View allAll Photos Tagged HTML
Description stolen from the internets...
The Owens-Thomas House is located at 124 Abercorn Street in Savannah, Georgia.
The Owens-Thomas House was designed by William Jay, a young architect from England. Construction started in 1816, and was completed in 1819. The home's first owner was Richard Richardson, a wealthy banker and cotton merchant. He only lived there for three years, when he had some financial troubles and lost the house.
Mrs. Mary Maxwell was the home's next owner. She lived there for eight years, and rented out rooms to people visiting the city. One of her most famous guests was the Marquis de Lafayette, a Revolutionary War hero from France. He addressed the city from the house on March 19, 1825.
In 1830, the house was purchased by George Welshman Owens for $10,000. Owens was a lawyer, congressman, and mayor of Savannah. His family owned the house until 1951.
In 1951 Margaret Thomas, George Owens's granddaughter, donated the house to the Telfair Museum of Art. The house has been operated as a museum ever since then.
In addition to the home's rich history, it also has its own ghost story. Many believe that the ghost of Margaret Thomas resides at the house. She always loved caring for her garden, and today many visitors have seen a ghostly lady walking through the garden at night. Her ghost is also seen in the house's parlor, sometimes looking out the window.
Kern Invite - 11/01/08
Hart Park - Bakersfield, CA
www.andynoise.com/kernxcinvite08.html
Varsity Boys - 2008 Kern County Cross Country
Championships
School Athlete Time Overall Scoring Team
1. Foothill Chris Schwartz 14:59.76 1 1 1
2. McFarland Alfonso Cisneros 15:33.49 2 2 1
3. McFarland Francisco Nava 15:48.44 3 3 2
4. McFarland Marco Perez 15:48.85 4 4 3
5. Stockdale Curtis Kelly 15:50.33 5 5 1
6. Ridgeview Brian Solis 15:50.81 6 6 1
7. Wasco A. Mendoza 15:51.72 7 7 1
8. Ridgeview Alex Garcia 15:52.70 8 8 2
9. Shafter Chris Handel 15:53.96 9 9 1
10. McFarland Gerardo Alcala 15:54.28 10 10 4
11. Shafter Jesus Villalpondo 16:05.48 11 11 2
12. Highland Colin Lewis 16:06.79 12 12 1
13. Centennial Nathan Vincent 16:08.77 13 13 1
14. Ridgeview Robby Baker 16:13.01 14 14 3
15. McFarland Eduardo Bautista 16:18.69 15 15 5
16. BHS Andrew Ariey 16:21.59 16 16 1
17. Garces Connor O'Malley 16:23.32 17 17 1
18. Stockdale Blair Slaton 16:25.15 18 18 2
19. Ridgeview Jerrio Lewis 16:25.61 19 19 4
20. East Jose Ramirez 16:25.97 20 20 1
21. East Mose Valdez 16:26.30 21 21 2
22. Highland Thomas Turner 16:26.59 22 22 2
23. Golden Valley Daymon Sandles 16:26.91 23 23 1
24. Foothill Jose Lopez 16:27.22 24 24 2
25. Ridgeview Miguel Munoz 16:30.13 25 25 5
26. Wasco G. Linares 16:34.10 26 26 2
27. Shafter Josh Wittenberg 16:34.61 27 27 3
28. Highland Jake Van Zandt 16:36.62 28 28 3
29. East Charlie Zaragoza 16:39.22 29 29 3
30. BHS Andrew Edquist 16:41.12 30 30 2
31. Cesar Chavez Martin Rios 16:45.91 31 31 1
32. Highland Ivan Esquivias 16:47.91 32 32 4
33. BHS Zachary Holt 16:48.98 33 33 3
34. Stockdale Anthony Dao 16:49.30 34 34 3
35. Cesar Chavez Ruben Galaviz 16:49.67 35 35 2
36. Wasco O. Mirando 16:50.04 36 36 3
37. Shafter Alex Moreno 16:51.14 37 37 4
38. Wasco E. Sanchez 16:52.02 38 38 4
39. Wasco E. Ramirez 16:53.29 39 39 5
40. East Camilo Mosqueda 16:53.84 40 40 4
41. East Vincente Herrera 16:54.31 41 41 5
42. Foothill Erick Bautista 16:54.82 42 42 3
43. Arvin Ben Orozco 16:57.57 43 43 1
44. Shafter Hector Montoya 17:01.02 44 44 5
45. Garces Jesus Guzman 17:02.28 45 45 2
46. Garces Michael Bedard 17:02.88 46 46 3
47. Frontier Tanner Urmston 17:03.48 47 47 1
48. BHS John Purcell 17:04.08 48 48 4
49. Centennial Ty Heiter 17:04.73 49 49 2
50. Frontier Richard Peralta 17:05.73 50 50 2
51. Shafter Cristian Barrios 17:07.93 51 51 6
52. Centennial Gehrig Smith 17:08.86 52 52 3
53. BHS Christopher Anderson 17:09.32 53 53 5
54. Highland Justin Burnett 17:10.77 54 54 5
55. Wasco J. DeJulian 17:11.97 55 55 6
56. Stockdale Stephen Burke 17:16.30 56 56 4
57. Arvin Juan Calderon 17:16.89 57 57 2
58. Wasco Cesar Patino 17:19.39 58 58 7
59. Cesar Chavez Tim Yanez 17:21.10 59 59 3
60. Highland Ariel Hurtado 17:23.69 60 60 6
61. North Adam Ralls 17:24.02 61 x 1
62. Ridgeview Michael Anseno 17:24.53 62 61 6
63. Ridgeview Jaime Madrigal 17:31.18 63 62 7
64. Foothill Patrick Manrique 17:32.75 64 63 4
65. Frontier Will Beechinor 17:33.57 65 64 3
66. East Alex Estrada 17:38.64 66 65 6
67. Burroughs Jesse Wigfield 17:38.99 67 66 1
68. Centennial Eric Millan 17:39.50 68 67 4
69. Burroughs Daniel Lathrop 17:39.91 69 68 2
70. Shafter Jacob Vasquez 17:40.47 70 69 7
71. Garces David Freed 17:40.91 71 70 4
72. Centennial Jake Howry 17:42.54 72 71 5
73. Burroughs Andrew Szczpiorski 17:44.05 73 72 3
74. Frontier D. Sclafani 17:47.26 74 73 4
75. Stockdale Max Morales 17:48.38 75 74 5
76. Burroughs Eduardo Carrillo 17:51.64 76 75 4
77. Burroughs Keith Christman 17:57.59 77 76 5
78. Golden Valley Jose Salgado 17:59.82 78 77 2
79. Cesar Chavez Rudy Sandoval 18:00.34 79 78 4
80. Centennial Brad Hinsley 18:04.58 80 79 6
81. Arvin Yessuri Villsenor 18:05.30 81 80 3
82. Burroughs Nathan Cheadle 18:10.33 82 81 6
83. Foothill Javier Garcia 18:11.22 83 82 5
84. Foothill Ernest Marquez 18:11.57 84 83 6
85. BC Kevin Yarian 18:27.47 85 84 1
86. North Chris Emmett 18:29.51 86 x 2
87. Cesar Chavez Andres Rodriguez 18:30.45 87 85 5
88. Tehachapi Corey Torres 18:32.16 88 86 1
89. Frontier Michael Sclafani 18:33.62 89 87 5
90. Garces Patrick Gomez 18:37.52 90 88 5
91. Highland Humberto Ramirez 18:37.98 91 89 7
92. Golden Valley David Gamino 18:40.22 92 90 3
93. Frontier Ricky Gonzales 19:03.13 93 91 6
94. Garces Chris Real 19:06.29 94 92 6
95. Stockdale D. Sherrill 19:08.29 95 93 6
96. Garces Dillon Lyles 19:16.75 96 94 7
97. Tehachapi Christian Torres 19:19.03 97 95 2
98. BC Mark McCutcheon 19:20:78 98 96 2
99. Golden Valley Nick Cruz 19:22.49 99 97 4
100. Golden Valley Daniel Perez 19:25.13 100 98 5
101. Foothill Christian Paredes 19:32.03 101 99 7
102. Arvin Adrian Rodriguez 19:32.67 102 100 4
103. BC Thomas Beard 19:59.04 103 101 3
104. West Michael Branquino 19:59.63 104 x 1
105. BHS Nick Flores 20:04.27 105 102 6
106. Tehachapi Logan Collier 20:07.47 106 103 3
107. Kern Valley C. Woodward 20:22.63 107 x 1
108. Arvin Christian Guerrero 20:31.41 108 104 5
109. Burroughs Daniel Meade 20:41.26 109 105 7
110. Golden Valley Ryan Davis 20:41.26 110 106 6
111. BHS Robby Harris 20:42.01 111 107 7
112. East Hector Fuentes 20:42.57 112 108 7
113. Frontier Alex Blanton 20:56.97 113 109 7
114. Cesar Chavez Joel Hernandez 21:02.22 114 110 6
115. Tehachapi Trent Sherman 21:02.94 115 111 4
116. Tehachapi Shaddi Haddad 21:18.14 116 112 5
117. BC Austin Adee 21:25.45 117 113 4
118. BC Aaron Stephens 21:31.77 118 114 5
