOTERDIJK: 'EXTRAÑAMIENTO DEL MUNDO'. ABSTINENCIA, DROGAS Y RITUAL" En Gazeta de Antropología, Nº 22, 2006

Texto 22-12. | UNIVERSIDAD DE GRANADA, ESPAÑA, UE. ISSN 0214-7564

y CUADERNO DE MATERIALES, Nº22 Enero 2006, UNIVERSIDAD COMPLUTENSE DE MADRID. ISSN: 1138-7734

/

 

- VÁSQUEZ ROCCA, Adolfo, "PETER SLOTERDIJK; EXTRAÑAMIENTO DEL MUNDO; ABSTINENCIA, DROGAS Y RITUAL", Revista ZONA MOEBIUS, Año 4 / enero, 2006.

  

2.-

 

"Conjeturas sobre el animal que topa consigo, se propone lo grande, a menudo no avanza un paso y, a veces, esta harto de todo”.

P. Sloterdijk

  

VÁSQUEZ ROCCA, Adolfo, “GEORG TRAKL Y JORGE TEILLIER; PARA HABLAR CON LOS MUERTOS”, En Revista Almiar, MARGEN CERO © Madrid, 2007

www.margencero.com/articulos/articulos3/trakl.htm

 

VÁSQUEZ ROCCA, Adolfo, "PETER SLOTERDIJK; EL HOMBRE COMO EXPERIMENTO SONORO Y METAFÍSICO ANIMAL DE LA AUSENCIA", PHILOSOPHICA, Instituto de Filosofía PONTIFICIA UNIVERSIDAD CATÓLICA DE VALPARAÍSO, Nº 31, Sem. I, 2007, ISSN 076 - 1913, pp. 89-105.

www.philosophica.ucv.cl/Phil%2031%20-%20art%2008.pdf

ACCES DIRECT DIN 27 Noiembrie 2015, ift.tt/1QIgR6q

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.

 

www[dot]blouseroumaine[dot]com/orderthebook_p1[dot]html

 

Under Nicolae Ceausescu Blandiana's writings were banned after a "seditious" poem she wrote about the dictator: "Motanul Arpagic" (Tom Cat Onion)...

After 1990 she was active in the "Alianta Civica" which helped bring to the fore the first democratic government in Romania (1996-2000).

Below is one of Blandiana's ""engaged" poems about the status of women under communism:

 

“An entire people,

Not yet born,

But condemned to birth,

In columns before birth

Foetus beside foetus,

An entire people,

Which does not see, does not hear, does not understand,

But moves forward.

Through writhing bodies of women,

Through the blood of mothers

Unconsulted.”

(Ana Blandiana, The Children’s Crusade, 1984)

 

www.blouseroumaine.com

 

en.wikipedia.org/wiki/Ana_Blandiana

 

www.transcript-review.org/section.cfm?id=122&lan=en

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

Ana Blandiana's biography is included in the "Blouse Roumaine' Anthology:

www.blouseroumaine.com/orderthebook_p1.html

 

The Blouse Roumaine Anthology had finally been formatted as an E-BOOK

Contents:

2,250,000 words,

over 1,000 pages,

160 critical biographies,

58 social categories/professions

600 quotations (mostly translated into English for the first time),

circa 3,000 bibliographical references (including URLs and credits)

6 Indexes (alphabetical, by profession, timeline, quotation Index, place index and name index)

 

The website is not yet fully updated to reflect the latest statistics or content but the book can be now downloaded online:

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

3.2. Gazetteer of 160 Women within 58 Categories by Call, Profession or Social Status

 

Academics (22), Actresses (9), Anti-Communist Fighters (14), Architects/Interior Designers (2), Art Critics (9), Artist Book Binders (1), Ballerinas (6), Charity Workers/Benefactors (20), Communist Public Figures (2), Courtesans (3), Designers (2), Diplomats (4), Essayists (11), Ethnographers (6), Exiles & First-generation Romanians born abroad (87), Explorers (1), Feminists (12), Folk Singers (1), Gymnasts, Dressage Riders (2), Historians (5), Honorary Romanian Women (15), Illustrators (3), Journalists (13), Lawyers (4), Librarians (3), Linguists (2), Literary Critics (1), Media (15), Medical Doctors/Nurses (5), Memoir Writers (16), Missionaries and Nuns (4), Mountainéers (2), Museographers (1), Musical Instruments Makers (1), Novelists (24), Opera Singers (16), Painters (14), Peasant Farmers (6), Philosophers and Philosophy Graduates (4), Pianists (6), Pilots (4), Playwrights (5), Poets (29), Political Prisoners (30), Politicians (5), Revolutionaries (2), Royals and Aristocrats (34), Scientists (8), Sculptors (4), Slave (1), Socialites/Hostesses (20), Spouses/Relations of Public Figures (51), Spies (2), Tapestry Weavers (4), Translators (25), Unknown Illustrious (6), Violinists (4), Workers (3)

   

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Shibu Onsen is a historic and attractive hot spring town in Yamanouchi, which has retained a traditional atmosphere. Nestled in a small valley, Shibu Onsen is spread out on a gentle slope beside the Yokoyugawa River, with Yudanaka Onsen located below and the Jigokudani Monkey Park above.

 

During its long history, the area has been visited for its hot spring water by a lot of people, including priests, samurai and poets. Some of the ryokan (Japanese style inns) that line Shibu's narrow streets, date back over 400 years, adding greatly to Shibu's atmosphere. Guests of the ryokan are encouraged to take a stroll around town in the traditional onsen clothing of yukata robes and geta sandals.

 

One incentive to walk around the town is to make use of the public bath houses, of which there are nine. The public baths are locked and, except for one, only accessible to locals and overnight guests, who are provided with a master key by their ryokan. The bath houses are small buildings, divided into a women's side and a men's side, and the baths themselves are quite simple. The bath houses are numbered, but also have special names and cure different ailments. Source: www.japan-guide.com

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

Yamanouchi is a municipality in northern Nagano Prefecture with a variety of tourist attractions. The area's Jigokudani Monkey Park draws many visitors because of its unique wild monkeys, who bathe in the park's natural hot springs. The monkeys are not the only ones enjoying the water, as the nearby towns of Shibu Onsen and Yudanaka Onsen are centered around the bathing experience.

 

The largest ski resort in Japan, Shiga Kogen, is also located within Yamanouchi. One single ticket gives skiers and snowboarders access to dozens of runs, some of which hosted events during the 1998 Nagano Winter Olympics. Shiga Kogen and other parts of Yamanouchi are part of the Joshinetsu Kogen National Park, which offers hiking and other outdoor activities when there is no snow on the hills. Source: www.japan-guide.com

Abashiri Prison was constructed in the 1890s to hold more than one thousand dangerous criminals. The prison gained national fame through a popular yakuza movie series by director Ishii Teruo in the 1960s.

 

Following a major modernization of the Abashiri Prison in 1984, the prison's old buildings were moved into the Abashiri Prison Museum (Hakubutsukan Abashiri Kangoku), which opened its doors to the public in 1985 as an open air museum. Note that the modernized Abashiri Prison is still in operation at the foot of Mount Tento.

 

The Abashiri Prison Museum illustrates the daily life of prisoners and exhibits more than a dozen buildings and structures of the old prison, including the main prison building with its five radially constructed wings, a law court, bath house and a punishment chamber. Source: www.japan-guide.com

片名：King Kong

译名：金刚

导演：彼得·杰克逊Peter Jackson

主演：娜奥米·沃茨Naomi Watts

 

杰克·布莱克Jack Black

 

亚德里安·布罗蒂Adrien Brody

 

杰米·贝尔Jamie Bell

类型：动作/冒险/剧情/奇幻/科幻/惊悚

片长：--

发行：环球

上映日期：2005年12月14日(美国)

官方网站：http://www.kingkongmovie.com/

   

剧情简介　　第一次世界大战的欧洲战场。“关键时刻”参战的美国空军在法国的上空正忙着与德国人周旋。在这场空战中让观众认识了才华横溢的美国飞行员杰克。时间瞬息转到十五年后，早已在空军退役的杰克已经来到了位于东南亚的苏门达腊到打工。

 

一支来自英国的考古队在队长罗德的带领下已经来到这片神奇的热带丛林很久了，队中还包括队长的千金，美丽的安。南太平洋阴郁、神秘的岛屿地貌和茂密森林同样吸引着这位性感的金发女郎。

 

来自美国本土电影之都好莱坞的导演卡尔·丹姆带着他的摄制组也不远万里、漂洋过海地来到这里寻找着他新片的灵感和最佳拍摄地。

 

然而，就是这三方看起来毫不相干的人们逐渐地被这荒蛮之地吸引到了一起。当这些人“团结”到一起组成全新的拍摄考察队伍，美丽的安成为卡尔导演最新的女一号的同时，在一座全新的岛屿上，这个似乎预谋已久的传奇故事便慢慢拉开了无法再次还原的序幕。数十米高的巨型黑猩猩、凶残的史前恐龙、无人踏及的原始森林、虔诚愚昧的土著人……都令这队来自文明世界的现代人始料不及。但利欲熏心的导演发现并导演了一场惊世骇俗的“人猩恋”。将美女安以土著人独特的“艺术形式”许配给了那个叫“刚”的大黑猩猩。然而，这一荒诞的行为却早就了一场惊心动魄的“人猩大战”……

幕后花絮　　1933年版的《金刚》在影迷们当中有着很高的人气。因为它不仅仅是代表一部单纯的电影作品，它甚至带动了电影艺术的一个潮流。自七十二年前那只威猛的大黑猩猩首次登上帝国大厦，就已经在数不胜数的影视剧中亮相，就连近日横扫北美票房的迪斯尼动画片《四眼天鸡》中也可以看到那再熟悉不过的经典桥段。

还记得1976年，约翰?吉尔勒明耗费相当于当今6500万美元巨资翻拍的《金刚》，除了将金刚大战战机的场景从帝国大厦搬到在“9?11”中被覆灭的“世贸双子”外，其它故事发展和场景设置几乎与原版相同，但是，这部使用了当时最为先进的电影特技的《金刚》被观众斥为“简单的幻想片”，与原版的《金刚》完全没可比之处，这或许是观众对原版《金刚》爱护有加的表现之一吧。想当初梅里安?库珀仅消耗了68万美元拍出那部传世的黑白经典《金刚》，银幕上的大猩猩实际仅有十几米高，而用来拍摄握住安的近镜却由一只8米长的“巨臂”完成，那强壮的躯体也只由塑料加上兔毛粘制而成，可想而知这只大怪物有多“简陋”。然而，在观众心目中，这只金刚好得无可比拟。实在佩服大半个世纪前威利斯?布里恩为该片做出的有史以来第一个振奋人心的视觉特效。可惜当初奥斯卡还没有最佳视觉特效奖，凭1933版《金刚》天马行空的想法和特效，丝毫不比当今的好莱坞CG电影差多少……

影片简评　　早在七十二年前的1933年，一只巨大的猩猩就已经一只手握着一位性感女郎，令一只手攀在纽约帝国大厦的尖顶上，像世人宣誓着自己对爱情的忠贞不渝和永往无前了。而野蛮的人们却用他们高傲的姿态、嘲笑的声音和他们引以为傲的战机，欲征服这只来自原始部落的强悍动物……

《金刚》影片的诞生可以说是电影史上的必然，亦是偶然。先说必然，在电影这类特殊的艺术表现形式发展到那个年代的时候，已经有越来越纷繁的表现形式和另类题材被聪明的电影人引入大银幕。曾风靡一时的巨大怪物哥斯拉，《捉鬼队》中巨大的棉花糖人等已经越来越受到影迷们的关注和喜爱。因此像金刚这样来自我们人类平行世界中的近亲便不期而至地走上了大银幕。另外，电影制作技术的不断创新也使得此类电影特技日臻成熟地运用在了实际的电影作品当中，从而能越来越带动人们对此类电影的兴趣

     

 

曲目及下载：

· King Kong

· A Fateful Meeting

· Defeat Is Always Momentary

· It's In The Subtext

· Two Grand

· The Venture Departs

· Last Blank Space On The Map

· It's Deserted

· Something Monstrous... Neither Beast Nor Man

· Head Towards The Animals

· Beautiful

· Tooth And Claw

· That's All There Is...

· Captured

· Central Park

· The Empire State Building

· Beauty Killed The Beast I

· Beauty Killed The Beast II

· Beauty Killed The Beast III

· Beauty Killed The Beast IV

· Beauty Killed The Beast V

  

so where are we with what is important.. for *tomorrow* in nsa cia whore and MURDERER jami rose's day in time?

 

:) www.timeanddate.com/date/durationresult.html?m1=4&d1=...

 

From and including: Friday, April 4, 1980

To, but not including Thursday, January 23, 2014

Result: 12,347 days

 

It is 12,347 days from the start date to the end date, but not including the end date

 

Or 33 years, 9 months, 19 days excluding the end date

Alternative time units

12,347 days can be converted to one of these units:

 

1,066,780,800 seconds

17,779,680 minutes

296,328 hours

12,347 days

1763 weeks (rounded down)

 

and :)

 

scores.espn.go.com/ncb/conversation?gameId=400509996

 

Illinois

 

(13-6, 2-4 Big Ten)

 

(17) Ohio State

 

(15-4, 2-4 Big Ten)

 

and, :)

 

her 'forward' yearly placement :);

 

www.timeanddate.com/date/durationresult.html?m1=4&d1=...

 

From and including: Friday, April 4, 1980

To, but not including Sunday, January 25, 2015

Result: 12,714 days

 

It is 12,714 days from the start date to the end date, but not including the end date

 

Or 34 years, 9 months, 21 days excluding the end date

Alternative time units

12,714 days can be converted to one of these units:

 

1,098,489,600 seconds

18,308,160 minutes

305,136 hours

12,714 days

1816 weeks (rounded down)

 

and :)

 

scores.espn.go.com/ncb/conversation?gameId=400506386

 

LSU

 

(12-5, 3-2 SEC)

 

Alabama

 

(8-9, 2-2 SEC)

 

not hard to read between the lines, huh?

 

and how about :)?

 

what i *love* about this,

 

is evverybody knows..

 

who she is now.

 

and she cowars and hides..

 

how about that? :))))))))))

 

how much *longer* before daughter jaytlyn finds out in school that mommy was a prostitute that worked for intelligence?

 

how much *longer* before daughter jaytlyn finds out mommy sold drugs out of her place in colorado..

 

how much longer?

 

can't hide from that,

 

can you,

 

nsa cia whore and MURDERER jami rose.. :))))))

 

~peace

 

thomas :))))))))

  

CIA and NSA Whore and MURDERER Jami Rose KILLED Alisa Ferraro and Paul Gagnon 4 months before their wedding 6

 

you created the channel at 1831 Salcedo / Guyaso Zip 70119, and placed Alisa inside of you and never even asked me if you could what do you think is going to happen to you CIA and NSA Whore and MURDERER Jami Rose

 

8635445544 CIA and NSA Whore and MURDERER Jami Rose KILLED Alisa Ferraro and Paul Gagnon on 07021995 isn't that right?

 

You murdered Alisa Ferraro and Paul Gagnon in time by me channeling your ill will and associations unknowingly didn't you CIA and NSA Whore and MURDERER Jami Rose your time will come i promise on my last dying breath your You created the channel and placed Alisa inside of you..

 

You murdered Alisa Ferraro and Paul Gagnon in time by me channeling your ill will and associations unknowingly didn't you CIA and NSA Whore and MURDERER Jami Rose your time will come i promise on my last dying breath your going to face judgement,

 

whether you like it or not :)

 

You created the channel and placed Alisa inside of you and never even asked me if you could what do you think is going to happen to you CIA and NSA Whore and MURDERER Jami Rose?

 

343 in time, huh? CIA and NSA Whore and MURDERER Jami Rose?