119. Kern Valley J. Pistocco 23:15.37 119 x 2
120. Tehachapi Corey Hebron 23:19.78 120 115 6
121. West Kevin Serrano 23:48.05 121 x 2
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
protestart
Fountain Paint Pot trail, Yellowstone National Park, Wyoming, USA
Map (link):
[ www.google.co.in/imgres?imgurl=https://4.bp.blogspot.com/... and Spasm Geysers, Fountain Paint Pot trail, Yellowstone National Park images&ved=0ahUKEwjkgubQv8XeAhUC3Y8KHaFRCQ8QMwhNKBowGg&iact=mrc&uact=8 ]
This part of Lower Geyser Basin seen from a half-mile trail has all four of the hydrothermal features found in the park:
Clepsydra Geyser is a geyser in the Lower Geyser Basin of Yellowstone National Park. Clepsydra plays nearly continuously to heights of 45 feet. The name Clepsydra is derived from the Greek word for water clock. Prior to the 1959 Hebgen Lake earthquake, it erupted regularly every three minutes.
Yellowstone National Park has several hydrothermal areas, so what makes the Fountain Paint Pot Area worth visiting? For starters, this part of Lower Geyser Basin has all four of the hydrothermal features found in the park (mudpots, geysers, hot springs, and fumaroles) and you can see them all from a compact half-mile long boardwalk loop. While none of the many Fountain Paint Pot Area geysers are as famous as Old Faithful, they erupt so frequently that you are almost guaranteed a great show on your short hike. Since the walkway passes all four of Yellowstone’s hydrothermal formations, the hike comes with a guaranteed lesson in hydrothermal volcanism.
Hiking the loop in a clockwise direction, you will first pass through a forest of lodgepole pine snags that were drowned and left lifeless by the surrounding hot springs. As you approach the northwest end of the loop, you will spot a lively collection of geysers. Clepsydra Geyser, Fountain Geyser, Jelly Geyser, Jet Geyser, Morning Geyser, Spasm Geyser, and Twig Geyser erupt with various levels of regularity.
As you progress around the walkway toward the northeast corner, you will pass Red Spouter, which behaves like a fumarole, a hot spring, and a mudpot throughout the year. It is like a hot spring in the winter, a muddy reddish pool in the spring and a steaming fumarole in the drier summer and fall. Wrapping down the east side of the boardwalk, you will pass Leather Pool and a slope of fumaroles. These gaps in the surface whistle and hiss as gasses and steam escape from the ground. Just below the fumaroles, where a little more water is present, the trail circles Fountain Paint Pot. These mudpots bubble and pop as globs of mud springs from the surface like miniature trapeze artists.
Continuing downhill, the hydrothermal features become even wetter as you arrive at Silex Spring. Look down into the small blue pool rimmed with white silica. Water spills over the sides of the spring creating an orange-colored surface covered in rippling runoff. These colors are created by thermophiles, heat-loving microorganisms that live in Yellowstone’s hot springs.
( www.hikespeak.com/trails/fountain-paint-pot-trail-yellows... )
Geothermal features of Yellowstone NP- A brief note:
There are four geothermal features found in the park – Hot springs, Geysers, Fumaroles , and Mud volcanoes/pots.
What is a Hot spring?
Hot spring, also called thermal spring, spring with water at temperatures substantially higher than the air temperature of the surrounding region. Most hot springs discharge groundwater that is heated by shallow intrusions of magma (molten rock) in volcanic areas.
Some thermal springs, however, are not related to volcanic activity. In general, the temperature of rocks within the earth increases with depth. The rate of temperature increase with depth is known as the geothermal gradient. In such cases, the water is heated by convective circulation: groundwater percolating downward reaches depths of a kilometre or more where the temperature of rocks is high because of the normal temperature gradient of the Earth’s crust—about 30 °C / kilometer in the first 10 km. The water from hot springs in non-volcanic areas is heated in this manner.
But in active volcanic zones such as Yellowstone National Park, water may be heated by coming into contact with magma (molten rock). The high temperature gradient near magma may cause water to be heated enough that it boils or becomes superheated. If the water becomes so hot that it builds steam pressure and erupts in a jet above the surface of the Earth, it is called a geyser.
[ Warm springs are sometimes the result of hot and cold springs mixing. They may occur within a volcanic area or outside of one. One example of a non-volcanic warm spring is Warm Springs, Georgia (frequented for its therapeutic effects by paraplegic U.S. President Franklin D. Roosevelt, who built the Little White House there) ].
List of hot springs:
[ en.wikipedia.org/wiki/List_of_hot_springs ]
The science of colors of a hot spring:
[ ttps://www.britannica.com/science/hot-spring]
Many of the colours in hot springs are caused by thermophilic (heat-loving) microorganisms, which include certain types of bacteria, such as cyanobacteria, and species of archaea and algae. Many thermophilic organisms grow in huge colonies called mats that form the colourful scums and slimes on the sides of hot springs. The microorganisms that grow in hot springs derive their energy from various chemicals and metals; potential energy sources include molecular hydrogen, dissolved sulfides, methane, iron, ammonia, and arsenic. In addition to geochemistry, the temperature and pH of hot springs play a central role in determining which organisms inhabit them.
Examples of thermophilic microorganisms found in hot springs include bacteria in the genera Sulfolobus, which can grow at temperatures of up to 90 °C (194 °F), Hydrogenobacter, which grow optimally at temperatures of 85 °C (185 °F), and Thermocrinis, which grow optimally at temperatures of 80 °C (176 °F). Thermophilic algae in hot springs are most abundant at temperatures of 55 °C (131 °F) or below.
What is a Geyser?
A geyser is formed when water collecting below the surface is heated by a magma source. When the water boils, it rises to the surface. If the water has an unobstructed path, it will pool on the surface in the form of a steaming hot springs. If the passage of the water is imposed upon, the pressure will increase. When the pressure becomes too great, the water converts into to steam. Steam takes up 1,500 times the volume of water, and at this point, the pressure becomes so intense that the steam and surrounding water droplets shoot out of the ground in geyser form, erupting until the pressure has abated and the process starts all over again.
What is a fumarole?