 

Jami 15/33 Alisa 242,

 

Still creating that "natural order" and ordinance of time of yours on a daily monthly weekly yearly basis and killing people in time, CIA and NSA Whore and MURDERER Jami Rose? :)

 

how much longer do you think before it ends up, on *your* end :)

 

you set up the channel without even asking me jami, and then you did what you wanted to, in 2005 and 2006. you chose murder jami, you chose

 

who supported you jami.. and why did you accept $$,$$$ to contain 176 and power contain 176 :) at 1831 salecdo/guyaso, and let those people die.. without even asking

me, if you could could create that channel, if you contain me. you chose jami. you chose murder. who supported you?

 

your CIA and NSA Whore Jami Rose MURDERED all of those people, DESTROYED all of those lives, what should her punishment be?

 

CIA Whore and MURDERER, Jami Rose. her photo, right here :)

 

www.flickr.com/photos/89268704@N08/8123854555/in/photostream

 

JamiRoseCIAandNSAWhore

 

jami rose cia and NSA whore all those people that she killed all that damage that she caused

 

JamiRoseCIAandNSAWhore

 

jami rose cia and nsa whore all those people that she killed all that damage that she caused

 

1)hurricane katrina

2)bp oil spill

3)japan tsunami

 

and many others in time.

 

raped. robed. murdered. dismembered.

 

never punished for her crimes

 

born on april 4 1980.

 

here you go :)

 

by entering in her information from date of birth here:

 

www.timeanddate.com/date/duration.html

 

you can monitor her information that is used by the world markets on a daily basis, not only that, but control for what is in numerical belief, thru out the us and the rest of the world.

 

She creates a natural order in time with her existance and by her date of birth, on a daily basis, weekly basis, yearly basis and in forward motion time placement. :)

 

Its also an Ordinance in time,

 

(but she's KILLING people in time. THOUSANDS of people,

and *thats* accepted. :) not anymore, huh, CIA and NSA Whore and MURDERER Jami Rose. :) not anymore :)

 

also,

 

www.timeanddate.com/date/durationresult.html?m1=01&d1...

 

(The stasis of origin should show in the above link, like what is just listed below. why not tell people? :)

 

From and including: Saturday, January 1, 0001 (Julian calendar)

To, but not including : Friday, April 4, 1980 (Gregorian calendar)

 

It is 722,910 days from the start date to the end date, but not including the end date

 

Or 1979 years, 3 months, 3 days excluding the end date

 

Note:The From date is a Julian calendar date. The current Gregorian calendar was adopted in United States where Thursday, September 3, 1752 was the first of 11 days that were skipped. This has been accounted for in this calculation. Read more about the Julian and Gregorian calendars

 

Alternative time units

722,910 days can be converted to one of these units:

62,459,424,000 seconds

1,040,990,400 minutes

17,349,840 hours

103,272 weeks (rounded down)

 

if you need a little help to her "stasis of orgin" here you go. if you're not smart enough to know what a birthday does in time, its an active measure for which you create throught your life span. there, i said it. don't like that intelligent secret? millions people living, and not knowing that. how could anyone not know? :)

 

and all those people she killed. never punished

 

thomas warn varnas will make sure that happens, won't he?

 

you attempted two murders on his life at 143 Rue Esplanade and Villa Du Lac,

 

by channeling his dreams with tenants and parking cars outside of his residence, capturing him..

 

how does it feel now Jami, to know the same is happening

 

to you :)

 

:)

 

there you go :)

 

btw, did i channel her ill will and associations unknowingly, and did it kill alisa ferraro and paul gagnon in time, to?

 

to me, that warrants enough to blow her head off.

 

sorry. but thats the way i feel, at the moment

 

~peace

 

thomas :) (not smiling) (but its about to get better :)

 

NOTE: ADDITION: DON'T FORGET TO CHECK OUT HER '45' FROM HER DOB, ON A DAILY BASIS, NEXT DAY BASIS, AND *YEARLY* BASIS.. THE FORMATION SHE HAS DOES MANY THINGS, *INCLUDING* 575.. just fyi.. :)

 

(and don't forget to check out one of CIA and NSA Whore and MURDERER Jami Rose's Habitat's.. 225 Area Code Baton Rouge.. you'll find her there :)

 

(Don't forget that she is being 'channeled' (still, after all those people she killed and all of that destruction) into sales and control for 'wins' :)

 

LSU and The New Orleans Saints..)

 

(504 319 0813 nsa cia whore and murderer jami rose's phone from 1831 Salcedo / Guyaso, Zip 70119

 

you can find out *everything* you need to know from Baton Rouge on nsa cia whore and murderer jami rose.

 

i did. :)

 

(oh yea, am i supposed to be mentioning anything on NSA itself on NSA CIA WHORE AND MURDERER JAMI ROSE'S *NEXT* BIRTH YEAR, THAT IS HAPPENING YEAR TO DAY.. 34.. initial 38/74 NSA 16/34.. alot of things are "happening" with that currently in time now, no? :) good info. pats self on back, check her out and what's going on in the markets.. :)

 

~peace

 

thomas :)

 

(*that's good* oh i know it is mrs alisa who is with mr paul in heaven, *i know it is* ty friend :)!

Artistic Floor Lamps by Kinzig Design - fun and timeless... All daily inspiration

current.newsweek.com/budgettravel/2009/07/rome_street_art...

 

Creative expression in Rome isn't limited to museums and churches. It's out in the open, if you know what to look for and where. We sent photoblogger Jessica Stewart out to capture street art's various incarnations—stencils, graffiti, chalk drawings, even break-dancing. Check out the results in our slide show.

 

Stewart moved to Rome four years ago, after completing degrees in art history and Renaissance studies, and began posting at RomePhotoBlog. Her photographs are on display through July 31 at Al Vino Al Vino (via dei Serpenti 19) and will be included in a show at Hobo Art Club (via Ascoli Piceno 3), September 11-25.

 

I chatted with Stewart over pizza at Il Maratoneta in Rome's San Lorenzo neighborhood this spring and, more recently, traded emails to get her impressions of the evolving street art scene.

 

What sparked your interest in street art, and when did you start photographing it?

I'd always noticed stencils and posters around in the city, but my real interest started in February when shooting a series on San Lorenzo for my blog. It's an area where a lot of street artists work and afterward I noticed it became a strong theme for that shoot. From then I've been doing more and have gotten a chance to get to know many of the artists, which makes it all the more interesting.

 

Where can tourists go to spot street art while in Rome, and what should they be looking for?

All the artists I know are quite respectful of the city, so you won't be finding anything pasted up on the Colosseum—you need to go a bit off the beaten path. The neighborhoods of Trastevere, Pigneto, and San Lorenzo are all good bets for finding street art. Ostiense has some nice stuff as well, especially near the Garbatella metro station where there are many interesting painted murals, and the Jewish Ghetto has work by Sten and Lex, as well as stencils by the French artists C215.

 

For tiny touches, check out the backs of street signs and bus stops, where many artists will place small stickers. Just keep your eyes peeled, as once you start looking you'll find examples everywhere. Now my friends (many of whom have lived here for years or are Romans) are seeing street art everywhere for the first time. It's been under their nose the whole time, but they hadn't noticed until someone pointed it out.

 

How does street art in Rome compare with that of hubs like London, Berlin, or L.A.? What makes it uniquely Roman?

 

I think that Rome street art is still very unknown, even in the city itself, and hasn't gotten nearly as commercial as in a lot of cities. A very small number of artists are making a name for themselves internationally already, but most are still emerging, which is really exciting. And I think the city is just starting to come around, with more events being organized and the founding of the gallery MondoPop, which features a lot of street artists, right near the Spanish Steps has brought even more legitimacy to the scene. As far as what makes it very Roman, I think you'll see a lot of pieces influenced by classic art, religion, and politics.

 

Rome has centuries worth of masterpieces. How do you think that legacy rubs off on street artists?

The influence is more obvious with some than others. The artist Lucamaleonte studied restoration here in Rome, and his pieces always remind me of the engravings or etchings of Albrecht Durer or Rembrandt. Mr. Klevra and Omino71's Byzantine-style Madonna and Child icons are other example of pieces that are influenced by the surroundings. But at the same time, I don't want to say that this is what every artist is looking at. Many, I think, subtly pay homage to Roman history, such as the Hogre stencil that with a date written on a beer bottle gives a nod to Allied bombings here in Rome in the 1940s. More often than not, however, I think people are creating their own styles. Artists have always commented on politics, religion, etc., so I think that isn't anything new. What I do think is that all the artists respect the city and are striving to express themselves outside of the established norms.

 

How long has the Rome scene been around, is it changing, and what sort of community is there?

As I understand it, around 2002, a small group began working more on stencils and posters. From there, the movement has grown, and I'm always struck by the diversity and talent I see here. There's a strong community of artists that has grown up around certain events and locations. The centro sociale Strike near Stazione Tiburtina is one haven, and certainly MondoPop's exhibits have brought people together, as well as the Stick My World exhibitions (begun by artist Omino71) that have given Roman artists more chances to work together. Some, like Sten, Lex, and Lucamaleonte work in a collective studio, while others often will go out together and paste up posters or work together on pieces.

 

Do you have a favorite artist?

I don't really have one absolute favorite, so if you don't mind, I'll give you a list of some favorites (in no particular order!). UNO, Hogre, 999, #, Lucamaleonte, Sten and Lex, Mr. Klevra, Omino71, Alice', Sone, Urka, and [X]. All completely different, but all very interesting and talented in their own ways. Most don't have websites, but almost everyone has an account on Flickr, which you should be able to find easily.

 

www.budgettravel.com/bt-srv/gallery/0907_RomeStreetArt/in...

www.politico.com/news/stories/0611/56941.html

 

A 'kitchen sink solution' on jobs

By: Chris Frates

June 15, 2011

The center-left Washington think tank Third Way is holding a forum Wednesday to discuss the merits of allowing companies to bring the $1 trillion in profits parked overseas back to the United States at a temporarily reduced tax rate.

The morning forum at Union Station will include Sen. Kay Hagan (D-N.C.); Democratic Reps. Loretta Sanchez of California and Jared Polis of Colorado; former Service Employees International Union President Andy Stern; Duke Energy chief executive Jim Rogers; and George Schink, managing director of Navigant Economics.

Third Way’s vice president of communications, Sean Gibbons, said the forum is designed to determine whether the idea — which is anathema to many liberals — is a viable option for jump-starting U.S. job growth.

“We have unemployment near 9 percent. We’ve basically pulled every single lever we can as a government. … We’ve done almost everything we can to get the economy going. It’s time to throw in the kitchen sink. This is a kitchen sink solution,” Gibbons said. One trillion dollars “is a lot of coin. It’s sitting overseas. If we could bring over a significant portion of that back into the economy, we believe that would stimulate demand, and demand stimulates jobs.”

It’s not a perfect solution, Gibbons said, but one the Republican-controlled House might be willing to entertain.

He acknowledged that analysts don’t yet know how many jobs such a policy might create. But, he said, bringing money back to the U.S. creates demand, which in turn drives hiring.

The forum is the first public event of the think tank’s new corporate tax reform project directed by former Rep. Dan Maffei (D-N.Y.), who’s now a Third Way senior fellow.

  

www.thirdway.org/events/50

 

Right now there is over a trillion dollars in global profits earned by American businesses sitting overseas. What if we lowered the bar for companies to bring that money back home?

 

Third Way hosted an Idea Forum that examined the economic and policy implications of a repatriation tax holiday that would allow American multinational companies to bring overseas profits back to the U.S. for investment at a reduced tax rate.

 

Featuring a distinguished panel of leaders from business, labor, economics and government, the forum offered a fruitful discussion of a repatriation holiday’s impact on hiring and investment, business practices, and future tax policy. Participants include Senator Kay Hagan, (D-NC), Congresswoman Loretta Sanchez (CA-47), Congressman Jared Polis (CO-2), Andy Stern, former President of the Service Employees International Union, Jim Rogers, CEO of Duke Energy and Dr. George Schink, Managing Director and Principal of Navigant Economics.

 

This Idea Forum is the first public event of Third Way’s new corporate tax reform project, managed by former Congressman (and now Third Way Senior Fellow) Dan Maffei, which will advance ideas to make the code fairer, simpler, and more pro-growth.

ADOLFO VASQUEZ ROCCA _Doctor en Filosofía _ Director de 'Revista Observaciones Filosóficas'

 

ADOLFO VASQUEZ ROCCA __PH. D.

   

Doctor en Filosofía

 

Universidad Complutense de Madrid UCM

   

www.danoex.net/adolfovasquezrocca.html

   

Adolfo Vásquez Rocca

 

Doctor en Filosofía

     

REVISTA OBSERVACIONES FILOSÓFICAS

     

Prof. Dr. Adolfo Vásquez Rocca

 

Director de Revista Observaciones Filosóficas.

       

VÁSQUEZ ROCCA, Adolfo

   

Doctor en Filosofía

     

Valparaiso - Madrid

     

Pontificia Universidad Católica de Valparaíso

 

Universidad Andrés Bello UNAB

 

Universidad Complutense de Madrid

 

Tlf. (56) 32 - 233347X | E-mail: adolfovrocca@gmail.com

       

Trayectoría Académica

   

Doctor en Filosofía por la Pontificia Universidad Católica de Valparaíso; Postgrado Universidad Complutense de Madrid, Departamento de Filosofía IV. Profesor de Postgrado del Instituto de Filosofía de la Pontificia Universidad Católica de Valparaíso; Profesor de Antropología y Estética en el Departamento de Artes y Humanidades de la Universidad Andrés Bello UNAB. Profesor de la Escuela de Periodismo y Arquitectura UNAB Santiago. – En octubre de 2006 y 2007 es invitado por la 'Fundación Hombre y Mundo' y la UNAM a dictar un Ciclo de Conferencias en México. – Miembro del Consejo Editorial Internacional de la 'Fundación Ética Mundial' de México. Director del Consejo Consultivo Internacional de 'Konvergencias', Revista de Filosofía y Culturas en Diálogo, Argentina. Miembro del Conselho Editorial da Humanidades em Revista, Universidade Regional do Noroeste do Estado do Rio Grande do Sul, Brasil y del Cuerpo Editorial de Sophia –Revista de Filosofía de la Pontificia Universidad Católica del Ecuador–. Asesor Consultivo de Enfocarte –Revista de Arte y Literatura– Asturias, España. Miembro del Consejo Editorial Internacional de 'Reflexiones Marginales' –Revista de la Facultad de Filosofía y Letras UNAM– Director de Revista Observaciones Filosóficas. Profesor visitante en la Maestría en Filosofía de la Benemérita Universidad Autónoma de Puebla. – Profesor visitante Florida Christian University USA y Profesor Asociado al Grupo Theoria –Proyecto europeo de Investigaciones de Postgrado– UCM. Académico Investigador de la Vicerrectoría de Investigación y Postgrado, Universidad Andrés Bello. Artista conceptual. Ha publicado el Libro: Peter Sloterdijk; Esferas, helada cósmica y políticas de climatización, Colección Novatores, Nº 28, Editorial de la Institución Alfons el Magnànim (IAM), Valencia, España, 2008. Invitado especial a la International Conference de la Trienal de Arquitectura de Lisboa | Lisbon Architecture Triennale 2011

     

PUBLICACIONES

   

Publicaciones Internacionales Catalogadas en DIALNET Directorio de Publicaciones Científicas Hispanoamericanas

   

dialnet.unirioja.es/servlet/autor?codigo=1053859

     

Publications Scientific

   

de.scientificcommons.org/adolfo_v%C3%A1squez_rocca

     

Biblioteket og Aarhus Universitet, Denmark | Det Humanistiske Fakultet

   

www.statsbiblioteket.dk/

     

Biblioteca Universidad Complutense de Madrid

     

Directorio de recursos digitales - Ministerio de Cultura, España

   

roai.mcu.es/es/consulta/busqueda_referencia.cmd?campo=ida...

     

Biblioteca Asociación Filosófica UI

   

www.uruguaypiensa.org.uy/categoria_144_1_1.html

   

LIBROS

   

VÁSQUEZ ROCCA, Adolfo

   

Libro: Peter Sloterdijk; Esferas, helada cósmica y políticas de climatización, Colección Novatores, Nº 28, Editorial de la Institución Alfons el Magnànim (IAM), Valencia, España, 2008. 221 páginas | I.S.B.N.: 978-84-7822-523-1

     

INVESTIGACIÓN:

   

Proyecto de Investigación N° DI-10-09/JM - UNAB

   

“Ontología de las distancias en Sloterdijk, hacia una teoría antropotécnica de las comunicaciones”.

   

Dirección de Investigación, Universidad Andrés Bello – Fondo Jorge Millas 2009, Facultad de Humanidades y Educación UNAB

         

TRAYECTORÍA ACADÉMICA

   

Doctor en Filosofía por la Pontificia Universidad Católica de Valparaíso; Postgrado Universidad Complutense de Madrid, Departamento de Filosofía IV, Teoría del Conocimiento y Pensamiento Contemporáneo. Áreas de Especialización Antropología y Estética.

   

Profesor de Postgrado del Instituto de Filosofía de la PUCV, Profesor asociado al Grupo Theoria Proyecto europeo de Investigaciones de Postgrado.

   

(1993) Profesor del Seminario "Lógica Contemporánea 'Wittgenstein y El Círculo de Viena' ", Instituto de Filosofía, Universidad Católica de Valparaíso

   

(1995-1998) Director de Investigación Teoría del Conocimiento -Theory of Knowledge Tok- The Mackay School, Bachillerato Internacional, International Baccalaureate.

   

(2005-2008) Profesor de Antropología, Escuela de Medicina, Universidad Andrés Bello.

   

(2005-2010) Profesor de Antropología Filosófica y Estética, Departamento de Artes y Humanidades de la Universidad Andrés Bello, UNAB

   

(2006-2007) Profesor de Estética, Escuela de Arquitectura, Universidad Andrés Bello UNAB

   

(2006) Profesor del Diplomado en Psicología Clínica "Psicopatología, subjetividad y cultura". Escuela de Psicología PUCV

   

(2006 - 2010) Profesor de Estética Escuela de Arquitectura, Universidad Andrés Bello, UNAB

   

(2006-2010) Profesor de Fundamentos Culturales de la Comunicación. Escuela de Periodismo, Universidad Andrés Bello, UNAB

   

(2006-2010) Profesor de la Escuela de Psicología, Universidad Andrés Bello, UNAB

   

(2006-2007) Profesor invitado Facultad de Filosofía y Letras de la Universidad Nacional Autónoma de México, UNAM

   

(2007) Profesor visitante de la Benemérita Universidad Autónoma de Puebla, semestre de otoño 2007, BUAP

   

(2005-2008) Profesor de Postgrado, Instituto de Filosofía, Pontificia Universidad Católica de Valparaíso, PUCV

   

(2005-2010) Profesor Asociado Grupo THEORIA Proyecto europeo de Investigaciones de Postgrado. UCM

   

(2009-2010) Profesor visitante Florida Christian University USA

   

(2010) Director Académico Carrera de Filosofía y Teología, Universidad Cristiana de Chile UCCH

   

(2009-2010) Académico Investigador de la Vicerrectoría de Investigación y Postgrado, Universidad Andrés Bello.

       

Asignaturas y Seminarios de Postgrado impartidos:

     

2005 - 2º Seminario "Rorty: ironismo liberal y giro narrativo de la Filosofía".

   

2006 1º Seminario Sloterdijk: "Crítica de la Razón Cínica"

   

2006 2º Seminario "Nietzsche; Genealogía de la moral y voluntad de ficción"

   

2007 1º Seminario Sloterdijk - Nietzsche

   

2007 2º Seminario: Sloterdijk un pensador estético

   

2008 1º Seminario "Peter Sloterdijk - W. Benjamín; De la Filosofía a la Arquitectura"

   

2008 2º Seminario "Sloterdijk y Baudrillard; Ontología de las distancias y antropotécnica de las comunicaciones"

       

PARTICIPACIÓN EN SEMINARIOS Y CONGRESOS

     

2004 Seminario Homenaje Prof. Dr. Mirko Skarica, Instituto de Filosofía, Pontificia Universidad Católica de Valparaíso. Ponencia: "Lógica paraconsistente y semántica de los mundos posibles", noviembre.

   

2004 Seminario "Raúl Ruiz y la vanguardia del Cine francés", organizado por la PUCV. UPLACED, ARCIS y Embajada de Francia. Conferencia: "Raúl Ruiz; Defensa retórica del arte de filmar y del cine como arte; plan secreto, sinfonía dramática y lógica narrativa", octubre.

   

2005 "El Dios Pensado: Estudios antropológicos acerca de lo divino" Ciclo de Conferencias en la Universidad Andrés Bello. Departamento de Artes y Humanidades - Campus República, UNAB. Conferencia: "Ludwig Wittgenstein; Mística, Filosofía y Silencio", septiembre

   

2006 Video-Conferencia UCM - UNED y A Parte Rei en ATEI Asociación de Televisión Educativa Iberoamericana, “El poder de la palabra; lenguaje y realidad”, Febrero, 2006, serbal.pntic.mec.es/~cmunoz11/video3.html

   

2006 Universidad Veracruzana en su 50' Aniversario y XI Encuentro Nacional de Pasantes de Filosofía. Conferencia Magistral: "La ficción del sujeto y las seducciones de la gramática en Nietzsche y Deleuze", octubre.

   

2006 Universidad Autónoma de Tlaxcala. Conferencia: "En el mismo barco: ensayo sobre la hiperpolítica, posmodernidad y globalización en Peter Sloterdijk", octubre.

   

2006 Universidad Autónoma de Tlaxcala. Cursillo Maestría en Filosofía: “El giro Estético de la epistemología; redescripciones de la posmodernidad”, 19 y 20 de octubre.

   

2006 1er Coloquio Hispanoamericano de Filosofía después de Auschwitz, en el Antiguo Colegio de Medicina, Ciudad de México; organizado por la UNAM, la Universidad Iberoamericana y La Asociación Filosófica de México. Ponencia: "Peter Sloterdijk; El Posthumanismo: sus fuentes teológicas y sus medios técnicos", octubre.

   

2006 Coloquio internacional: Repercusiones e interacciones políticas, filosóficas y teológicas entre oriente y occidente. UNAM, Mesa ética y Responsabilidad humana, Ponencia: "Rorty: el Giro narrativo de la Ética o la Filosofía como género literario", octubre.

   

2007 II Coloquio Franco-Hispano-Chileno de Etnopsicología y III Seminario Internacional sobre el Espacio "El Espacio y el Lenguaje". PUCV. Ponencia: "Metafórica de las Esferas; una aproximación al hombre como experimento sonoro", enero.

   

2007 Instituto de Sistemas Complejos de Valparaíso, Ciclo: "Diálogo: Ciencia, Política y Poder. ¿Es Chile una Sociedad Justa?". Conferencia: "Imaginarios, cartografía de las emociones escindidas y crisis del proyecto urbano, mayo.

   

2007 Congreso Internacional Nietzsche “Filosofía, Arte, religión, ciencia y política en Nietzsche: memorias de un caminante intempestivo”, organizado por la Universidad Veracruzana, México. Ponencia: "Nietzsche y Sloterdijk; depauperación del nihilismo, posthumanismo y complejidad extrahumana", octubre.

   

2007 Conferencia Magistral en el Colegio de Filosofía, introductoria a la Maestría en Filosofía de la Benemérita Universidad Autónoma de Puebla, “Peter Sloterdijk; Esferas, deriva biotecnológica y el cinismo difuso de nuestras sociedades Exhaustas”, octubre.

   

2007 Curso en el Colegio de Filosofía, introductoria a la Maestría en Filosofía de la Benemérita Universidad Autónoma de Puebla: “Sloterdijk; Esferas, Flujos y Redes; Antropología y Estética Posmoderna”, octubre.

   

2007 Conferencia Magistral Aula Magna, Universidad Nacional Autónoma de México UNAM, Sloterdijk; Esferas y Temblores de Aire [Estética, Ontogénesis de los Espacios Humanos y Etno-terrorismo], octubre

   

2007 Congreso Internacional de Fenomenología y Hermenéutica, Universidad Andrés Bello, sección Estética. Ponencia: “Sloterdijk: Esferas, fenomenología y ontogénesis de los espacios humanos”, octubre.

   

2000 "Reflexiones sobre Alteridad y Reconocimiento". Encuentros de la Facultad de Filosofía UCM con pensadores contemporáneos alemanes. Goethe Institut Madrid. Octubre.

   

2000 Ponencia en Seminario "El Reto del Espacio: Pensar con Heidegger sobre la obra de Eduardo Chillida", Facultad de Filosofía y Letras, Universidad Pontificia Comillas, Campus Cantoblanco, noviembre.

   

2000 Ponencia "El peso del mundo y el lento regreso del sujeto escindido en Peter Hanke", Encuentro Interdepartamental en torno a la Crisis de Fin de Siglo. Aspectos de la Identidad Europea. Facultad de Filosofía UNIVERSIDAD COMPLUTENSE DE MADRID. Diciembre.

   

2004 Seminario Homenaje Prof. Dr. Mirko Skarica, Instituto de Filosofía, Pontificia Universidad Católica de Valparaíso Ponencia:

 

Ponencia "Lógica paraconsistente y semántica de los mundos posibles" (noviembre).

   

2004 octubre Seminario "Raúl Ruiz y la vanguardia del Cine francés", organizado por la PUCV. UPLACED, ARCIS y EMBAJADA DE FRANCIA. Conferencia: "Raúl Ruiz; Defensa retórica del arte de filmar y del cine como arte; plan secreto, sinfonía dramática y lógica narrativa"

   

2005 "El Dios Pensado: Estudios antropológicos acerca de lo divino" Ciclo de Conferencias en la Universidad Andrés Bello. Departamento de Artes y Humanidades - Campus República, UNAB Conferencia: "Ludwig Wittgenstein; Mística, Filosofía y Silencio"

   

2006 I COLOQUIO FRANCO-HISPANO-CHILENO DE ETNOPSICOLOGÍA Y II SEMINARIO INTERNACIONAL SOBRE EL ESPACIO "EL ESPACIO Y EL OTRO". Enero, PUCV. Coloquio y moderación Ponencia de la Dra. Adela Cortina Orts

   

2007 CONGRESO INTERNACIONAL DE FENOMENOLOGÍA Y HERMENÉUTICA

 

Comunicación “Sloterdijk: Esferas, fenomenología y ontogénesis de los espacios humanos”,

 

Universidad Andrés Bello UNAB (17 - 19 de octubre, 2007)

   

2008 II Seminario "De la Filosofía a la Literatura"

 

Departamento de Artes y Humanidades, Universidad Andrés Bello UNAB (7 de noviembre, 2008)

 

Conferencia “Sloterdijk; Pensamiento, expedición y verdad”.

   

2008 Segundo Coloquio Interdisciplinario: “El Pensamiento de Carla Cordua y El Desarrollo de la Filosofía En Chile”.

 

Seminario Permanente Hegel – Marx. Facultad de Filosofía y Humanidades, Universidad de Chile UCH (13 de noviembre, 2008)

 

Ponencia: “En Torno a Sloterdijk y Heidegger: La recepción Filosófica”.

   

2008 Bienal de Artes Visuales de Honduras 2008: Diásporas del Futuro (BAVH)

 

Conferencia "El objetivo de la Crítica de Arte" [17 - 19 de noviembre, 2008]

   

2008 Congreso Internacional - Interdisciplinario de Filosofía, Córdoba, 2008. SAF Sociedad Argentina de Filosofía.

 

Museo - Palacio Martín Ferreyra (24 al 29 de noviembre, 2008)

 

Conferencia “Sloterdijk. Ontología de las distancias, concierto de transferencias e historia de la fascinación de proximidad”

   

2009 III Congreso Panamericano de Bioética OPS, 17 al 20 de junio, Caracas 2009.

 

Orden Hospitalaria San Juan de Dios. Conferencia inaugural:

 

“Sloterdijk, Heidegger y Agamben; Biopolítica o notas sobre el Parque Humano y la nuda vida”.

   

2009 “Seminario Internacional. Giorgio Agamben: Teología Política y Biopolítica”. Organizado por el Instituto de Humanidades de la Universidad Diego Portales. Ponencia: “Sloterdijk, Agamben y Nietzsche: Biopolítica, posthumanismo y Biopoder”. Septiembre

   

2009 Congreso “El sujeto de la Globalización” Organizado por la SAF Sociedad Asturiana de Filosofía, España. Conferencia: “Sloterdijk y el imaginario de la Globalización; mundo sincrónico y conciertos de transferencia” Octubre 2009 www.sociedadasturianadefilosofia.org/

   

- 2009 II Seminario Local de Pensamiento Ambiental y Filosofía Contemporánea, Universidad Nacional de Colombia-Sede Manizales, Universidad de Caldas. Auditorio Juan Hurtado Bloque H Piso -1, Diciembre 4 y 5 de 2009.

   

2010 Seminario de Postgrado, "Seminario Sloterdijk: Esferas y Posthumanismo; Sobre capitalismo, neuroglobalización y mundos asesores", Cátedra Inaugural de la Maestría en Estética, Universidad Nacional de Colombia, Medellín, Facultad de Ciencias Humanas y Económicas, Departamento de Estudios Filosóficos y Culturales, 10 al 12 de Agosto 2010, www.observacionesfilosoficas.net/seminariocolombia.htm

   

- 2011 International-Conference TRIENAL DE ARQUITECTURA DE LISBOA | LISBON ARCHITECTURE TRIENNALE, Conference "Psicopolítica en Sloterdijk y Virilio; El vértigo de la sobremodernidad; ciudades del pánico y turismo etnográfico”, Lisboa, Portugal, 15 and 16 January 2001 www.trienaldelisboa.com/en/international-conference

     

CONFERENCIAS INTERNACIONALES

   

Octubre 2006

   

Ciclo de Conferencias en México invitado por la Fundación Hombre y Mundo y la UNAM, 0ctubre de 2006.

   

- UV Universidad Veracruzana en su 50' Aniversario y XI Encuentro Nacional de Pasantes de Filosofía.

 

Conferencia Magistral: "La ficción del sujeto y las seducciones de la gramática en Nietzsche y Deleuze".

 

serbal.pntic.mec.es/~cmunoz11/vasquez49.pdf

     

- 1° COLOQUIO HISPANOAMERICANO DE FILOSOFÍA DESPUÉS DE AUSCHWITZ, en el Antiguo Colegio de Medicina, Ciudad de México; organizado por la UNAM, la UNIVERSIDAD IBEROAMERICANA Y LA ASOCIACIÓN FILOSÓFICA DE MÉXICO.

 

Ponencia: "Peter Sloterdijk; El Posthumanismo: sus fuentes teológicas y sus medios técnicos".

   

- UNIVERSIDAD AUTÓNOMA DE TLAXCALA

 

Conferencia: "El giro Estético de la Epistemología; el estatuto óntico-semiótico de la ficción".