It’s a vent in the Earth’s surface from which steam and volcanic gases are emitted. The major source of the water vapour emitted by fumaroles is groundwater heated by bodies of magma lying relatively close to the surface. Carbon dioxide, sulfur dioxide, and hydrogen sulfide are usually emitted directly from the magma. Fumaroles are often present on active volcanoes during periods of relative quiet between eruptions.
Fumaroles are closely related to hot springs and geysers. In areas where the water table rises near the surface, fumaroles can become hot springs. A fumarole rich in sulfur gases is called a solfatara; a fumarole rich in carbon dioxide is called a mofette. If the hot water of a spring only reaches the surface in the form of steam, it is called a fumarole. [ www.britannica.com/science/fumarole ]
What is a mud volcano/ mud pot/ paint pot?
Usually mud volcanoes are created by hot-spring activity where large amounts of gas and small amounts of water react chemically with the surrounding rocks and form a boiling mud.
Geo-chemistry of mud volcano: Hydrogen sulfide gas rising from magma chamber, as in Yellowstone’s, causes the rotten-egg smell. Microorganisms, or thermophiles, use this gas as a source of energy, and then help turn the gas into sulfuric acid. The acid then breaks down the rocks and soil into mud. Many of the colors seen are vast communities of thermophiles, but some of the yellow is pure sulfur. When iron mixes with sulfur to form iron sulfide, gray and black swirls sometimes appear in the mud (From description of the display board in the park).
If the water of a hot spring is mixed with mud and clay, it is called a mud pot. Variations are the porridge pot (a basin of boiling mud that erodes chunks of the surrounding rock) and the paint pot (a basin of boiling mud that is tinted yellow, green, or blue by minerals from the surrounding rocks).
There are other mud volcanoes, entirely of a nonigneous origin, occur only in oil-field regions that are relatively young and have soft, unconsolidated formations.
Sources: [ www.britannica.com/science/mud-volcano ], and display boards of the YNP.
A quick overview of YNP
Yellowstone National Park is an American national park located in Wyoming, Montana, and Idaho. Approximately 96 percent of the land area of Yellowstone National Park is located within the state of Wyoming. The Park spans an area of 8,983 km2 comprising lakes, canyons, rivers and mountain ranges. The park is known for its wildlife and its many geothermal features. It has many types of ecosystems, but the subalpine forest is the most abundant. It is part of the South Central Rockies forests eco-region.
It was established by the U.S. Congress and signed into law by President Ulysses S. Grant on March 1, 1872. Yellowstone was the first national park in the U.S. and is also widely held to be the first national park in the world. Native Americans have lived in the Yellowstone region for at least 11,000 years. Aside from visits by mountain -men during the early to mid-19th century, organized exploration did not begin until the late 1860s.
The park contains the headwaters of the Yellowstone River, from which it takes its historical name. Although it is commonly believed that the river was named for the yellow rocks seen in the ‘Grand Canyon of the Yellowstone’, the Native American name source is unclear.
Yellowstone Lake is one of the largest high-elevation lakes in North America and is centered over the Yellowstone Caldera, the largest supervolcano on the continent. The caldera is considered as an active volcano. It has erupted with tremendous force several times in the last two million year. The Yellowstone Caldera is the largest volcanic system in North America. It has been termed a "supervolcano" because the caldera was formed by exceptionally large explosive eruptions. The magma chamber that lies under Yellowstone is estimated to be a single connected chamber, about 60 km long, 29 km wide, and 5 to 12 km deep. Yellowstone Lake is up to 400 feet deep and has 180 km of shoreline.The lake is at an elevation of 7,733 feet above sea levels. Half of the world's geysers and hydrothermal features are there in Yellowstone, fueled by this ongoing volcanism. Lava and rocks from volcanic eruptions cover most of the land area of Yellowstone. The park is the centerpiece of the Greater Yellowstone Ecosystem, the largest remaining nearly-intact ecosystem in the Earth's northern temperate zone. In 1978, Yellowstone was named a UNESCO World Heritage Site.
In May 2001, the U.S. Geological Survey, Yellowstone National Park, and the University of Utah created the Yellowstone Volcano Observatory (YVO), a partnership for long-term monitoring of the geological processes of the Yellowstone Plateau volcanic field, for disseminating information concerning the potential hazards of this geologically active region.
Hundreds of species of mammals, birds, fish, and reptiles have been documented, including several that are either endangered or threatened. The vast forests and grasslands also include unique species of plants. Yellowstone Park is the largest and most famous mega fauna location in the contiguous United States. Grizzly bears, wolves, and free-ranging herds of bison and elk live in this park. The Yellowstone Park bison herd is the oldest and largest public bison herd in the United States.
Forest fires occur in the park each year. In the largest forest fires of 1988, nearly one third of the park was burnt.
Yellowstone has numerous recreational opportunities, including hiking, camping, boating, fishing and sightseeing. Paved roads provide close access to the major geothermal areas as well as some of the lakes and waterfalls. During the winter, visitors often access the park by way of guided tours that use either snow coaches or snowmobiles.
Fire in Yellowstone NP:
Causes of wildfire in Yellowstone NP
Wildfire has had a role in the dynamics of Yellowstone’s ecosystems for thousands of years. Although many fires were caused by human activities, most ignitions were natural. The term "natural ignition" usually refers to a lightning strike. Afternoon thunderstorms occur frequently in the northern Rocky Mountains but release little precipitation, a condition known as ‘dry lightning’. In a typical season there are thousands of lightning strikes in Yellowstone. Lightning strikes are powerful enough to rip strips of bark off of a tree in a shower of sparks and blow the pieces up to 100 feet away. However, most lightning strikes do not result in a wildfire because fuels are not in a combustible state.
The great fire incidence of 1988
The Yellowstone fires of 1988 collectively formed the largest wildfire in the recorded history of Yellowstone National Park in the United States. Starting as many smaller individual fires, the flames quickly spread out of control due to drought conditions and increasing winds, combining into one large conflagration which burned for several months. The fires almost destroyed two major visitor destinations and, on September 8, 1988, the entire park closed to all non-emergency personnel for the first time in its history. Only the arrival of cool and moist weather in the late autumn brought the fires to an end. A total of 793,880 acres, or 36 percent of the park was affected by the wildfires.
Fire incidence, 2016
As of September 21, 2016, 22 fires (human and lightning-caused) have burned more than 62,000 acres in Yellowstone National Park, making it the highest number of acres burned since the historic 1988 fire.
Heritage and Research Center
The Heritage and Research Center is located at Gardiner, Montana, near the north entrance to the park. The center is home to the Yellowstone National Park's museum collection, archives, research library, historian, archeology lab, and herbarium. The Yellowstone National Park Archives maintain collections of historical records of Yellowstone and the National Park Service. The collection includes the administrative records of Yellowstone, as well as resource management records, records from major projects, and donated manuscripts and personal papers. The archives are affiliated with the National Archives and Records Administration.
Mái ngói hội quán
SƠN TRANG
tintuc.xalo.vn/00-1042264780/mai_ngoi_hoi_quan.html
Mỗi lần ngang qua những hội quán trên các con đường lớn ở quận 5 như Trần Hưng Đạo, Nguyễn Trãi, Hải Thượng Lãn Ông..., thể nào tôi cũng phải ngoái đầu nhìn vào. Thói quen ấy đã nảy sinh trong tôi ngay từ lần đầu tiên bắt gặp những mái ngói rất độc đáo của những hội quán ấy.
Hội quán Tuệ Thành với những mảng trang trí bằng tượng gốm trên mái ngói.