   

- COLOQUIO INTERNACIONAL: REPERCUSIONES E INTERACCIONES POLÍTICAS, FILOSÓFICAS Y TEOLÓGICAS ENTRE ORIENTE Y OCCIDENTE

 

Conferencia Aula Magna, UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICO. UNAM:

 

"Rorty: el Giro narrativo de la Ética o la Filosofía como género literario"

   

- Ponencia "Espacio y Arquitectura de la Memoria; Hölderlin Trakl y Teillier", En Taller de Investigación "Arquitectura y Humanidades", Programa de Maestría y Doctorado en ARQUITECTURA - UNIVERSIDAD NACIONAL AUTÓNOMA DE MÉXICO. UNAM

     

2007 - 2010

   

- II COLOQUIO FRANCO-HISPANO-CHILENO DE ETNOPSICOLOGÍA Y III SEMINARIO INTERNACIONAL SOBRE EL ESPACIO "EL ESPACIO Y EL LENGUAJE". 9 y 12 de Enero de 2007, PUCV

 

Conferencia: "Metafórica de las Esferas; una aproximación al hombre como experimento sonoro".

   

- INSTITUTO DE SISTEMAS COMPLEJOS DE VALPARAÍSO ISCV

 

Conferencia: "Imaginarios, cartografía de las emociones escindidas y crisis del proyecto urbano" En el marco del Ciclo: "Diálogo: Ciencia, Política y Poder – ¿Es Chile una Sociedad Justa?"

 

www.psikeba.com.ar/actualizaciones/archivo_06_07/Institut...

   

- EXPOSICIÓN "Esferas, flujos y complejidad extrahumana" Galería SONAR -Arte y Estudios Culturales- Buenos Aires.

 

comunicacion.unab.cl/index.php?option=com_content&tas...

 

[octubre - noviembre de 2007]

   

Exposición de Pintura: "La condición posthumana", En Espacio Expositivo Itaca -Homines- Málaga.

 

www.homines.com/itaca/vazquez_condicion_posthumana/index.htm

   

Exposición "La condition Posthumaine” En Psychanalyse Gallery Paris.

     

- Ciclo de Conferencias en México

   

- Conferencias y Congresos en México, invitado por la UNAM y la Fundación Cultural Hombre y Mundo

   

- CONGRESO INTERNACIONAL NIETZSCHE “Filosofía, Arte, religión, ciencia y política en Nietzsche: memorias de un caminante intempestivo”,

 

Universidad Veracruzana UV, México

 

Ponencia: "Nietzsche y Sloterdijk; depauperación del nihilismo, post humanismo y complejidad extrahumana".

 

[1 al 5 de octubre 2007]

   

- CONFERENCIA Y CURSILLO EN LA MAESTRÍA DE FILOSOFÍA

 

Benemérita Universidad Autónoma de Puebla BUAP [octubre 2007]

   

- CONFERENCIA MAGISTRAL AULA MAGNA de la Facultad de Filosofía y Letras de la Universidad Nacional Autónoma de México UNAM:

 

“Sloterdijk; Esferas y Temblores de Aire [Estética, Ontogénesis de los Espacios Humanos y Atmo-terrorismo]”

 

[9 de octubre 2007]

 

Agencia Universitaria de Noticias UNAM

 

aunam.politicas.unam.mx/Archivo/07/octubre/071010-pol.htm

   

- CONGRESO INTERNACIONAL DE FENOMENOLOGÍA Y HERMENÉUTICA

 

Sección ESTÉTICA

 

Comunicación “Sloterdijk: Esferas, fenomenología y ontogénesis de los espacios humanos”,

 

Universidad Andrés Bello UNAB [17 - 19 de octubre, 2007]

   

- SEMINARIO 'La Poética del Cine en Raúl Ruiz”, FESTIVAL DE CINE DE SEVILLA 2007, en colaboración con la Universidad Hispalense, Ponencia: "La Poética del Cine; sobre las permutaciones antropológicas en el cine de Raúl Ruiz”, 2 de noviembre 2007.

   

- 2009 III Congreso Panamericano de Bioética OPS, 17 al 20 de junio, Caracas 2009.

 

Conferencia inaugural: “Sloterdijk, Heidegger y Agamben; Biopolítica o notas sobre el Parque Humano y la nuda vida”.

   

- 2009 “Seminario acerca de la verdad” Tercera Versión Departamento de Artes y Humanidades, Universidad Andrés Bello.

 

Campus Viña del Mar - 22 de junio

 

Ponencia: “Sloterdijk y Heidegger. Verdad y biopolítica después de la crisis del humanismo”.

   

- 2009 “Seminario Internacional. Giorgio Agamben: Teología Política y Biopolítica”. Organizado por el Instituto de Humanidades de la Universidad Diego Portales. Ponencia: “Sloterdijk, Agamben y Nietzsche: Biopolítica, posthumanismo y Biopoder”. Septiembre

   

- 2009 Congreso “El sujeto de la Globalización” Organizado por la SAF Sociedad Asturiana de Filosofía, Gigón - España. Conferencia: “Sloterdijk y el imaginario de la Globalización; mundo sincrónico y conciertos de transferencia” Octubre 2009 www.sociedadasturianadefilosofia.org/

 

- II Seminario Local de Pensamiento

   

- 2009 II Seminario Local de Pensamiento Ambiental y Filosofía Contemporánea, Universidad Nacional de Colombia-Sede Manizales, Universidad de Caldas. Auditorio Juan Hurtado Bloque H Piso -1, Diciembre 4 y 5 de 2009.

   

- 2010 Seminario de Postgrado, "Seminario Sloterdijk: Esferas y Posthumanismo; Sobre capitalismo, neuroglobalización y mundos asesores", Cátedra Inaugural de la Maestría en Estética, Universidad Nacional de Colombia, Medellín, Facultad de Ciencias Humanas y Económicas, Departamento de Estudios Filosóficos y Culturales, 10 al 12 de Agosto 2010, www.observacionesfilosoficas.net/seminariocolombia.htm

   

- 2011 International-Conference TRIENAL DE ARQUITECTURA DE LISBOA | LISBON ARCHITECTURE TRIENNALE, Conference "Psicopolítica en Sloterdijk y Virilio; El vértigo de la sobremodernidad; ciudades del pánico y turismo etnográfico”, Lisboa, Portugal, 15 and 16 January 2001 www.trienaldelisboa.com/en/international-conference

     

PROYECTOS DE INVESTIGACIÓN

   

2009 - 2010

   

- Proyecto de Investigación N° DI-10-09/JM - UNAB

   

- Proyecto de Investigación: “Ontología de las distancias en Sloterdijk, hacia una teoría antropotécnica de las comunicaciones”.

   

Dirección General de Investigación y Desarrollo, (VRID) – Vicerrectoría de Investigación y Doctorado UNAB

   

Fondo Jorge Millas 2009, Facultad de Humanidades y Educación. Universidad Andrés Bello

     

2011 - 2012

   

- Proyecto de Investigación N° DI-08-11/JM - UNAB

   

- Proyecto de Investigación: “Ontología del cuerpo en la Filosofía de Jean Luc Nancy, Biopolítica, Alteridad y Estética de la Enfermedad”.

   

Dirección General de Investigación y Desarrollo, (VRID) – Vicerrectoría de Investigación y Doctorado UNAB

   

Fondo Jorge Millas 2009, Facultad de Humanidades y Educación. Universidad Andrés Bello

     

PROYECTOS DE CREACIÓN ARTÍSTICA

   

2007 - 2008

   

Exposición la Condición Post-Humana | Buenos Aires - Málaga |

 

Marco conceptual y Registro de Obras

   

ENTREVISTAS

   

2010

   

"Filosofía como teoría erótica. Entrevista a Adolfo Vásquez Rocca". Entrevista en 'ALCANCES' Vol.I, Nº 1, año 2010 – Revista de Filosofía – de la Facultad de Filosofía y Humanidades de la Universidad de Chile. www.alcances.cl/ver-articulo.php?id=81

     

PARTICIPACIÓN EN DIRECTORIOS INTERNACIONALES Y CONCEJOS CIENTÍFICOS.

   

Director

   

Revista Observaciones Filosóficas

   

www.observacionesfilosoficas.net/

   

Revista de Filosofía Contemporánea, con secciones dedicadas a la Antropología, Estética, Epistemología, Ética, Psicología y Literatura. Indexada en Base de Datos de la Universidad Complutense de Madrid, Catalogada en UNIVERSIA.net Directorio de la Conferencia de Rectores de Universidades Españolas y el Consejo Superior de Investigaciones Científicas (CSIC); DIALNET Directorio de publicaciones científicas hispanoamericanas; LATINDEX Sistema de Publicaciones Científicas Seriadas de América Latina, España y Portugal. En BIBLIOTECA VIRTUAL MIGUEL DE CERVANTES; Les Signets de la BIBLIOTHÈQUE NATIONALE DE FRANCE: Philosophie, Revues y Centre d'Études en Rhétorique, Philosophie et Historie des Idées, Paris. Asociada al Postgrado en Filosofía - Pontificia Universidad Católica de Valparaíso y al Grupo THEORIA Proyecto europeo de Investigaciones de Postgrado. ISSN 0718-3712

   

Secretario de Redacción de Philosophica, Revista del Instituto de Filosofía de la PUCV. ISSN0716–1913

   

Editor Asociado de Psikeba, Revista de Psicoanálisis y Estudios Culturales, Buenos Aires, ISSN 1850-339X www.psikeba.com.ar

   

Miembro de la Federación Internacional de Archivos Fílmicos (FIAF) con sede en Bruselas, Bélgica.

   

Miembro del Consejo de Redacción de Revista Homines –Arte y Cultura– MA-739-2004, Málaga, España.

   

Miembro del Consejo Editorial Internacional de la Fundación Ética Mundial de México, www.eticamundial.com.mx/fundacion.html

   

Miembro del Conselho Editorial da Humanidades em Revista, Universidade Regional do Noroeste do Estado do Rio Grande do Sul, Brasil.

   

Miembro de la Sociedad Internacional de Bioética (SIBI) - 'Bioéticas'. Guía internacional de la Bioética

   

Miembro del Consejo Editorial Internacional de 'Cuadernos del Seminario' - Revista del Seminario del Espacio ISSN 0718-4247 Vicerrectoría de Investigación y Estudios Avanzados Pontificia Universidad Católica de Valparaíso.

   

Miembro del Consejo Editorial de Escáner Cultural - Revista de Arte Contemporáneo y nuevas tendencias, Santiago.

   

Miembro del Taller de Investigacion "Arquitectura y Humanidades" del Programa de Maestría y Doctorado en Arquitectura de la Universidad Nacional Autónoma de México, UNAM

   

Miembro del Consejo Consultivo Internacional y dictaminador de Revista de Humanidades:Tecnológico de Monterrey, México.

   

Director del Consejo Consultivo Internacional de Konvergencias, Revista de Filosofía y Culturas en Diálogo, Argentina. ISSN 1669-9092

     

COLUMNISTA DE REVISTAS Y PUBLICACIONES INTERNACIONALES, entre las que se cuentan:

   

A PARTE REI ISSN: 1137-8204 -Revista de la Sociedad de Estudios Filosóficos de Madrid-

   

NÓMADAS Revista Crítica de Ciencias Sociales y Jurídicas ISSN 1578-6730 - Universidad Complutense de Madrid.

   

MARGEN CERO, Miembro fundador de la Asociación de Revistas Culturales de España, ISSN 1695-4807

   

CUENTA Y RAZÓN, Revista de la Fundación de Estudios Sociológicos (FUNDES) de Madrid, Fundada por Julián Marías, ISSN: 0211-1381

   

HETEROGÉNESIS [SWEDISH-SPANISH] _ Revista de arte contemporáneo. TIDSKRIFT FÖR SAMTIDSKONST

   

MODALOGÍA Filosofía della moda - Italia

   

EIKASIA Revista de Filosofía, ISSN 1885-5679 - Oviedo, España

   

ENFOCARTE Revista Internacional de Arte y Cultura, España

   

DEBATS Revista de Filosofía y crítica cultural, ISSN 0212-0585, Institució Alfons el Magnànim, Valencia.

       

LIBROS

   

VÁSQUEZ ROCCA, Adolfo

   

Libro: Peter Sloterdijk; Esferas, helada cósmica y políticas de climatización, Colección Novatores, Nº 28, Editorial de la Institución Alfons el Magnànim (IAM), Valencia, España, 2008. 221 páginas | I.S.B.N.: 978-84-7822-523-1

   

Libro: Rorty: el Giro narrativo de la Ética o la Filosofía como género literario [Compilación de Conferencias en México D.F.] Editorial Hombre y Mundo (HyM), México, 2007 Publicación programada para 2009.

     

ENTREVISTAS

   

2010

   

"Filosofía como teoría erótica. Entrevista a Adolfo Vásquez Rocca". Entrevista en 'ALCANCES' Vol.I, Nº 1, año 2010 – Revista de Filosofía – de la Facultad de Filosofía y Humanidades de la Universidad de Chile. www.alcances.cl/ver-articulo.php?id=81

     

TESIS DIRIGIDAS

     

- Tesis: "Globalización y ontología de las distancias en Sloterdijk; hacia una teoría antropotécnica de las comunicaciones". Srta. Liliana Vásquez Rocca

 

Grado de Magíster en Filosofía. Instituto de Filosofía, Pontificia Universidad Católica de Valparaíso, 2010.

   

- Tesis: "El espacio interfacial de la convivencia; Micro-esfereología en Peter Sloterdijk". Srta. Lucía Muñiz, 2009

 

Grado de Magister en Filosofía Práctica, Colegio de Filosofía, Benemérita Universidad Autónoma de Puebla, México.

   

- Tesis: "Antecedentes y Alcances del problema del humanismo en "Normas para el Parque Humano" de Sloterdijk". Sr. Dusan Vuskovic.

 

Grado de Licenciatura en Filosofía. Instituto de Filosofía, Pontificia Universidad Católica de Valparaíso, 2008.

   

- Tesis: "El desarrollo de la intimidad en el tránsito de la Psico-técnica", Sr. Jonathan Belmar Guzmán.

 

Grado de Licenciatura en Filosofía. Instituto de Filosofía, Pontificia Universidad Católica de Valparaíso, 2007.

         

PUBLICACIONES indexadas

   

Publicaciones Internacionales Catalogadas en los siguientes Directorios y Bases de Datos:

   

Directorio de contenidos científicos, DIALNET, Universidad de la Rioja, España.

 

dialnet.unirioja.es/servlet/autor?codigo=1053859

   

Directorio de recursos digitales - Ministerio de Cultura, España

 

roai.mcu.es/es/consulta/busqueda_referencia.cmd?campo=ida...

   

Revistas Científicas de la UCM - Editorial Board

   

Biblioteket og Aarhus Universitet, Denmark | Det Humanistiske Fakultet

   

ISOC, CIENCIAS SOCIALES Y HUMANIDADES - CINDOC (Centro de Información y Documentación Científica), CSIC (España)

   

Directorio de publicaciones científicas de América Latina LATINDEX

   

PHILOSOPHER'S INDEX

   

DIALNET

   

ISI

   

SciELO

   

DOAJ

   

www.danoex.net/adolfovasquezrocca.html

   

ADOLFO VASQUEZ ROCCA __PH. D.

   

Doctor en Filosofía

 

Universidad Complutense de Madrid UCM

   

www.danoex.net/adolfovasquezrocca.html

   

Adolfo Vásquez Rocca

 

Doctor en Filosofía

     

VÁSQUEZ ROCCA, Adolfo

   

Doctor en Filosofía

   

Valparaiso - Madrid

   

ADOLFO VASQUEZ ROCCA __PH. D.

   

Doctor en Filosofía

 

Universidad Complutense de Madrid UCM

   

www.danoex.net/adolfovasquezrocca.html

   

Adolfo Vásquez Rocca

 

Doctor en Filosofía

     

REVISTA OBSERVACIONES FILOSÓFICAS

     

Prof. Dr. Adolfo Vásquez Rocca

 

Director de Revista Observaciones Filosóficas.