Ấy là khi tôi đi ngang qua Nhị Phủ miếu trên đường Hải Thượng Lãn Ông. Cái mái ngói màu đỏ, võng xuống ở giữa và cong vút ở hai đầu, lớp mái trên chồng lên lớp mái dưới trông như những làn sóng gợn hay hình ảnh con thuyền đang cưỡi sóng khiến tôi đã đi qua rồi mà vẫn cứ ngoái lại nhìn mãi.
So với những mái cong truyền thống ở các đình chùa xưa của người Việt, mái ngói của hội quán người Hoa rõ ràng có nhiều nét khác lạ, độc đáo và riêng biệt. Về nhà tra cứu trong sách vở, tôi được biết mái của hội quán này được thiết kế theo dạng kiến trúc đền miếu đặc trưng của người Hoa vùng Phúc Kiến, Trung Quốc.
Ngoài Nhị Phủ miếu, ở quận 5 còn có hai hội quán lớn của người Hoa gốc Phúc Kiến là Hội quán Hà Chương (chùa Bà) trên đường Nguyễn Trãi và Hội quán Ôn Lăng trên đường Lão Tử. Ghi nhớ hai địa chỉ ấy, tôi đã tìm đến và cũng lại được thấy những mái ngói cong vút, duyên dáng kiểu vùng Phúc Kiến ở hai hội quán này.
Thế nhưng, ấn tượng nhất với tôi lại là những quần thể tượng trên mái ngói của các hội quán người Hoa. Hôm vào thăm Hội quán Tuệ Thành nằm trên đường Nguyễn Trãi, tôi cứ đứng ngắm không biết chán những mảng trang trí bằng tượng gốm trên mái ngói. Các tượng gốm bao gồm tượng người, tượng thú và tượng đồ vật, được làm thành từng nhóm để miêu tả rất sinh động cảnh sinh hoạt của người xưa hay minh hoạ cho các truyền thuyết, các điển tích cổ như “Đường Tăng tứ sư đồ” (4 thầy trò Đường Tăng), “Bát Tiên quá hải” (Tám vị tiên qua biển), “Ba Tiêu động” và “Thiết Phiến cung” (trong truyện Tây Du Ký), “Hán - Sở tranh hùng”, rồi nhóm tượng Phúc - Lộc - Thọ, tượng Ngọc Hoàng Đại Đế.
Còn ở Hội quán Hà Chương (nằm gần Hội quán Tuệ Thành), mái ngói lại được trang trí bằng rất nhiều tượng làm bằng vữa hồ và mảnh sành, thuỷ tinh. Ngoài nhóm tượng linh thú trang trí trên đỉnh mái như tượng hai con rồng chầu mặt trời, tượng thần Tử Vi, trên sườn mái của hội quán này còn có những nhóm tượng thể hiện hình ảnh lầu các, cung điện xưa. Những trang trí độc đáo ấy khiến cho mái ngói của Hội quán Hà Chương trông thật lạ mắt và đầy quyến rũ.
Trên mái của nhiều hội quán khác cũng không thiếu những mảng tượng gốm như thế. Mấy lần gặp những đoàn khách du lịch đến tham quan các Hội quán xưa tôi đều thấy họ tỏ ra rất thích thú và đua nhau chụp hình rất kỹ lưỡng những mảng tượng gốm trang trí trên các mái ngói này.
Nằm lặng lẽ trên những con đường tấp nập, những mái ngói hội quán ấy vẫn không hề bị mờ, bị khuất lấp bởi những khối nhà bê tông đang mọc lên ngày càng nhiều. Chúng đã góp phần tạo nên một nét rất riêng cho nhiều con đường tại TPHCM ở khu vực Chợ Lớn.
SƠN TRANG
(58 Nguyễn Bỉnh Khiêm, Q1, TPHCM)
Specifications
Engine
• VR-series twin-turbocharged 3.8-liter V6.
• 480 hp @ 6,800 rpm. 430 lb-ft torque @ 3,200–5,200 rpm.
• Dual overhead camshafts with variable intake-valve timing.
• Cast aluminum cylinder block with high-endurance/low-friction plasma-sprayed bores.
• IHI twin turbochargers, one per cylinder bank.
• Pressurized lubrication system with thermostatically controlled cooling.
Drivetrain
• ATTESA ET-S All-Wheel Drive (AWD) with independent rear-mounted transaxle integrating transmission, differential and AWD transfer case.
• Rigid, lightweight carbon-composite driveshaft between engine and transaxle.
• Electronic traction control plus 1.5-way mechanically locking rear differential.
• Vehicle Dynamics Control (VDC-R) with three driver-selectable settings: Normal (for daily driving, controls brakes and engine output), R-Mode (for ultimate performance, utilizes AWD torque distribution for additional vehicle stability) and Off (driver does not want the help of the system).
• Hill Start Assist prevents rollback when starting on an incline.
DisclaimerVDC-R cannot prevent accidents due to abrupt steering, carelessness, or dangerous driving techniques. Always drive safely.
Transmission
• 6-speed Dual Clutch Transmission with three driver-selectable modes: Normal (for maximum smoothness and efficiency), Snow (for gentler starting and shifting on slippery surfaces), and R mode (for maximum performance with fastest shifts).
• Fully automatic shifting or full sequential manual control via gearshift or steering wheel-mounted paddle shifters.
• Dual clutch design changes gears in less than 0.5 second (0.2 second in R mode).
• Downshift Rev Matching (DRM).
• Predictive pre-shift control (in R mode) based on throttle position, vehicle speed, braking and other information.
Wheels and Tires
• 20 x 9.5" (front) and 20 x 10.5" (rear) super-lightweight forged-aluminum wheels with Gunmetal Gray finish.
• Exclusively developed nitrogen-filled Bridgestone® RE070A high-capacity run-flat summer tires, 255/40R20 front and 285/35R20 rear.
• Tire Pressure Monitoring System (TPMS).
• Optional exclusively developed nitrogen-filled Dunlop® run-flat all-season tires, 255/40R20 front and 285/35R20 rear (includes Bright Silver wheels).
Brakes
• Brembo® 4-wheel disc brakes with 4-wheel Antilock Braking System (ABS), Brake Assist, Electronic Brakeforce Distribution and Preview Braking.
• Two-piece floating-rotor 15-inch front and rear discs with diamond-pattern internal ventilation.
• 6-piston front/4-piston rear monoblock calipers.
Steering
• Rack-and-pinion steering with vehicle-speed-sensitive power assist.
• 2.6 steering-wheel turns lock-to-lock.
Suspension
• 4-wheel independent suspension with Bilstein® DampTronic system with three driver-selectable modes: Normal/Sport (for automatic electronic control of damping), Comfort (for maximum ride comfort), and R mode (engages maximum damping rate for high-performance cornering).
• Electronically controlled variable-rate shock absorbers. High-accuracy progressive-rate coil springs.
• Front double-wishbone/rear multi-link configuration with aluminum members and rigid aluminum subframes.
• Hollow front and rear stabilizer bars.
Body/Chassis
• Exclusive Premium Midship platform with jig-welded hybrid unibody.
• Aluminum hood, trunk and door skins. Die-cast aluminum door structures.
• Carbon-reinforced front crossmember/radiator support.
Back to Top
Standard Features
Exterior
• Wide-beam headlights with High Intensity Discharge (HID) low beams.
• LED taillights and brake lights.
• Dual heated power mirrors.
• Flush-mounted aluminum door handles.
• Body-color rear spoiler with integrated center high-mounted stop light.
• UV-reducing tinted glass.
Audio/Navigation/Performance Monitor
• Digital Bose® audio system with AM/FM/in-dash 6-CD changer and 11 speakers including dual subwoofers.
• HDD Music Box system, including hard drive with 9.4 GB for audio storage.