       

Mr. Adolfo Vásquez Rocca PH. D. Oxford University: International Baccalaureate IB. Theory of Knowledge _ Director

       

Pontificia Universidad Católica de Valparaíso

 

Universidad Andrés Bello UNAB

 

Universidad Complutense de Madrid

 

Tlf. (56) 32 - 233347X | E-mail: adolfovrocca@gmail.com

  

Universidad Complutense de Madrid

 

www.harscorail.com/equipment/surfacing/6700-pd-tamper.html

 

6700 Production/Switch Tamper

 

The 6700 Tamper is the latest model of Harsco Rail’s well-known production and switch tamper. Harsco Rail’s 6700 Tamper is a high tech, refined machine known for top quality production, switch tamping, and transit system work. Harsco’s Positive Displacement Workhead Technology is an available option for this machine. Harsco Rail tampers are designed to meet local standards of the customer.

 

Light Reference System

 

The Light Reference System consists of the light buggy, mask sensors, surfacing sensor, and a lining sensor located at the rear of the machine. An encoder wheel by the right rear wheel is also used with the auto curve liner system.

 

Surfacing System

 

The Surfacing System detects the low spots in the track and the cross level between the two rails. The upper lights on the light buggy shine through the slot in the upper masks on the mask follower. The sensors mounted on the hydraulic and fuel tanks then detect the light and determine the position of the track.

  

Lining System

 

The Lining System detects how far the track is out of alignment from being straight and also determines the proper track position in curves. One lower light on the light carriage shines through the slot in the lower mask on the mask follower. The sensor mounted on the rear rail follower then detects the light and determines the position of the track.

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www.american-rails.com/

 

Railroad Tampers

 

Railroad tampers are another type of maintenance equipment that have greatly improved the efficiency and speed in maintaining the track and right-of-way. As there name implies railroad tampers use hydraulic jacks to "tamp" the ballast, which levels the stone around the ties as well as works it underneath the ties for proper support. As with virtually all maintenance equipment before these machines were constructed all such work was done by manual track gangs that required a strong back and powerful arms. The newest tampers come equipped with a bevy of electronics to also properly align the track after tamping and what are known as production tampers have the capability of lifting the rails to insure that the ballast is beneath the ties for maximum support. Today, tampers are manufactured by several companies including Harsco Rail (which bought out Fairmont, a long-time builder of this machine), Plasser American, and Dymax Rail.

 

Before the advent of mechanized railroad tampers the work of getting ballast beneath the ties as well as aligning the track was all done by hand and a good eye. The job involved a track gang of men who would push the ballast beneath the ties one at a time and track jacks were used to properly align the rails. As you can imagine it was slow, very labor intensive work all of which has been greatly improved with the mechanized railroad tamper. Railroad tampers almost always work as some kind of mechanized gang, usually as part of a tie or rail gang (which today normally consists of an army of machines, not men).

 

Today's tie and rail gangs include such machines as spike or rail anchor pullers (which pull the spikes/anchors clear of the tie), tie cranes (which remove the railroad ties once they are free of the rails), tie extractors/inserters (different from a tie crane these machines work vertically to remove or replace the railroad tie from underneath the rail), and spike inserters (as you might have guessed these machines use hydraulics to quickly drive spikes down in the tie plate and tie itself). If very heavy work is being done other large equipment will be used such as a mechanized tie relaying machine (which is essentially a type of railroad tie inserter) and/or even a rail train if new rail is to be laid.

 

As it is, tie and rail gangs may look like machines simply heading off to work in an elephant line. However, they are actually very coordinated work details with each machine and accompanying operator assigned a very specific task to get the work done as quickly as possible. The reason for speed and hastiness in finishing a maintenance job is simply, to keep the trains and goods moving. Delays are quite costly and avoided at all costs because if the freight isn't delivered the railroad's don't get paid! Standard railroad tampers work by using sets of heavy-grade steel jacks, which are hydraulically controlled, and feature a small paddle-like design on the very end of the tool.

 

These jacks are then lowered into the ballast at a certain depth, depending on the thickness of the ties and oscillate at thousands of revolutions per minute. This back and forth motion, along with "pushing" the ballast downward, allows the stone to become very free flowing and causes it to work beneath the ties, giving the track structure maximum support. Tamping also helps to level out the ballast a bit, although final sculpting and angling of the stone is left to ballast regulators. Perhaps, though, the most efficient type of railroad tamper is the production tamper. Looking as if it is a type of auto carrier a production tamper is capable of lifting the entire track structure where it is working (the reason for the extra support beams built into the machine).

 

The purpose of this is so the machine can not only more efficiently situate the ballast beneath and around the ties but also to properly align the track as well. Using what is known as the Delta System developed in the 1950s production tampers are able to remove the bumps and dips in the rail by aligning the track to a perfectly "flat" traveling surface (excluding superelevated curved track) using triangulation. One other type of railroad tamper is the switch tamper, which is able to swivel its equipment and jacks to work the intricate spaces between railroad switches and diamonds. To learn more about railroad tampers please visit Harsco Rail's website, which provides exact specifications and information concerning their latest models. There you can also check out other types of maintenance machines the company produces such as spike inserters/pullers, undercutters, and blowers.

 

Other Maintenance-Of-Way Equipment:

 

Shoulder Cleaners

Ditch Cleaners

Defect Detection Cars

Undercutters

Ballast Regulators

Spike Inserters/Pullers

Tie Cranes

Tie Extractors/Inserters

Rail Grinders

 

Lastly, for more reading about tampers you may want to consider the book Railway Maintenance Equipment: The Men and Machines That Keep the Railroads Running from noted author Brian Solomon. Throughout the book's 128 pages Solomon covers all types of maintenance equipment from tampers and undercutters to Jordan Spreaders and rotary snow plows. I own this book myself and have used it as reference material for this site many times. It's a great read on an often little understood area of railroading.

 

Source: www.autoworldmuseum.com/about.html

 

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

 

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

 

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

 

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

 

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

 

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

[PUBLICADO EN ACADEMIA CAJANDER]

 

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Publicado en el Defensor Diario de Newark - Newark Daily Advocate

25 de Marzo de 1893

 

Predicciones para dentro de 100 años (1993)

 

(...) Cada persona con una mínima educación y mente inquieta escribe un libro. Por lo general es un libro superficial, pero crece en volumen e indica la excitación cerebral que está intentando expresarse por si misma. Hemos llegado a un estado en el que se imprimen más libros de los que el mundo pueda leer. Esto es cierto no solo para libros que no merecen ser leídos, sino también para aquellos que lo son.

 

Interpreto todo esto como el resultado de una nueva emancipación intelectual, y de la diseminación del conocimiento en lugar de una concentración de la cultura.

 

Todo el mundo quiere decir algo. Pero lentamente se va aceptando que no todo el mundo tiene algo que decir. Por ello uno puede incluso en este momento detectar las causas que producirán reacción.

 

En 100 años no se imprimirán tantos libros, pero se dirán muchas más cosas. Eso me parece inevitable.

 

Ciertamente, esta dirección de desarrollo intelectual implica que el ser humano, si continua progresando, alcanza un estado, tanto individual como social, en el que está menos preocupado por hablar que por hacer. (...)

 

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

 

Este sorprendente texto es un extracto de un artículo publicado hace hoy 116 años dos meses y 16 días en un periódico de Newark (Ohio) en el que se preguntaba a varios "brillantes periodistas" (sic) sobre como sería la sociedad un siglo después.

 

Asombrosamente estos párrafos de A.C. Wheeler (apodado Nym Crinkle) bien pudieran pertenecer a algún artículo contemporáneo sobre la denominada blogosfera, blogocosa, bitácoras...

 

Todo el artículo en general es muy interesante, como son las cosas vistas con la perspectiva que da el tiempo. Aw modo de simple muestra, rescato alguna de las perlas de los otros tres autores:

 

George Alfred Townsend

 

* Europa nos está influenciando fuertemente y ello durará muhco tiempo probablemente para nuestro bien. ¿Que podremos aprender de Carolina del Norte o Indiana que sea mejor que las relaciones sexuales Europeas

 

* No hubiera sido una mejor interpretación del Gobierno que el nuestro hubiera comprado el telefono al principio por un millón de dólares en lugar de gravar a los clientes durante dos generaciones cincuenta dólares al año?

 

* El hogar debería ser libre, el poder civil, y no el eclesiático, debería celebrar todos los casamientos.

 

Kate Field

* Todo depende de nuestras mujeres. Si se casan por amor y no por conveniencia; si cultivan el interior de su cabeza de la misma manera que ahora se interesan por la moda.; si "encajan" en los cuerpos sanos que la madre naturaleza pretendió que las madres de la raza humana poseyeran; si enseñan a sus hijos a respetarse ellos mismos y a respetar la autoridad, los americanos de 1993 recordarán a sus ancestros de 1893 poco menos que como vulgares e ignorantes paganos"

 

John Swanton

*Presumo que antes del próximo siglo acabe las funciones y poderes de nuestro gobierno aumentarán grandemente; que los ferrocarriles, telégrafos y muchas otras cosas, actualmente poseídas como explotaciones privadas serán propiedad pública; que la Ley, Medicina y Teología serán más razonables que lo son ahora; que las invenciones y descubrimientos serán mayores que los que nunca tuvimos y que el bienestar de la humanidad será mayor que lo es ahora, en esta era de confusión".

 

Visto en: Un post del magnífico blog Paleo-Future (el futuro que nunca fue) al que llevo enganchado más de dos años y donde podéis leer el artículo original escaneado.

 

Fotografía: Interior de oficina en el Parque Skansen de Estocolmo... si, si, ya se que prometí un día hablar de él...

 

BSO: One Hundred Years From Now (De ahora en Cien Años) - The Byrds (original y toma alternativa)

 

[crosseye stereograph, see 3D with your right eye on the left image, and left on right.]

 

LOS ANGELES METROPOLITAN TRANSIT AUTHORITY #1543

These were the "Blimps" of the high speed Interurban, multiple unit, electric trains of Southern California's Pacific Electric, the famous "Big Red Cars". This car made it's last run April 6.1961, from Los Angeles, 6th and Main (where now stands a bus terminal) to Long Beach, CA at Ocean and Long Beach Blvd. just a block from The Pike. There was an elevated wooden trestle that allowed it to bridge dense downtown automotive traffic, then it came down to street level just short of Alameda and curved South to Long Beach Avenue. When it got to Clement's Junction (Washington Street) the roadbed opened up to four tracks, on the outside was the South and North bound Local Service using smaller cars. The interior pair of the four track sets was reserved for strings of these heavy, high speed electric commuter trains. The private right of way was four tracks through Watts and down to Long Beach Blvd., where these cars would then ride down the center of the street to downtown Long Beach. Another line branched from the end of four track operation at Willow, and rocked on down to Electric Avenue in Seal Beach, past Signal Hill, the Lagoon and Alamitos Bay.

The curious round windows on the end earned the cars their nickname and were the portholes for the motorman operator.

The wind up knob to the left of the end door was attached by rope to the hot shoe end of the trolly pole pickup the operator could open the door and adjust the pole or reel it in and let up the one on the other end to change direction, the end doors were for train crew only and were not used to communicate passengers between cars.

 

dsc04407, 2008:04:27 14:11:46, 3D, California, Los Angeles, Griffith Park, Travel Town, MTA #1543 Metropolitan Transit Authority, Pacific Electric "Big Red Car", Long Beach line Interurban "Blimp" or "Balloon Car", Green Livery of 1961

Public Domain. Credit: NASA. For more information Visit NASA's Multimedia Gallery You may wish to consult NASA's

image use guidelines. If you plan to use an image and especially if you are considering any commercial usage, you should be aware that some restrictions may apply.

________________________

 

NOTE: In most cases, NASA does not assert copyright protection for its images, but proper attribution may be required. This may be to NASA or various agencies and individuals that may work on any number of projects with NASA. Please DO NOT ATTRIBUTE TO PINGNEWS. You may say found via pingnews but pingnews is neither the creator nor the owner of these materials.

_________________

 

Germany’s largest city and capital, Berlin has appeared in historical records since the 14th century, and has been a capital city of the surrounding kingdom, empire, or nation since the beginning of the 18th century. Like many capital cities, Berlin has seen its share of strife. Shortly after World War II bombings devastated the city, Cold War superpowers divided it into East and West Berlin. Between August 1961 and November 1989, a wall running though the city reinforced the political divide. After a reduction in tensions between East and West allowed Berliners to cross the wall, it was torn eventually down.

 

This image, acquired by the Advanced Spaceborne Thermal Emission and Reflection Radiometer (ASTER) on NASA’s Terra satellite on October 15, 2005, shows a portion of the city where the Berlin Wall once divided it. The remains of the wall can be discerned most easily near the eastern edge of Tiergarten as a fuzzy gray line. This park was largely deforested for firewood after World War II, but today is lush and green compared to its urbanized surroundings. Just east of the park is Brandenburg Gate. Built near the end of the 18th century, this gate once served as a formal entrance to the city of Berlin, but the Berlin Wall temporarily forced its closure. Gray or brown colors, straight lines, and sharp angles provide the characteristic indications of urban settings. Pockets of trees or other vegetation make a green checkerboard among streets and buildings. Among the city’s interesting buildings is the Reichstag, the building that houses the German parliament. North of the park, the Spree River meanders through the heart of Berlin. Canals stretch northward in an arc from the river.

www.politico.com/news/stories/0611/56941.html

 

A 'kitchen sink solution' on jobs

By: Chris Frates

June 15, 2011

The center-left Washington think tank Third Way is holding a forum Wednesday to discuss the merits of allowing companies to bring the $1 trillion in profits parked overseas back to the United States at a temporarily reduced tax rate.

The morning forum at Union Station will include Sen. Kay Hagan (D-N.C.); Democratic Reps. Loretta Sanchez of California and Jared Polis of Colorado; former Service Employees International Union President Andy Stern; Duke Energy chief executive Jim Rogers; and George Schink, managing director of Navigant Economics.

Third Way’s vice president of communications, Sean Gibbons, said the forum is designed to determine whether the idea — which is anathema to many liberals — is a viable option for jump-starting U.S. job growth.

“We have unemployment near 9 percent. We’ve basically pulled every single lever we can as a government. … We’ve done almost everything we can to get the economy going. It’s time to throw in the kitchen sink. This is a kitchen sink solution,” Gibbons said. One trillion dollars “is a lot of coin. It’s sitting overseas. If we could bring over a significant portion of that back into the economy, we believe that would stimulate demand, and demand stimulates jobs.”

It’s not a perfect solution, Gibbons said, but one the Republican-controlled House might be willing to entertain.

He acknowledged that analysts don’t yet know how many jobs such a policy might create. But, he said, bringing money back to the U.S. creates demand, which in turn drives hiring.

The forum is the first public event of the think tank’s new corporate tax reform project directed by former Rep. Dan Maffei (D-N.Y.), who’s now a Third Way senior fellow.

  

www.thirdway.org/events/50

 

Right now there is over a trillion dollars in global profits earned by American businesses sitting overseas. What if we lowered the bar for companies to bring that money back home?

 

Third Way hosted an Idea Forum that examined the economic and policy implications of a repatriation tax holiday that would allow American multinational companies to bring overseas profits back to the U.S. for investment at a reduced tax rate.

 

Featuring a distinguished panel of leaders from business, labor, economics and government, the forum offered a fruitful discussion of a repatriation holiday’s impact on hiring and investment, business practices, and future tax policy. Participants include Senator Kay Hagan, (D-NC), Congresswoman Loretta Sanchez (CA-47), Congressman Jared Polis (CO-2), Andy Stern, former President of the Service Employees International Union, Jim Rogers, CEO of Duke Energy and Dr. George Schink, Managing Director and Principal of Navigant Economics.

 

This Idea Forum is the first public event of Third Way’s new corporate tax reform project, managed by former Congressman (and now Third Way Senior Fellow) Dan Maffei, which will advance ideas to make the code fairer, simpler, and more pro-growth.

soundimageplus.blogspot.com/2011/08/sony-nex-c3-review-an...