• MP3, WMA and DVD audio capable. In-dash Compact Flash card reader.
• HDD-based GPS navigation with touch screen.
• Driver-configurable performance monitor, developed with Sony® Polyphony, with graphical readouts of vehicle data and driving data displayed on a total of 11 screens.
• 7-inch WVGA high-resolution color-LCD display for audio, navigation and performance monitor.
Interior
• Automatic Temperature Control (ATC).
• Electronic analog instrument cluster with multi-function trip computer and digital gear indicator.
• Power front windows with one-touch auto-up/down feature.
• Intelligent Key system with pushbutton start. Power door locks.
• Cruise control.
• Tilt/telescoping steering column.
• Bluetooth® Hands-free phone system with voice recognition.
Seating/Appointments
• Leather upholstered front seats with perforated Alcantara inserts.
• 8-way power front seats with entry/exit switch for rear-seat passengers.
• Driver-shaped bucket seat.
• Dual individual rear seats.
• Heated front seats.
• Leather-wrapped steering wheel and shift knob.
• Drilled aluminum pedals.
Safety/Security
• Nissan Advanced Air Bag System (AABS) with dual-stage supplemental front air bags, seat belt sensors and occupant-classification sensor.
• Driver and front-passenger side-impact supplemental air bags and roof-mounted curtain supplemental air bags.
• Front seat belts with pretensioners and load limiters.
• Nissan Vehicle Immobilizer System.
• Vehicle Security System.
BIENNALIST @ Venice Biennale
www.emergencyrooms.org/biennalist.html
by www.colonel.dk and www.emergencyrooms.org
www.emergencyrooms.org/formats.html about other art format
------------about Venice Biennale history from wikipedia ---------
The Venice Biennale in English also called the "Venice Biennial") refers to an arts organization based in Venice
The Art Biennale, a contemporary visual art exhibition and so called because it is held biennially
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Azerbaijan, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czech and Slovak Republics, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, ten new participant countries developed national pavilions for the Biennale: Angola, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada [4], Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[29]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
, Photographic Source
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation
Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artist
"JAYNE COUNTY'S MAD TEA PARTY..SEX! ART! MUSIC!"
A KYMARA 21ST CENTURY THREE DAY HAPPENING
Friday, April 9, 2010 at 8:00pm
Chelsea Hotel
New York, NY
www.punkglobe.com/jaynecountyinterview0809.html
en.wikipedia.org/wiki/Jayne_County
www.facebook.com/group.php?gid=34004014453&ref=ts
Description
KYMARA 21ST CENTURY HAPENINGS, "PUNK GLOBE MAGAZINE", THE BLUE ELEPHANT EVENTS AND CAFE HARNEY AND SONS FINE TEA, WARWICK VALLEY WINERY AND DISTILLERY AND STUDIO 54 NY SUPERSTAR PARTY HOST, MIESTORM ALONG WITH MILO ROCK AND KYMARA
STARRING THE PREMIERE EXHIBIT OF THE ARTISTIC WORKS OF JAYNE COUNTY!!!!!
ALONG WITH THE ART, MUSIC AND FILM OF BILLY NAME, ANTON PERICH, CHRISTOPHER MAKOS, MICK ROCK, PRAIRIE PRINCE,CHRISTOPHER LYNCH, MARY WORONOV, LOUIS WALDON, WALTER STEDING, GAZELLE, GORMAN BECHARD, ERIC DANVILLE, THE FLOYDIAN DEVICE, DAVE STREET AND CO. AMANDA BURNS, MARK LA FALCE, AND MANY MORE MUSICIANS AND ARTISTS...
ANNOUNCING THE WORKS OF THE "BILLY NAME ANTE ART SUPERSTARS" JAYNE COUNTY, PRAIRIE PRINCE, RUBY LYNN REYNER, ANTON PERICH, MIESTORM, MILO ROCK, FERNANDO CARPANEDA, IAN COUCH, AND KYMARA
JAYNE COUNTY WILL BE PERFORMING LIVE AT CHELSEA HOTEL ALONG WITH HER NEW BAND, "THE WAR HOLES" FEATURING
MILO ROCK, FRANK COLEMAN, BOB TOXIC AND ARENA BOUND. VINTAGE FOOTAGE OF JAYNE COUNTY'S LIVE PERFORMANCE BY THE LEGENDARY ANTON PERICH
A FABULOUS ARRAY OF JAYNE COUNTY'S HISTORIC COSTUMES WILL BE ON DISPLAY!
FASHION SHOW BY "LIVE FAST" NYC
AWARD WINNING FILM "FRIENDS WITH BENEFITS" BY INDIE FILM DIRECTOR GORMAN BECHARD FOLLOWED BY A Q&A ON SUNDAY
A PORTION OF OUR PROCEEDS BENEFITS THE LGBT COMMUNITY SERVICES CENTER 208 West 13th Street New York, NY 10011
QUESTIONS????COMMENTS?????
CALL KYMARA DIRECTLY AT..
207-286-7399
OR EMAIL KYMARA@KYMARA.COM
Biography
Born in 1947 as Wayne Rogers, County left her hometown of Dallas, Georgia in 1968 to move to New York City, where she became a regular at the Stonewall Inn and took part in the historic riots. In 1969, County was asked by Warhol superstar and playwright Jackie Curtis to appear in her play Femme Fatale at the La MaMa Experimental Theatre Club, which also starred Patti Smith. In her autobiography, County says of Curtis, "She was my biggest influence, the person who really got me started." After a successful run of Femme Fatale, County wrote her own play World - Birth Of A Nation which she also appeared in, bringing her to the attention of Andy Warhol, who cast her in his own theatrical production Pork. After a run in New York, the play, with the New York cast, was performed in London for a few months. Upon returning to New York, County appeared in another play, Island, by Tony Ingrassia, again with Patti Smith.
Then, in 1972 County got her first band, Queen Elizabeth together, one of the pioneering glam rock bands. Despite being signed to MainMan Management, David Bowie's management firm, no records were ever produced, although the company did spend over $200,000 to film the 1974 stage show "Wayne at the Trucks", no footage of which has ever been released (even in bootleg form). The show featured numerous costume changes and some of County's raunchiest material. The film remains (presumably) in Bowie's vaults, though eight live recordings from this show were released in audio form on the 2006 CD Wayne County At The Trucks on Munster Records. The show is claimed by County to be the major inspiration for Bowie's stage show for the tour supporting his Diamond Dogs album.[1] In particular, County maintains that the song "Queenage Baby" was a prototype for Bowie's song "Rebel Rebel", a claim which is supported by some rock critics.[2][3]
In 1975, with her new band "The Backstreet Boys," Wayne County recorded three tracks for the compilation Max's Kansas City: New York New Wave, which also featured Suicide, Pere Ubu and The Fast. Wayne County and The Backstreet Boys played regularly at CBGBs and at Max's Kansas City, where County was also a DJ. In 1976, she appeared in the film The Blank Generation, directed by Amos Poe and Ivan Kral. The film, the recording and the shows were the beginnings of what came to be known as punk rock, and helped define this movement for a generation of youth.
In 1977, County left New York to return to London, where the English punk scene was just emerging. Here, she formed a new band called Wayne County & the Electric Chairs. County released the EP Electric Chairs 1977, plus a single on Illegal Records. This was followed by her most famous song, "Fuck Off" recorded as a single for Safari Records, with a European tour in support of the records. While in London, County met Derek Jarman who cast her as the character "Lounge Lizard" in the seminal punk film Jubilee, which also starred Adam Ant, Toyah Willcox, Ian Charleson and Jordan. After this The Electric Chairs recorded their first self-titled album, which featured "Eddie and Sheena", and an EP named Blatantly Offensive, which contained "Fuck Off" and "Toilet Love." After touring, they followed this up with another album Storm The Gates Of Heaven. The next album, released in 1979, was Things Your Mother Never Told You which featured several songs based on County's recent experiences in Germany. After it was released, the band broke up and County (along with guitarist Eliot Michaels) returned to the U.S. in 1979. It was at this time that she officially changed her stage name to "Jayne County" and began self-identifying as a woman. The final release by County on Safari Records, Rock and Roll Resurrection (In Concert), a live album recorded in Toronto on New Year's Eve of 1979, was under this new name.