 

soundimageplus.blogspot.com/2011/08/sony-nex-c3-review-an...

 

Sony NEX-C3 Voigtlander 28mm f/2 Ultron

 

soundimageplus.blogspot.com/2011/08/sony-nex-c3-review-an...

 

soundimageplus.blogspot.com/2011/08/sony-nex-c3-review-an...

 

soundimageplus.blogspot.com/2011/08/sony-nex-c3-review-an...

 

soundimageplus.blogspot.com/2011/08/sony-nex-c3-review-an...

 

soundimageplus.blogspot.com/2011/08/sony-nex-c3-review-an...

 

Please respect copyright! All images are protected under UK copyright law and the Berne international copyright convention and are visibly and/or invisibly watermarked. No images are within the public domain. images may not be reproduced, copied, used or altered in any way, by any method, without written permission

 

soundimageplus.blogspot.com/

 

www.flickr.com/groups/1705334@N24/

  

www.decorobra.com/jardin-de-interior-vida-en-el-hogar.html

  

Decorar el interior de su hogar con zonas verdes, le dará a éste un aspecto deslumbrante. Las plantas siempre van a embellecer el espacio tanto interior como exterior. Las opciones para un jardín interno incluyen diferentes plantas disponibles, varios colores, tamaños, formas y flores.

Así como los árboles son fundamentales para la calidad del aire exterior, las plantas pueden ofrecer el mismo servicio para usted dentro de su casa. Al tomar el dióxido de carbono de la respiración humana, las plantas purificarán el ambiente. El embellecimiento de su espacio de vida y el cuidado de las plantas vivas lo llenará de paz y le otorgará notables beneficios a su salud.

   

Adornar tu hogar con plantas se puede hacer fácilmente con sólo unos pocos brotes que puede colocar en su living, su habitación y hasta en su cuarto de baño. Los costos de contenedores para jardín no tienen por qué ser exorbitantes y se puede aun así mantener el encanto con esta creativa forma de decorar. Incluso puede cultivar hortalizas o hierbas en contenedores para luego usarlos diariamente en sus recetas de cocina.

El error más común es invertir en ollas y recipientes caros para realzar la belleza de las plantas y la zona. Primero debe experimentar con accesorios mas sencillos hasta saber si sus plantas sobrevivirán o no.

   

Es bien sabido que la jardinería es un pasatiempo extraordinariamente relajante. Tener un jardín interior le dará el beneficio de calidez cuando ya haga demasiado frío afuera. La jardinería en el interior sólo está limitada por la cantidad de espacio que desee dedicar a ella en su casa. Otra ventaja de este recurso decorativo para interior es que usted puede decidir cuánto tiempo usted tiene o quiere dedicar al cuidado de las plantas. Si desea una planta que no le requiera tanto tiempo de regado y otros cuidados puede recurrir a variedades de cactus, o si desea el desafío de persuadir un árbol en flor, podría usted elegir una camelia.

Un jardín interior hace que su hogar sea sano, verde, hermoso y artístico.

 

Colocar luces interiores de jardinería en este espacio le brindará un aspecto más brillante y llamativo. De hecho, la luz interior de jardinería es una de los principales requerimientos para este tipo de espacios interiores. Así que debe seleccionar el tipo correcto de luces de jardín de acuerdo con lo que sus plantas requieran.

Si el espacio que usted posee es grande puede combinar una gran cantidad de especies así como otros importantes elementos tales como piedras, un farol, una fuente, arena, bancos, peceras y hasta alguna estatua, al más puro estilo zen.

 

[gallery link="file"]

27 June 2014

Imago Anatopism

LEA10

Second Life

 

lindenarts.blogspot.com/2014/05/transitt-imago-anatopism....

 

Mimesis Monday

(Heidi Dahlsveen)

 

historieforteller.wordpress.com/tag/imago-anatopism/

 

Alpha Auer

(Elif Ayiter)

 

www.flickr.com/photos/alpha_auer/sets/72157644047392579

 

zikiquesti.blogspot.com/2014/05/transitt-imago-anatopism....

 

vimeo.com/94270588

 

vimeo.com/95562877

 

From the notecards:

 

“”

About Imago Anatopism:

 

The project tells the tale of Volund, a nordic, elf, a symbol following Joseph Campbell's "Hero with a Thousand Faces." Volund undergoes many persona changes during his travels in which he encounters several others that shape and transform him.

 

Stage 1: At the start of the tale Volund, a Norsk elf who is probably born on the edge of the world between Midgaard – the home of humans, and Utgaard – the home home of giants, is still a young boy who is taken by his father to a mountian where a tribe of dwarfs are to teach him the craft of blacksmithing.

 

At this early stage all Volund gets are the basics: Skin, shape, eyes and a pair of shoes.

 

Stage 2: This is the stage in which Volund is refuses the call to the adventure. He is still a timid boy who does not hear, or misinterprets the call or may even misuse the call since he is not yet mature enough to make his own decisions and only follows the decisions of others. All this leads to the murder of his father which makes Volund realise life's dangers and the magnitude of his task.

 

Symbolizing this blindness, at stage 2 Volund only gets a mask as an attachment.

 

Stage 3: Setting out on his adventure, Volund goes back to the mountain in order to learn further secrets of forging and the creation of magic tools from the dwarf. Such supernatural aids are both good and bad and once Volund puts on his magic belt and helmet he realizes that it is the dwarfs that killed his father. This makes them his enemy and he has a narrow escape as he leaves the mountain.

 

Thus, at stage 3 Volund gets a magic belt and helmet as two new attachments.

 

Stage 4: The idea of the entering another world is often symbolized by the belly of the whale. Volund is no different in this regard, and he throws himself into the ocean to float away to the unknown.

 

Thus, at stage 4 Volund gets a harpoon as a new attachment.

 

Stage 5: It is at this stage that Volund starts discovering his strength and power. He now has the ability to forge magic objects, such as life-like statues and wonderful weapons. It is at this stage that Volund meets a valkyrie (in this instance, a symbol for the concept of "goddess"), whom he first sees as a swan who is taking off her feathers in order to bathe in lake. Volund hides her feathers and makes her his first wife. However she leaves him at the end of 7 years when she finally finds her feathers and flees away.

 

"She is the mother, sister, mistress, bride," Campbell writes of the goddess. But she is also the death of of everything that dies. Campbell continues: "Woman, in the picture language of mythology, represents the totality of what can be known. The hero is the one who comes to know."

 

At stage 5 Volund gets a big present that he gives to the goddess as an offering as a new attachment.

 

Stage 6: Volund gets 9 rings from the valkyrie, which is a symbol of union. However these ring are also things that he can measure his own forging up against.

 

Stage 7: Volund is now supposed to start his journey back home, with newly gained wisdom. However, he faces yet another obstacle through the king who tries to hinder Volund from leaving by crippling him.

 

Thus, unsurprisingly, at this stage Volund gets a cane. There are several versions of this with different poses.

 

Stage 8: Volund gets his revenge upon the king by raping his daughter.

 

To quote Campbell again: "And always, after the first thrills of getting under way, the adventure develops into a journey of darkness, horror, disgust and phantasmagoric fears."

 

And so, at this stage Volund gets a caged bird with which he can seduce the king's daughter.

 

Stage 9: Volund has now made the king's daughter pregnant. However, in order to ensure that his own son inherits the throne, Volund also takes the precaution of killing the king's two sons.

 

Thus, at this stage the new attachment that Volund gets is a sword.

 

Stage 10: We are now nearing the end of the story and Volund sits bird-like on a roof, and tells the king what has happend and what the future will be.

 

Stage 11: While Volund started his journey in the ocean his return home is through the sky. He forges himself a huge pair of wings with which he flies back home.

 

Stage 12: We have come to the end of the tale and Volund has finally returned home as a wiser, older man who now deserves to put on the shiled and mantle of the hero.

 

Campbell writes: ”The hero is the champion of things becoming, not of things become, because he is.” And later ”Having died to his personal ego, he arose again established in the Self”.

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.

 

willowgrovedaycamp.com/willows.html

 

We have just finished our third week of camp. The Willows campers have been kept very busy these past three weeks. The days have been flying by way too quickly. It was very exciting to have all our Willows family members join us for an outstanding visiting day. The children were extremely excited to share their activities with their parents, while the parents had fun pretending to be campers. We hope you had as much fun as we did and lunch together was terrific.

 

The children enjoyed this weeks theme of “I Spy”. They had fun decorating binoculars in Camper Creations. In Ceramics, each child enjoyed making their favorite food out of clay with the help of their parents. Their ceramic projects will be sent home shortly. To end our wonderful week, The Willows campers joined the rest of camp at Waterworld. The children drove

water boats and joined in other great water activities. A terrific time was had by all!

 

Willow Grove Day Camp provides summer fun for kids who live in Willow Grove, Abington, Blue Bell, Hatboro, Horsham, Huntingdon Valley, Lafayette Hill, Philadelphia, Plymouth Meeting, Southampton and the surrounding areas. For more information on Willow Grove Day Camp and the services they provide please visit: willowgrovedaycamp.com/willows.html

Descargar Aquí ► www.imagenesdeamor.pro/2017/12/imagenes-romanticas-con-fr...

 

No hay nada más hermoso que tener un amor bonito, un amor del bueno que está contigo de manera incondicional. Y para esa persona que tanto amas hoy tenemos para ti una colección de imágenes de amor preciosas, precisas para dedicarle a la persona que te hace feliz. ¡Que las disfrutes!

 

Amor… Sé que siempre que lo necesite estarás para mí, que si estoy en problemas siempre estarás ahí. Cariño mío, siento que te debo tanto… tengo toda la vida para demostrarte que siempre estaré para ti, que tienes mi amor por siempre.

 

Amor… La gratitud que siento hacia ti es infinita como nuestro amor. Eres la persona que me motiva a luchar cada día por mis sueños y que me alienta cada vez que siento que ya no puedo más.

 

Amor mío… Siempre logras sorprenderme. Cuando siento que has hecho demasiado por mí siempre logras encontrar otra forma de demostrarme que me amas. Gracias, mi amor, le agradezco a Dios por haber puesto en mi vida a un hombre tan bueno como tú.

 

Amor… Quiero olvidarme del pasado y solo verte a ti, que eres mi presente y espero que también mi futuro. Cada día logras hacerme un poco más feliz y ese es motivo suficiente para amarte como te amo. Gracias por todos los momentos que hemos pasado juntos, espero con ansias vivir muchos más a tu lado.

 

Amor… Tú completas mi círculo de felicidad, contigo a mi lado no me falta nada más. Solo una persona especial faltaba en mi vida y esa persona eres tú. Gracias por todo el amor que tienes para mí, por demostrarme que la vida puede ser bella. Te amo.

 

Amor… Estoy completamente convencido de que nunca encontraré a alguien como tú, eres único y te agradezco por el amor maravilloso que me das.

 

Mi vida… Tú eres la persona que me hace sentir muy feliz y estoy muy agradecida porque en los momentos más difíciles de mi vida has estado a mi lado apoyándome en todo.

 

Amor… El día en que te conocí, mi vida cambió porque mi tristeza terminó porque con cada uno de tus detalles me haces sentir muy feliz.

 

Amor… De todo corazón te agradezco porque eres un hombre muy especial que ha llegado a mi vida en el momento exacto para enseñarme a ver el mundo de una manera distinta.

 

Mi vida… Estoy muy agradecida con la vida por haberte puesto en mi camino y contigo porque siempre me demuestras que tu corazón solo es mío.

 

Amor… Me alegra pensar que cada día que pasa, nuestro amor se hace más profundo y se fortalece con esos detalles lindos que siempre tienes conmigo.

 

Que cada una de las palabras de amor dichas en estas imágenes románticas sean para ti y tu pareja, o a esa persona que tienes al lado, el mejor motivo para sonreír. ¡Sigan adelante! y luchen siempre por su relación, porque al final, el amor siempre triunfa. ¡Hasta pronto!

 

El post 11 Imágenes románticas con frases para un amor bonito aparece primero en Imágenes de Amor.

 

11 Imágenes románticas con frases para un amor bonito | Mensajes de Amor, frases de amor para mi novio, imágenes bonitas de amor, imágenes con frases de amor, imágenes de amor, palabras de amor bonitas

Honda CB750 Cafe Racer

goodhal.blogspot.com/2013/01/another-great-cb750.html

willowgrovedaycamp.com/willows.html

 

We have just finished our third week of camp. The Willows campers have been kept very busy these past three weeks. The days have been flying by way too quickly. It was very exciting to have all our Willows family members join us for an outstanding visiting day. The children were extremely excited to share their activities with their parents, while the parents had fun pretending to be campers. We hope you had as much fun as we did and lunch together was terrific.

 

The children enjoyed this weeks theme of “I Spy”. They had fun decorating binoculars in Camper Creations. In Ceramics, each child enjoyed making their favorite food out of clay with the help of their parents. Their ceramic projects will be sent home shortly. To end our wonderful week, The Willows campers joined the rest of camp at Waterworld. The children drove

water boats and joined in other great water activities. A terrific time was had by all!

 

Willow Grove Day Camp provides summer fun for kids who live in Willow Grove, Abington, Blue Bell, Hatboro, Horsham, Huntingdon Valley, Lafayette Hill, Philadelphia, Plymouth Meeting, Southampton and the surrounding areas. For more information on Willow Grove Day Camp and the services they provide please visit: willowgrovedaycamp.com/willows.html

Wolf Pack Invite 09/27/08

River Walk Park - Bakersfield, CA, Wednesday, September 27, 2008

 

www.andynoise.com/wolfpack08.html

 

Chris Schwartz (Foothill) won the varsity boys race in 16:18. McFarland took the team title. McFarland also won the boys frosh/soph and jv team races. medals were given out to the top 15 runners.

 

Varsity Boys Team Results

 

1 MCFA McFarland 25

2 PADA Palmdale 95

3 RIDG Ridgeview 118

4 SHAF Shafter 130

5 BAEA East Bakersfield 142

6 BAKE Bakersfield 174

7 WASC Wasco 176

8 STOC Stockdale 210

9 FTHL Foothill 233

10 GARC Garces Memorial 254

11 ARVI Arvin 321

12 NORT North 324

13 Fron Frontier 345

14 SOUT South 404

15 BACH Bakersfield Christian 423

16 WSTB West Bakersfield 461

TFCC Taft INC

  

1. 16:18 179 179 Chris Schwartz Sr M FTHL 1

2. 16:29 292 292 Cisneros Alfonso Sr M MCFA 2

3. 16:38 450 450 Robby Baker Jr M RIDG 3

4. 16:44 297 297 Marco Perez So M MCFA 4

5. 16:48 293 293 Eduardo Bautista Jr M MCFA 5

6. 16:51 294 294 Marco Camargo Jr M MCFA 6

7. 16:54 451 451 Alex Garcia Jr M RIDG 7

8. 16:56 291 291 Gerardo Alcala Sr M MCFA 8

9. 16:58 295 295 Eddie Garcia Sr M MCFA 9

10. 17:04 296 296 Francisco Nava So M MCFA 10

11. 17:05 483 483 Joshua Wittenberg Sr M SHAF 11

12. 17:10 402 402 Adrian Ramos Jr M PADA 12

13. 17:16 400 400 Victor Hernandez Sr M PADA 13

14. 17:19 72 72 Andrew Ariey Sr M BAKE 14

15. 17:20 403 403 Daniel Ramos Jr M PADA 15

  

Elizabeth Wittenberg (Shafter) won the girls varsity race in 20:10. The Ridgeview varsity girls won the team title. Palmdale won the jv race and McFarland won the frosh/soph team title.