In 1983, County returned to New York where she appeared in the theatrical production Les Girls with Holly Woodlawn and other performers. After this she returned to London for the premiere of City Of Lost Souls and stayed long enough to tour and record another album Private Oyster with Warren Heighway as manager. Her band included members of various UK based rock bands, including Manchester-based guitarists Stuart Clarke, Chris Lynch and Baz Creece on drums. Following widespread media attention she then returned again to the U.S.
In the 1990s many of the earlier recordings were released, such as the early Safari tracks on a CD called Rock & Roll Cleopatra. She recorded the album Goddess Of Wet Dreams in 1993, followed by Deviation in 1995. That same year she appeared in Wigstock: The Movie and released her autobiography Man Enough To Be A Woman.
Since Deviation, several new tracks have surfaced on various compilations and through Jayne's official website. Many of these tracks, both live and studio recordings, were collected on the Ratcage Records release So New York, including collaborations with Lisa Jackson and former Electric Chairs guitarist Eliot Michaels. A thunderous live show (recorded on Jayne's birthday) was released on the 2002 CD Wash Me In The Blood (Of Rock & Roll)- Live at Squeeze Box by Fang Records, and features a duet on "California Sun" by County and former nemesis "Handsome" Dick Manitoba of The Dictators.
DescriptionDisney DVD InformationName:Walt Disney's 100 Years Of Magic 172 DiscsGenre:CartoonDiscs:172Format:Support both NTSC & PALWeight:4 kgConditionNew Box SetAudio:Dolby Digital 5.1 - EnglishSubtitles - RemovableDisney DVD Collection ListWalt Disney established itself as a leader in the American animation industry before diversifying into live-action film production, television, and travel. Now it is one of the largest and best-known studios in Hollywood, an early and well-known cartoon creation of the company, Mickey Mouse, is the official mascot of The Walt Disney Company. There are many famous animations created by Disney, their charm never fades. Snow White and the Seven Dwarfs, Cinderella, Alice in Wonderland and Sleeping Beauty are some of the classic cartoons, others including:001.Snow White amd the Seven Dwarfs002. Pinocchio003. Fantasia004. Fantasia/2000005. Dumbo006. Bambi007. BambiⅡ008. Saludos Amigos009. Fun and fancy free010. Cinderella011. CinderellaⅡDreams come true012. CioderellaⅢA twist in time013. The wild014. Alice in Wonderland015. Peter Pan016. Lady and the Tramp017. Lady and the TrampⅡ: Scamp's Adventure018. Sleeping Beauty019. One Hundred and One Dalmatians020. 101 DalmatiansⅡ：Patch's london Adventure021. The Sword in the Stone022. The Aristocats023. Bedknobs and Broomsticks024. Robin Hood025. The fox and the Hound026. The little Mermaid027. The little MermaidⅡ: Return to the Sea028. Beauty and the Beast029. Beauty and the Beast: The Enchanted Christmas030. Aladdin031. The Return of jafar032. Aladdin and the King of thieves033. The Nightmare Before Christmas034. The lion King035. The lion KingⅡ: Simba's Pride036. The Lion King 1 ½037. Pocahontas038. Pocahonlas Ⅱ:Journey to a mew world039. Toy Story040. Toy story 2041. James and the Giant Peach042. The Hunchback of Notre Dame043. the HUnCHback of notre dame Ⅱ044. Hercules) 045. Mulan046. Mulan Ⅱ047. Tarzan048. Tarzan Ⅱ049. Valiant050. Dinosaur051. The emperor's New Groove052. Kronk's new groove053. recess:school's out054. Atlantis:The Lost Empir055. Atlantis:Milo's Return056. lilo & stitch057. Stitch 2: Stitch Has a Glitch058. Treasure Planet059. Brother Bear060. Brother Bear 2061. The Jungle Book062. The Jungle Book 2063. Home on the Range064. The Three Musketeers065. Mickey's twice upon a Christmas066. Chicken little067. The wild swans068. Felix the Cat Saves Christmas069. Mickey's magical christmas:snowed in at the house of mouse070. Mickey & Minnie071. Donald duck and the gorilla etc072. Casper073. Three little pigs074. daffy duck075. The black cauldron076. Return to neverland077. the tortoise and the hare078. Everybody loves Donald079. Everybody loves Goofy080. Everybody loves Mickey081. Sweetheart Stories082. Gulliver's travels083. Life with Mickey Town084. Walt Disney treasures volume 1085. Walt Disney treasures volume 2086. Walt Disney treasures volume 3087. Walt Disney treasures volume 4088. Walt Disneys 100 years of Magic: Goofy sport089. The three Caballeros090. Who framed Roger Rabbit091. Mary Poppins092. The Rescuers093. The Rescuers down Under094. Monsters Inc.095. Finding Nemo096. The incredibles097. Cars098. Winnie the Pooh:Story Book099. Winnie the Pooh:A very Merry Pooh Year100. Winnie the Pooh:Heffalump Movie101. Winnie the Pooh:Heffalump Halloween Movie102. Winnie the Pooh:Springtime with Roo103. Winnie the pooh:123104. Winnie the Pooh:All for one,one for all105. Winnie the pooh:the many adventures106. Winnie the Pooh:the Search for Christopher Robin107. Winnie the Pooh:franken Pooh108. A Bug's life109. Disney Heroes Volume One110. An officer and a duck111. Meet the Robinsons112. Underdog113. Ratatouille114. The adventures of ichabod and Mr. Toad115. Disney My friends Tigger and Pooh Super Sleuth Christmas Movie116. The chronological donald:volume one117. The chronological donald:volume two118. Mickey mouse clubhouse mickey saves santa119. Mickey's House of Villains120. Mickey mouse clubhouse:great clubhouse hunt121. Mickey princess enchanted tales:follow your dreams122. The tigger movieSpecial Bonus:123-132. Tom & Jerry133-152. The Berenstain Beans153-164. Sponge Bob Squarpants165-172. Disney Magic English
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.
Gallery tells tragic love story
Just off the lobby of the new Cincinnati Wing, a small gallery holds a larger than life love story. Artists Frank Duveneck and Elizabeth Boott - star-crossed lovers - were kept apart by ambition, money and class. It's the story of a doting father's disapproval, a young artist's perseverance, and love realized, cut short by tragic illness.
It begins in 1879 when Elizabeth Otis Lyman Boott, known as Lizzie, is 33 and living with her widowed father, Francis Boott in Italy. That summer, Lizzie and her father decided to study with Duveneck in Munich. They admired his first show in Boston and knew of his reputation as an excellent teacher.
But neither Duveneck's talent nor his teaching was enough to recommend him to Boott as a match for his daughter. The Bootts were Boston Brahmins; Duveneck was a penniless German-American Catholic. Two years younger than Lizzie, he spoke with an accent and his people ran a beer garden in Covington. But Duveneck was charming, with a cadre of students who loved him as much for his jokes and good nature as his instruction. Lizzie was taken with him immediately.
"We found him and were pleased," she wrote to a former colleague. "He is a remarkable looking young man, and a gentleman, which I did not expect. He has a fine head and a keen eye and the perceptions strongly developed."