 

Varsity Girls Team Results

 

1 RIDG Ridgeview 45

2 SHAF Shafter 73

3 PADA Palmdale 94

4 NORT North 95

5 STOC Stockdale 124

6 FTHL Foothill 142

7 BAKE Bakersfield 142

8 GARC Garces Memorial 189

9 Fron Frontier 243

10 SOUT South 278

BAEA East Bakersfield INC

ARVI Arvin INC

WASC Wasco INC

TFCC Taft INC

WSTB West Bakersfield INC

BACH Bakersfield Christian INC

  

1. 20:10 464 464 Elizabeth Wittenberg Sr F SHAF

2. 21:04 430 430 Tijerra Lynch So F RIDG

3. 21:07 369 369 Merino Jennifer Sr F PADA

4. 21:10 428 428 Jessica Huizar Jr F RIDG

5. 21:12 89 89 Lucia Garcia Jr F BAEA

6. 21:17 208 208 Monica Guzman Jr F GARC

7. 21:23 330 330 Cecilia Lopez Sr F NORT

8. 21:33 90 90 Sophia Garcia So F BAEA

9. 21:35 136 136 Natalie Fernandez So F FTHL

10. 21:46 2 2 Tonya Hernandez Jr F ARVI

11. 21:53 624 624 Alejandra Gutierrez Sr F WASC

12. 21:55 372 372 Anaiz Ortiz Sr F PADA

13. 21:56 426 426 Ashley Duran Sr F RIDG

14. 22:05 459 459 Lindsee Handel So F SHAF

15. 22:12 45 45 Gabrielle Lerma So F BAKE

   

JV Boys Results

 

1 MCFA McFarland 29

2 RIDG Ridgeview 72

3 BAEA East Bakersfield 105

4 PADA Palmdale 118

5 SOUT South 150

6 Fron Frontier 160

7 WASC Wasco 161

8 STOC Stockdale 169

9 FTHL Foothill 237

10 GARC Garces Memorial 246

11 MiMo Mira Monte 278

12 BAKE Bakersfield 341

SHAF Shafter INC

TFCC Taft INC

ARVI Arvin INC

NORT North INC

 

1. 11:06 284 284 Bryan Calvo Sr M MCFA

2. 11:23 290 290 Pedro Sanchez Jr M MCFA

3. 11:34 661 661 Eric Sanchez Jr M WASC

4. 11:34 100 100 felix Trevino So M BAEA

5. 11:36 277 277 Bernardo Garcia Fr M MCFA

6. 11:39 440 440 Ernesto Castillo Jr M RIDG

7. 11:45 476 476 Matt Yanez Jr M SHAF

8. 11:46 439 439 Michael Anseno Sr M RIDG

9. 11:47 98 98 Marc Sotello Jr M BAEA

10. 11:47 474 474 Elias Picazo Sr M SHAF

11. 11:49 288 288 Adam Marquez Fr M MCFA

12. 11:50 394 394 Ramirez Miguel Jr M PADA

13. 11:50 393 393 Nicholas Mayo Jr M PADA

14. 11:53 276 276 Ismael Bautista Fr M MCFA

15. 12:00 101 101 Esteban Vargas Sr M BAEA

  

JV Girls Results

 

1 PADA Palmdale 27

2 STOC Stockdale 51

3 RIDG Ridgeview 66

4 MiMo Mira Monte 100

SOUT South INC

BAKE Bakersfield INC

FTHL Foothill INC

NORT North INC

GARC Garces Memorial INC

 

1. 14:45 494 494 Claudia Cuevas Sr F SOUT

2. 15:05 420 420 Natalia Motta Sr F RIDG

3. 15:12 528 528 Amber Crabtree Sr F STOC

4. 15:28 351 351 Amy Diaz Sr F PADA

5. 15:33 360 360 Lizet Onofre Jr F PADA

6. 15:41 364 364 Crystal Schachter Jr F PADA

7. 15:48 531 531 Shelby Pinkham Jr F STOC

8. 15:51 41 41 Felisa Torres Sr F BAKE

9. 15:52 118 118 Lucia Garcia Jr F FTHL

10. 15:54 362 362 Karina Ortega Jr F PADA

11. 15:54 328 328 Aubree Mossburg Jr F NORT

12. 16:04 365 365 Michelle Silva Jr F PADA

13. 16:06 367 367 Zaria Zambrano Jr F PADA

14. 16:07 525 525 Justine Benavidez Sr F STOC

15. 16:19 128 128 Nancy Tenorio Sr F FTHL

  

Frosh/Soph Boys

 

1 MCFA McFarland 25

2 WASC Wasco 66

3 FTHL Foothill 95

4 STOC Stockdale 114

5 RIDG Ridgeview 121

6 PADA Palmdale 139

7 SHAF Shafter 174

8 Inde Independence 183

9 TFCC Taft 254

10 BAKE Bakersfield 287

11 RFKH RFKH 312

12 GARC Garces Memorial 313

13 ARVI Arvin 337

14 MiMo Mira Monte 383

SOUT South INC

Error 2042 #N/A INC

 

1. 10:53 666 666 Jorge Zuniga Fr M WASC

2. 10:55 282 282 Chavez Ryan Fr M MCFA

3. 11:12 275 275 Sergio Avelar Fr M MCFA

4. 11:25 638 638 Eddie Aguilar So M WASC

5. 11:26 280 280 Leo Perez Fr M MCFA

6. 11:26 278 278 Jose Monrreal Fr M MCFA

7. 11:36 177 177 Genaro Quintanar Fr M FTHL

8. 11:38 541 541 Alex Eckley Fr M STOC

9. 11:39 279 279 Gonzalo Mulato Fr M MCFA

10. 11:40 252 252 Dwayne Facho So M Inde

11. 11:41 434 434 Brandon Magno Fr M RIDG

12. 11:42 383 383 Corey Nieto Fr M PADA

13. 11:48 543 543 Abraham Mayorga So M STOC

14. 11:49 467 467 Pablo Mendez Fr M SHAF

15. 11:50 650 650 Asencion Mendoza Sr M WASC

   

Frosh/Soph Girls

 

1 MCFA McFarland 43

2 Inde Independence 51

3 STOC Stockdale 73

4 FTHL Foothill 101

5 TFCC Taft 121

6 RIDG Ridgeview 139

7 RFKH RFKH 173

8 WASC Wasco 180

SOUT South INC

BAEA East Bakersfield INC

NORT North INC

BAKE Bakersfield INC

GARC Garces Memorial INC

 

1. 14:02 267 267 Corina Garcia So F MCFA

2. 14:02.6 270 270 Kathy Torres Fr F MCFA

3. 14:09 266 266 Olivia Ayon Fr F MCFA

4. 14:09 586 586 Daisy Guitron Fr F TFCC

5. 14:16 522 522 Madison Schutzner Fr F STOC

6. 14:23 484 484 Natalie Espinoza So F SOUT

7. 14:37 248 248 Sara Sullivan Fr F Inde

8. 14:37 110 110 Erica Castro So F FTHL

9. 14:44 237 237 Natalie Ambriz So F Inde

10. 14:46 93 93 Mayra Ponce So F BAEA

11. 14:50 244 244 Acacia Ingram So F Inde

12. 14:58 523 523 Victoria Valos So F STOC

13. 15:00 268 268 Liset Perezchica Fr F MCFA

14. 15:03 249 249 Katelynn Webb Fr F Inde

15. 15:20 135 135 Mari Escuedero So F FTHL

www.virtualtourist.com/travel/Asia/Malaysia/Kajang-128208...

বউয়ের বড় বোনকে সুখ দেয়ার গল্প

www.limon360.xyz

www.webseriesbd.xyz www.webseriesbd.xyz/2021/08/blog-post_10.html

youtu.be/aUTsNy9BZ_g

"Oh, life is a glorious cycle of song,

A medley of extemporanea;

And love is a thing that can never go wrong,

And I am Marie of Roumania."

(Dorothy PARKER)

Author of memoirs children books published in London.

  

Queen Marie of Romania, (1875, England – 1938, Sinaia, România) (Regina Maria), Princess of Great Britain,

Grand daughter of Queen Victoria and of Tzar Alexander II of Russia

Spouse of King Ferdinand I, crowned at Alba Iulia.

Mother of King Carol II, Prince Nicolae, Princesses Marie (Mignon,Queen of Yugoslavia), Elisabeta (Queen of Greece), Ileana (Acrhduchess of Austria).

Diplomatic Mission Negotiator, War-time Red Cross Officer, Writer, Patron of Charities

writer. The Queens biography, quotations and exhaustive bibliography is part of a new Anthology published as an E-Book under the title:

"Blouse Roumaine - the Unsung Voices of Romanian Women"

 

Presented and Selected by Constantin ROMAN

 

Anthology E-BOOK (11BM)

 

DISTRIBUTION: Online with credit card

 

COST: $ 54.99, £34.99 (ca Euros 35.50)

 

LINK: www.blouseroumaine.com/orderthebook_p1.html

 

CONTENTS:

 

2,250,000 words,

 

over 1,000 pages,

 

ca 160 illustrations in text

 

160 critical biographies,

 

58 social categories/professions,

 

600 quotations (mostly translated into English for the first time),

 

circa 3,000 bibliographical references (including URLs and credits)

 

6 Indexes (alphabetical, by profession, timeline, quotation Index, place

 

index and name index)

 

AUTHOR: Constantin Roman is a Scholar with a Doctorate from Cambridge and a Member of the Society of Authors (London). He is an International Adviser, Guest Speaker, Professor Honoris Causa and Commander of the Order of Merit.

  

INDEX BY PROSFESSION: 58 CATEGORIES by Call, Profession or Social Status

 

Academics (22), Actresses (9), Anti-Communist Fighters (14), Architects/Interior Designers (2), Art Critics (9), Artist Book Binders (1), Ballerinas (6), Charity Workers/Benefactors (20), Communist Public Figures (2), Courtesans (3), Designers (2), Diplomats (4), Essayists (11), Ethnographers (6), Exiles & First-generation Romanians born abroad (87), Explorers (1), Feminists (12), Folk Singers (1), Gymnasts, Dressage Riders (2), Historians (5), Honorary Romanian Women (15), Illustrators (3), Journalists (13), Lawyers (4), Librarians (3), Linguists (2), Literary Critics (1), Media (15), Medical Doctors/Nurses (5), Memoir Writers (16), Missionaries and Nuns (4), Mountainéers (2), Museographers (1), Musical Instruments Makers (1), Novelists (24), Opera Singers (16), Painters (14), Peasant Farmers (6), Philosophers and Philosophy Graduates (4), Pianists (6), Pilots (4), Playwrights (5), Poets (29), Political Prisoners (30), Politicians (5), Revolutionaries (2), Royals and Aristocrats (34), Scientists (8), Sculptors (4), Slave (1), Socialites/Hostesses (20), Spouses/Relations of Public Figures (51), Spies (2), Tapestry Weavers (4), Translators (25), Unknown Illustrious (6), Violinists (4), Workers (3)

 

NOTE:

Most of the above 160 Romanian women, in the best tradition of versatility, are true polymaths and therefore nearly each one of them falls in more than just one category, often three or more. This explains why adding the numbers of the 57 individual categories bears no relation to the actual total of the above 160 women included in Blouse Roumaine.

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

LIST OF 160 CRITICAL BIOGRAPHIES (each supported by Quotations and Bibliography)

 

AA *Gabriela Adamesteanu *Florenta Albu *Nina Arbore *Elena Arnàutoiu *Ioana Raluca Voicu-Arnàutoiu, *Laurentia Arnàutoiu *Mariea Plop - Arnàutoiu *Ana Aslan *Lady Elizabeth Asquith Bibescu

 

BB *Lauren Bacall *Lady Florence Baker *Zoe Bàlàceanu *Ecaterina Bàlàcioiu-Lovinescu *Victorine de Bellio *Pss. Marta Bibescu *Adriana Bittel *Maria Prodan Bjørnson *Ana Blandiana *Yvonne Blondel *Lola Bobescu *Smaranda Bràescu *Elena Bràtianu *Élise Bràtianu *Ioana Bràtianu *Elena Bràtianu- Racottà *Letitzia Bucur

 

CC *Anne-Marie Callimachi *Georgeta Cancicov *Madeleine Cancicov *Pss. Alexandra Cantacuzino *Pss.Maria Cantacuzino (Madame Puvis de Chavannes) *Pss. Maruca Cantacuzino-Enesco* Pss. Catherine Caradja *Elena Caragiani-Stoenescu *Marta Caraion-Blanc, *Nina Cassian, *Otilia Cazimir *Elena Ceausescu *Maria Cebotari *Ioana Celibidache *Hélène Chrissoveloni (Mme Paul Morand)*Alice Cocea *Irina Codreanu *Lizica Codreanu *Alina Cojocaru *Nadia Comàneci *Denisa Comànescu *Lena Constante *Silvia Constantinescu *Doina Cornea *Hortense Cornu *Viorica Cortez*Otilia Cosmutzà *Sandra Cotovu *Ileana Cotrubas *Carmen-Daniela Cràsnaru *Mioara Cremene *Florica Cristoforeanu *Pss. Elena Cuza

 

DD *Hariclea Darclée *Cella Delavrancea *Alina Diaconú *Varinca Diaconú *Anca Diamandy *Marie Ana Dràgescu *Rodica Dràghincescu *Bucura Dumbravà *Natalia Dumitrescu

 

EE *Micaela Eleutheriade *Queen Elisabeth of Romania (‘Carmen Sylva’) *Alexandra Enescu *Mica Ertegün

 

FF *Lizi Florescu, *Maria Forescu *Nicoleta Franck *Aurora Fúlgida

 

GG *Angela Gheorghiu *Pss Grigore Ghica *Pss. Georges Ghika (Liane de Pougy) *Veturia Goga *Maria Golescu *Nadia Gray *Olga Greceanu *Pss. Helen of Greece *Nicole Valéry-Grossu *Carmen Groza

 

HH *Virginia Andreescu Haret *Clara Haskil *Lucia Hossu-Longin

 

II *Pss. Ileana of Romania *Ana Ipàtescu *Marie-France Ionesco *Dora d’Istria *Rodica Iulian

 

JJ *Doina Jela *Lucretia Jurj

 

KK *Mite Kremnitz

 

LL *Marie-Jeanne Lecca *Madeleine Lipatti *Monica Lovinescu *Elena Lupescu

 

MM *Maria Mailat *Ileana Màlàncioiu *Ionela Manolesco *Lilly Marcou *Silvia Marcovici *Queen Marie of Romania *Ioana A. Marin *Ioana Meitani *Gabriela Melinescu *Veronica Micle *Nelly Miricioiu *Herta Müller *Alina Mungiu-Pippidi *Agnes Kelly Murgoci

 

NN *Mabel Nandris *Anita Nandris-Cudla *Lucia Negoità *Mariana Nicolesco *Countess Anna de Noailles *Ana Novac

 

OO *Helen O’Brien *Oana Orlea

 

PP *Hortensia Papadat-Bengescu *Milita Pàtrascu *Ana Pauker *Marta Petreu *Cornelia Pillat *Magdalena Popa *Elvira Popescu

 

RR *Ruxandra Racovitzà *Elisabeta Rizea *Eugenia Roman *Stella Roman *Queen Ana de România, *Pss. Margarita de România *Maria Rosetti *Elisabeth Roudinesco

 

SS *Annie Samuelli *Sylvia Sidney *Henriette-Yvonne Stahl *Countess Leopold Starszensky *Elena Stefoi *Pss. Marina Stirbey *Sanda Stolojan *Cecilia Cutzescu-Storck

 

TT *Maria Tànase *Aretia Tàtàrescu *Monica Theodorescu *Elena Theodorini

 

UU *Viorica Ursuleac

 

VV *Elena Vàcàrescu *Leontina Vàduva *Ana Velescu *Marioara Ventura *Anca Visdei *Wanda Sachelarie Vladimirescu *Alice Steriade Voinescu

 

WW *Sabina Wurmbrand

 

ZZ *Virginia Zeani

   

www.blouseroumaine.com

SHIBUYA SKY拍攝地點

 

FaceBook｜Blogger ｜Instagram ｜500PX

 

You can licence images through My Getty image

 

All of My Reviews｜心得文：

 

DJI Mavic Air Review

Olympus PEN-F Review Part.1

Olympus PEN-F Review Part.2

Olympus PEN-F Review Part.3

Olympus MZD 17mm f/1.2 PRO Review

Olympus MZD 25mm f/1.2 PRO Review

Olympus MZD 45mm f/1.2 PRO Review

Olympus MZD 75mm f/1.8 Review

Panasonic LEICA DG 12mm f/1.4 Review

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

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

 

Ύμνος

Θέλω να τραγουδήσω για τον Θεό

I

Κέρδισα πολλά

απ' τα αληθινά έργα του Θεού.