Lizzie encouraged Duveneck to move to Florence with the idea of having him teach a class of women artists. She also promised to drum up portrait business for him among her wealthy friends. Duveneck agreed, moving to Florence that fall along with more than a dozen of his painter friends. The Bootts' 15th century Villa Castellani became the meeting place for a lively group of young art students. The couple soon became romantically involved and by Christmas 1880 agreed to marry. A year later - in a pattern indicative of their courtship - the engagement was called off.
Lizzie's desire to be a professional painter conflicted with her feelings for Duveneck. By all accounts he was lazy; she was ambitious. She was the center of her father's universe and this loud, generous, crude character broke into the sophisticated solitude they enjoyed.
"Fraught with tensions of manners, money and class, Lizzie and Frank's relationship could not fail to interest Henry James, a frequent visitor to the Bootts' Italian home," writes Duveneck scholar Carol M. Osborne in an essay on the couple. "In literary guise Lizzie and her father, together with others in their ... circle of Anglo-American friends, often appear in James' fiction. In Portrait of a Lady (1881), a portion of which was written while the novelist lived nearby in the Villa Brichieri, James used the Villa Castellani imaginatively as the home of Gilbert Osmond and his daughter, Pansy."
For the next five years the couple spent more time apart than together, but when they found themselves in Paris in 1885, they decided their feelings remained. A few months shy of Lizzie's 40th birthday, they were married on March 25, 1886. Lizzie wore dark brown as was the custom of the time and wore the dress again when Duveneck painted her portrait two years later.
After a month long wedding trip, the newlyweds rejoined Francis Boott at the Villa Castellani and set to work in space converted into a studio. Speculation about the marriage continued - Francis Boott made Duveneck sign the equivalent of a pre-nuptial agreement that said he would relinquish any right to Lizzie's fortune.
As winter approached the couple, expecting their first child, moved from the villa to an apartment near the American Embassy in Florence where their son, Francis, was born on Dec. 18. Five months later, convinced Duveneck was not a fortune hunter, Boott restored Duveneck's right to Lizzie's money.
Early in 1888, the little family returned to Paris where Duveneck reconnected with his Munich friends. Lizzie, saddled with a child, husband and elderly father, had a new view of Parisian life. But despite it all, she took up watercolors again, and she and Duveneck submitted work to the jury for the 1888 Paris Salon.
On the day the jury voted, Lizzie went to bed with a chill. Four days later she died of pneumonia.
Duveneck returned to the States in 1889, placed his son in the care of the Boott family in Boston at the insistence of his father-in-law, and settled in Cincinnati where he worked on a funerary monument for his beloved wife's grave. A simple effigy covered with a palm leaf was cast in bronze and later copied in plaster - one awarded an honorable mention at the Salon of 1895 - and sent to the Boston Museum of Fine Arts (among others) where his son could see it.
Frank Duveneck & Elizabeth Boott Duveneck: An American Romance
Letter from Elizabeth Boott to Henry James
www.aaa.si.edu/collections/frank-and-elizabeth-boott-duve...
www.wikigallery.org/wiki/painting_81138/Frank-Duveneck/Vi...
www.nytimes.com/2021/08/06/opinion/covid-delta-vaccines-u...
No, the Unvaccinated Aren’t All Just Being Difficult
By Bryce Covert
Ms. Covert is an independent journalist who focuses on the economy, with an emphasis on policies that affect workers and families.
On a July day in downtown Lowell, Mass., the first sunny Saturday of the month, people began to line up for a block party. Food trucks offered everyone a free empanada or egg roll. A D.J. played music. There were kid-friendly activities, too, like a touch-a-truck station with a fire truck and an ambulance.
The party wasn’t just a way to have a good time. The real motivation was to get people in the community vaccinated against Covid-19. Nestled between the food trucks were ones offering Pfizer, Moderna and Johnson & Johnson vaccines.
In the minds of the public health and community organizers who staged it, it was a roaring success. Sixty-four people got vaccinated within six hours. Hannah Tello, a community health data manager at the nonprofit Greater Lowell Health Alliance, noted that it was eight to 10 times as many vaccinations as what their mobile clinics had been doing; their most successful day before this administered 12.
The people who got shots at the party “were not people who were resistant,” Dr. Tello told me. Outreach workers went to a nearby park and invited the homeless people there to get free food and, if they wanted, a vaccination, and many took them up on the offer in such a low-stakes, nonmedical setting.
An elderly woman who cares for two people with disabilities had tried and failed to schedule vaccinations for all three of them at the same time. This time, she succeeded. A woman who was able to vaccinate all the other eligible people in her family hadn’t been able to get it herself because she has four young children she wasn’t allowed to take to the vaccination center. That day her children played cornhole while she got the shot.
The party organizers also reached about 250 other attendees, many of whom had conversations about their concerns. Some were worried that the vaccines cost money, even though they’re free to all. They were concerned they would need some sort of documentation, which they don’t. One woman hadn’t gotten the shot yet because she has an intense fear of needles; she did it that day after 25 minutes of talking it through. “Her getting her shot is just as important as the people who lined up outside our clinics a few months ago,” Dr. Tello said. “No one is less deserving of having access.”
The country’s vaccination campaign has lagged since April, and that has allowed for a spike in cases, particularly in largely unvaccinated areas. Vaccinations have risen lately in response to the spread of the Delta variant, but rather than keeping its foot on the gas and throwing every idea, every resource at the problem, the White House has started to shift the blame onto those who still haven’t gotten a shot. President Biden grumbled that he has struck a “brick wall” in persuading more Americans to get the shot. Last week, taking aim at those he called “unvaccinated, unbothered and unconvinced,” he said, “If you’re out there unvaccinated, you don’t have to die. Read the news.”
There are plenty of Americans who have been inundated with misinformation about the vaccines. Many are staunchly opposed to getting it for a variety of reasons, from personal health concerns to conspiracy theories. But that doesn’t describe everyone who is unvaccinated — not by a long shot. And there are plenty of things we can do to reach them if we’re serious about spending the time and the money.
Instead, the current approach is to argue that access has increased and it’s everyone’s individual responsibility to get a shot — and if you don’t, it’s on you. Once again, we have taken the cruelly American, ruggedly individualistic tactic of making this about personal responsibility, not about a systemic response, just as we did in combating the virus itself.
“It’s not a public health strategy for any condition to just blame somebody into treatment and prevention,” said Rhea Boyd, a pediatrician and public health advocate. Telling the unvaccinated that they’re being selfish “really runs counter to all the work it’s going to take to convince those folks to be vaccinated, to trust us that we have their best interests in mind.”
It’s also shortsighted. If some people continue to struggle with getting vaccinated, the virus will continue to run rampant, threatening a rebound in economic activity and giving the coronavirus a chance to mutate yet again. The refrain we’ve heard throughout is still true: We’re not safe until we’re all safe.
Those who aren’t yet vaccinated are much more likely to be food insecure, have children at home and earn little. About three-quarters of unvaccinated adults live in a household that makes less than $75,000 a year. They are nearly three times as likely as the vaccinated to have had insufficient food recently. Many of them have pressing concerns they can’t just put aside because they need to get a vaccination.
Access is far more widespread than it was at the beginning of the year. Many cities now offer multiple venues for getting it without needing an appointment. But about 10 percent of the eligible population still lives more than a 15-minute drive from a vaccine distribution location. And even if there’s a site down the road, it usually requires taking time off work — not just to get the shot but also potentially to recover from the side effects — arranging transportation and figuring out child care.
“Missing out on a few hours of work seems very easy to us, but in fact it could be the matter of having food for the family versus not,” said Ann Lee, the chief executive of the nonprofit Community Organized Relief Effort. For these people, when they’re weighing whether to get a vaccination or potentially forgo some wages, “the wages are going to win out.”