Απ' τα λόγια Του,

είδα την διαφθορά του ανθρώπου.

Απ' την αλήθεια Του,

την φύση του Θεού,

γνώρισα το νόημα της ζωής.

Η κρίση του Θεού αποκαλύπτει

την ανταρσία του ανθρώπου,

η σατανική διαφθορά αποκαλύπτεται.

Οι δοκιμασίες αποκαλύπτουν

την έλλειψη αλήθειας μου,

γονατίζοντας ενώπιον του Θεού μετανοώ.

Θέλω να τραγουδήσω για τον Θεό,

να τραγουδήσω τις λέξεις

που έχω στην καρδιά μου.

Από τον κόσμο Αυτός με επέλεξε,

με έσωσε μέσα απ' τα έργα Του.

Θέλω να τραγουδήσω για τον Θεό,

να τραγουδήσω τις λέξεις

που έχω στην καρδιά μου.

Από τον κόσμο Αυτός με επέλεξε,

με έσωσε μέσα απ' τα έργα Του.

Θέλω να τραγουδήσω για τον Θεό.

II

Χάρις τον Θεό έχουμε μια ευκαιρία

να κριθούμε και να εξαγνιστούμε.

Η Σωτηρία Του,

τόσο σπουδαία και αληθινή,

η αγάπη Του πολύ μεγάλη

για να ανταποδοθεί.

Η σάρκα του Θεού,

ταπεινή και κρυμμένη,

υπομένει όλους τους πόνους

για να μας φέρει την αλήθεια.

Οι άνθρωποι του Θεού

απολαμβάνουν τα λόγια Του,

παρίστανται σε μια πολυτελή γιορτή.

Θέλω να τραγουδήσω για τον Θεό,

να τραγουδήσω τις λέξεις

που έχω στην καρδιά μου.

Από τον κόσμο Αυτός με επέλεξε,

με έσωσε μέσα απ' τα έργα Του.

Θέλω να τραγουδήσω για τον Θεό,

να τραγουδήσω τις λέξεις

που έχω στην καρδιά μου.

Από τον κόσμο Αυτός με επέλεξε,

με έσωσε μέσα απ' τα έργα Του.

Θέλω να τραγουδήσω για τον Θεό.

III

Τα λόγια του Θεού

είναι τα πλούτη της ζωής,

μου επιτρέπουν να ζω ανθρώπινα.

Αποφασίζω να εκπληρώσω

τα καθήκοντα μου,

ν' αναζητήσω την αλήθεια,

να μαρτυρήσω

και να δοξάσω τον Θεό.

Να δοξάσω τον Θεό.

Αναζητώ την αλήθεια,

μαρτυρώ και δοξάζω τον Θεό.

Και δοξάζω τον Θεό.

Θέλω να τραγουδήσω για τον Θεό,

να τραγουδήσω τις λέξεις

που έχω στην καρδιά μου.

Από τον κόσμο Αυτός με επέλεξε,

με έσωσε μέσα απ' τα έργα Του.

Θέλω να τραγουδήσω για τον Θεό,

να τραγουδήσω τις λέξεις

που έχω στην καρδιά μου.

Από τον κόσμο Αυτός με επέλεξε,

με έσωσε μέσα απ' τα έργα Του.

Θέλω να τραγουδήσω για τον Θεό.

Θέλω να τραγουδήσω για τον Θεό,

να τραγουδήσω τις λέξεις

που έχω στην καρδιά μου.

Από τον κόσμο Αυτός με επέλεξε,

με έσωσε μέσα απ' τα έργα Του.

Θέλω να τραγουδήσω για τον Θεό,

να τραγουδήσω τις λέξεις

που έχω στην καρδιά μου.

Από τον κόσμο Αυτός με επέλεξε,

με έσωσε μέσα απ' τα έργα Του.

Θέλω να τραγουδήσω για τον Θεό.

από το βιβλίο «Ακολουθήστε τον Αμνό και τραγουδήστε νέα τραγούδια»

Νομική Γνωστοποίηση και Όροι Χρήσης

Iredale Castle 30% discount, Round December 4th to the 28th.at We Love Roleplay Event

 

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Blog: hannakemistyle.blogspot.com.br/2016/12/818.html

*

*

aumentar

 

Exposición LA VIDA OCULTA DEL AGUA; en el Centro del Agua de Daimiel del 21 de diciembre al 20 de febrero.

 

Artículo LA BIODIVERSIDAD OCULTA

 

Trithigmostoma algivora no puede esconder lo que dice la parte sencilla de su nombre, que se alimenta de algas, y que de un intenso color verde tiñen su interior.

 

Trithigmostoma es un ciliado pequeño y nervioso, muy parecido a Chilodonella, género del que fue hermano y del que se diferencia por poseer una hilera de cilios en la parte dorsal delanatera. Trithigmostoma tiene forma ovada y una especie de pico redondeado en su parte anterior y en cuya proximidad se abre una pequeña boca en forma de ojal que se prolonga en una corta faringe reforzada por unos bastoncillos similares a los de Nassula.

.

 

Se mueve deslizándose y dando giros continuos, succionando el agua en la que pudieran estar las algas de las que se alimenta y parece que lo hace con éxito a la vista de lo que se ve que contiene su interior.

 

Trithigmostoma algivora vive en aguas cargadas de materia orgánica y procede de unas muestras de agua recogidas en la Laguna Grande, junto a la localidad zamorana de Ricobayo y ha sido fotografiada a 400 aumentos empleando la técnica de contraste de interferencia.

  

=======================================================================

  

☁ la nube negra de una justicia pervertida en nuestro país, movida por la envidia y la venganza, permanecerá aquí, hasta que soplen los vientos limpios que todos necesitamos. La Justicia es uno de los cimientos necesarios para la Paz. Desde aquí todo nuestro apoyo al Juez Baltasar Garzón -el buen Juez de Saramago- y a las personas de buena voluntad como él que trabajan por la Justicia.

 

José Saramago: Ni leyes ni Justicia

Martín Pallín

Firmas de apoyo en Facebook

Radio Nacional Holandesa

   

www.alejandrovalenciat.com/alejandrovt/vampiros.html

 

Bienvenido a este experimento público llamado ‘Vampiros’. Lo que ves acá es el resultado de un trabajo de muchas personas que salió al dominio público durante el año 2013. Todos juntos construimos un escenario para reflexionar sobre una enfermedad llamada dengue. Más que respuestas buscamos preguntas a través de un ejercicio sensorial.

 

Durante mi PhD busco desarrollar un estudio antropológico sobre la creación y negociación de diferentes formas de conocimiento alrededor del dengue.

 

Actualmente me encuentro en Medellín (Colombia) desarrollando la fase de campo de mi PhD. El objetivo central de mi proyecto es explorar cómo la antropología, en conjunto con ideas y prácticas derivadas del arte y la ciencia, puede transformar la comprensión pública del dengue.

 

Si querés ver el curso de mi trabajo de campo, por favor accedé a este link: www.anthropologyartscience.blogspot.com

 

Este proyecto está siendo desarrollado independientemente a modo de red, donde hay una serie de nodos que se entrelazan en un sentido no jerárquico. Las personas, colectivos o grupos de trabajo que se han unido a él son:

 

Los participantes de mi etnografía: Juanita, Sara, Luis Fernando, Oscar, Alberto, Tatiana, Carlos, Aurora.

 

Colaboradores: Hernán Marín, Maribel Flórez, Daniel Ronderos, Andrés Ramírez, Elva López, Felipe Villegas, Martha Vera, Carolina Quintero, Manuela Herrera, Jovany Barajas, Sergio Pulido, Susana Valencia, Lucía Tobón, Mike Bluett, Loveday King, Amanda Hunter y Andrés Ruiz.

 

Entidades vinculadas a este proyecto: 3B Espacio, Publicidad Ábaco, Bimana Producciones, Cataviento, Horniman Museum, Royal Anthropological Institute of Great Britain and Ireland, Pedro Mau/KNEEL, The University of Manchester, Granada Centre for Visual Anthropology, Colciencias.

 

A ellos mi profundo agradecimiento por su apoyo y por creer en este proyecto.

 

Cualquier opinión, crítica o comentario es más que bienvenido. Podés escribirme a vampiros@alejandrovalenciat.com. Si querés hacer parte de este proyecto, sólo tenés que manifestarlo.

 

Alejandro Valencia-Tobón

 

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

 

Más información:

 

www.anthropologyartscience.blogspot.com/

www.alejandrovalenciat.com/

 

CRITICAL RUN IS A DEBATING FORMAT

www.emergencyrooms.org/criticalrun.html

 

THE 28/03/2012 we debate

IS NAVIGATION A TREAT ?

CAN ART BE CURATED BY A PHONE ?

"IS NAVIGATION BY PHONES AND BANKS A THREAT ?" Critical Run wednesday 28 mars / CPH

 

The App store has taken over state institutions like staten museum for kunst

Visitors are taking in charge and warmly recommanded to be guided by smartphones or ipods . the team from the museum , curators and directors are employing the word ipad every 3 minutes. their home page sound like they work for FONA .

 

but Can smart phones or ipad be promoted as inoffensif loving pedagogic tools we should swallow without doubts

 

is forgetting an active state

 

is beeing guided a state of apathy .

 

( i heard once at a DR- news conference that people need to be guided because they are stupid )

 

should we debate those issues together before to jump

 

Is the role of the national museum to promotte compagnies that some would also consider as global threat ?

 

the Critical Run ( run and debate before it is too late ) will take place in Kongenshave 16.15 meet in front t the kids ground ( lejeplads )

we will debate those issues of selectif history and Führung. with a group of artist immigrant in Denmark ( who is guiding whom to where )

 

every one is welcome with any opinion including hopenhagen believer fona or apple sales man believing in win-win

 

The Critical Run is in collaboration with BAZART and Critical Run

  

www.emergencyrooms.org/criticalrun.html

 

this debate will carry on globally until Documenta Kassel ( " The Next Documenta Should be curated by a phone " .

 

if you like to be one of the global critical run organisateur please contact : 1@colonel.dk

--------

and because we are talking about a museum exhibiting Jorn a little news from Guy Debord and ( navigation )

library.nothingness.org/articles/SI/en/display/2

CAN ART BE CURATED BY A PHONE ? / CRITICAL RUN the first CRITICAL RUN will take place in Copenhagen and the last in Kassel @documenta get informed of date :www.facebook.com/BIENNALIST or www.emergencyrooms.org/criticalrun.html if you want to be part of the debate and organise a Critical Run where you are please contact 1@colonel.dk

 

A DELEGATION OF FOREIGN ARTISTS / CURATORS AND FESTIVAL DIRECTORS LIVING IN DENMARK ARE EXPLORING AND DEBATING "DANISH ART " .

 

HOW IT WORKS .

A DIFFICULT QUESTION INDEED ....

 

the 28/03/2012 the DELEGATION visited Charlottenborg and Statens Museum for Kunst, did a Critical Run in between the two instutitions

 

.a video will follow and regular exploration in on plan COLLABORATION WITH BAZART ...more to come soon ....( new people can take contact ...)

 

THE DELEGATION :

Saied Masoudian

Neringa Abrutyte

Rene Victor Valqui Vidal

Marina Testa Pedersen

Diallo Ibrahima Sory

Pero Pivas

Branka Pivas Onofri

Faranak Sohi

Marcelo Lerer

Maher Khatib

Shohreh Shahrzad

Antonieta Medeiros Urioste

Maia Hauser

Åsmund Boye Kverneland

Thomas Fleurquin

Victor Monchamp

Ada Ortega Camara

Tijana Miskovic

Ginka Rinkova

Thierry Geoffroy

Elizabeth Löwe Hunter

Maja Spangsberg Jakobsen

Juan Fernando Lope

 

thank you Maja Spangsberg Jakobsen from Bazart /Peter Lind for the name and Marcello Lerer with cards / t6hanks to Claus Handberg Christensen / and the 2 institutions that welcome us //format : Thierry Geoffroy

  

we're only days away from odin's 9 month birthday, which means it's time more his regularly scheduled 9 month checkup and his final rsv shot!

 

now, you might remember that his rsv shots are typically at the beginning of the month, but this one is on the last day of month and not even a full 30 days after his last shot ( it's usually best to separate the shots by almost exactly 30 days ). perhaps a random scheduling error? nope. medicaid will not reimburse for rsv shots given in april because it's the tail end of rsv season and their number crunchers have determined that it's more cost effective to pony up for the hospital bills of the kids that get rsv then it is to get everyone innoculated. so, cleverly, most pediatricians simply schedule an extra shot on the last day of the month.

 

but in much bigger [ ahem! ] news, you might have noticed that odin has gained almost a pound and a half since his last rsv shot! in less than a month! he's now just shy of 15 pounds.

 

some readers may be chuckling quietly to themselves, given the degree of hand wringing we engaged in after his developmental assessment when we learned that he might not have gained any weight at all. and we'll now fess up to the fact that after the appointment we started feeding odin a bottle of neosure a day, when we noticed that his diapers weren't as wet as we remembered; of course, we immediately jumped to the conclusion we were starving odin and lousy parents to boot for not noticing sooner that his diapers weren't sopping wet. hence the interim step of replacing one of his meals with formula, at least until we could talk more at length with the pediatrician.

 

i can only imagine what the pediatrician was thinking as he was forced to listen to us;

 

"and he hadn't gained any weight in two weeks and the developmental assessor thought he might need to be eating longer to get the "full course" and his diapers aren't sopping wet so surely we must have been starving him so now he's getting a bit of formula. because, well, starving him his not a good thing."

 

without nearly a hint of the patronizing tone that should have affected his voice, he proceeded to tell us that, in fact, after 3 or 4 months the wetness of a diaper is not a reliable indicator of how much nutrition a child is receiving; and that it's probably important to note that his last developmental assessment was performed by the person in charge of therapy for eating disorder in children born premature so she's constantly surrounded by the worst case scenarios and people tend to leave her assessments concerned about eating issues; and that sometimes kids just don't gain any weight and then they do; and while he didn't think the bottle of formula was doing any harm, he didn't think it was doing much good either, as it certainly wasn't responsible for his weight gain over the month.

 

pretty much, without actually doing it, he was shaking us by the shoulders, telling us to get ahold of ourselves.

 

heh.

 

and no, although it may look like it, odin is not sticking his fingers in his mouth and whistling at the nurse while he's being weighed.

 

and completely unrelatedly. hello to all you googlers coming to find useful information on rsv. i know that i'm clogging up the search results for rsv shot, but i'm not really sure that i'm the authoritative source to best answer your questions :-)

SHIBUYA SKY拍攝地點

 

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All of My Reviews｜心得文：

 

DJI Mavic Air Review

Olympus PEN-F Review Part.1

Olympus PEN-F Review Part.2

Olympus PEN-F Review Part.3

Olympus MZD 17mm f/1.2 PRO Review

Olympus MZD 25mm f/1.2 PRO Review

Olympus MZD 45mm f/1.2 PRO Review

Olympus MZD 75mm f/1.8 Review

Panasonic LEICA DG 12mm f/1.4 Review

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

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