Those who are unvaccinated are also likely to work in essential jobs like agriculture and manufacturing that don’t allow them to step away from work. They work long hours and may prioritize time with their families or communities when they finally get a break. People who have multiple jobs may find it impossible to schedule a shot in between all of their shifts.
And yet 43 percent of the unvaccinated say they definitely or probably would get it or are unsure, according to Julia Raifman, an assistant professor at the Boston University School of Public Health.
“We pretty quickly exhausted those who were easiest to reach and vaccinate,” Tara Smith, a public health professor at Kent State, told me. “This next phase is more difficult, but I don’t think it’s impossible to continue to get more people vaccinated. We just have to get creative.”
A block party doesn’t work in every community, particularly more rural ones. For those places, an event could be staged at a church or a county fair. Anything that allows people to discuss their concerns with experts and get vaccinated on the spot erases dangerous lag time. Dr. Tello’s organization found that many disappeared in the time between an educational conversation and a vaccination appointment weeks later.
Another way to take the vaccines to people for whom the logistics are complicated is to do it at workplaces. Ms. Lee’s organization held a vaccination drive at a construction site in Washington, D.C., and vaccinated 165 people. “They wanted to get vaccinated. There was just no way some of these day laborers were going to take off of work and maybe get sick,” Ms. Lee said. In January, Riverside, Calif., began a program to take vaccines into the fields to reach agricultural workers.
There are plenty of other smart places to distribute vaccines. Take them to food pantries, where low-income and food-insecure people show up by necessity on a regular basis. Do vaccinations at shopping centers where everyone goes to buy food. Vaccine drives could also be held on the first day of school for parents and older children alike; it’s late in the game, since it takes weeks for full immunity, but it’s better than missing them entirely.
Going door to door can also reach people, particularly those who are homebound. The Central Falls Housing Authority in Rhode Island offered shots to its public housing residents at the end of last year, and by January, 80 percent had been vaccinated. In Los Angeles, Ms. Lee’s team contacts the homebound first to talk through any concerns and again a week later to administer a vaccine. Vaccines could even be paired with Meals on Wheels deliveries.
To address transportation issues, the White House collaborated with Uber and Lyft to give free rides up to $25 to and from vaccination sites. But those companies don’t operate in every community, particularly outside cities. The government could also give grants to community organizations that can give people free rides to vaccination sites. “If you have a bus at a church, you can get a grant,” Dr. Boyd suggested.
We have to mandate paid leave so workers can take at least two days to get a shot and recover without jeopardizing their incomes. The Biden administration has offered tax credits to employers with fewer than 500 employees to cover the cost of offering paid leave for getting vaccinated, which he expanded this month. Some states, including New York, have mandated it. But everywhere else, it’s up to an employer to offer it, and if existing paid leave benefits are any guide, it’s the lowest-wage workers who are least likely to get it. The Occupational Safety and Health Administration released an emergency temporary standard in June that requires employers to provide paid time off to get vaccinated and recover, but it applies only to health care workers, despite the fact that a draft version included everyone.
Short of that, community organizations can send people home from getting vaccinated with enough food for their families if they have to miss work for a day or two. When Ms. Lee’s organization did testing in the Navajo Nation, it gave people two weeks of food in case they got a positive result and had to quarantine. It’s now sending people home with food as well as diapers, formula and hygiene kits with things like shampoo and tampons.
Parents also need child care — not just for getting their shots but also if they experience side effects. The government is working with four large child care providers to offer free care, but those centers may not be available to everyone, nor will all parents feel comfortable sending their children to an unfamiliar setting. Instead, we could give them money to pay their trusted source of child care and also offer care at vaccination centers.
State and local officials can kick-start some of this on their own. But the real money, and the power to set the agenda, comes from the White House and Congress. “If the federal government said, ‘We are really concerned, we see that low-income people have not had access to the vaccine, and we’re putting forth a huge effort to bring it to them in their workplaces and homes,’” Dr. Raifman said, “that would be a compelling message that would mobilize people across the country.” Federal funding needs to be filtered down to the local level as quickly as possible. There’s a lot of money for vaccinations, but it has to get to the organizations that are deeply embedded in their communities and ready to pull this off.
Dr. Tello’s organization plans to repeat the block party this summer, this time as a back-to-school event, handing out free backpacks and school supplies as well as flu shots alongside the Covid vaccines. And it will be timed so that those who got their first shot of the Moderna or Pfizer vaccine at July’s party can get their second dose on the spot. “Sometimes,” she said, “you have to make it too convenient so that people can’t say no.”
kokomoperspective.com/lifestyles/iu-kokomo-chancellor-mic...
newsroom.iuk.edu/articles/2011/09-sep/governor-appoints-c...
kokomoperspective.com/news/local_news/governor-appoints-c...
kokomoperspective.com/lifestyles/iu-kokomo-chancellor-mic...
www.bizvoicemagazine.com/media/archives/12marapr/CampusAd...
www.in.gov/che/files/2012_RHAM_4_26_12.pdf
en.wikipedia.org/wiki/Michael_Harris_%28academic%29
m.kokomoperspective.com/news/local_news/governor-appoints...
kokomoperspective.com/kp/news/iu-kokomo-an-agent-for-chan...
ceremonies.iu.edu/iuk/biography.shtml
articles.washingtonpost.com/2008-11-02/news/36841810_1_bi...
newsinfo.iu.edu/news/page/normal/19216.html
kokomoperspective.com/news/local_news/governor-appoints-c...
www.kokomoherald.com/main.asp?SectionID=52&SubSection...
www.insideindianabusiness.com/newsitem.asp?ID=51072
nciia.org/network/conference/2010/presenters/michael_harris
homepages.indiana.edu/web/page/normal/20830.html
m.kokomoperspective.com/lifestyles/iu-kokomo-chancellor-m...
newsroom.iuk.edu/athletics/3-athletics-news/264-naia-appr...
www.insideindianabusiness.com/newsitem.asp?ID=46170
www.insideindianabusiness.com/newsitem.asp?ID=53209
kokomoperspective.com/xtra/education/u-s-news-world-repor...
aascu.org/WorkArea/DownloadAsset.aspx?id=5568
s1344.photobucket.com/user/mharrism/media/Michael%20Harri...
newsroom.iuk.edu/campus/17-campus-news/341-indiana-univer...
www.insideindianabusiness.com/newsitem.asp?id=54735
kokomoperspective.com/news/iu-kokomo-finalist-for-nationa...
newsroom.iuk.edu/chancellor/chancellor-archive/113-indian...
www.kettering.edu/news/dr-michael-harris-commencement-spe...
indianaeconomicdigest.com/Main.asp?SectionID=31&SubSe...
newsroom.iuk.edu/chancellor/chancellor-archive/121-govern...
www.universitiesnews.com.previewdns.com/2012/05/20/us-iuk...
kokomoperspective.com/news/local_news/kokomo-perspective-...
kokomoperspective.com/kp/news/iu-kokomo-an-agent-for-chan...
kokomoperspective.com/news/local_news/kokomo-perspective-...
kokomoperspective.com/news/local_news/milt-and-jean-cole-...
kokomoperspective.com/xtra/education/indiana-university-k...
kokomoperspective.com/lifestyles/iu-kokomo-chancellor-mic...
homepages.indiana.edu/web/page/normal/20760.html
kokomoperspective.com/kids/kokomoans/a-childhood-story-fr...
m.kokomoperspective.com/news/local_news/kokomo-perspectiv...
m.kokomoperspective.com/sports/iuk/naia-approves-indiana-...
kokomoperspective.com/news/local_news/transformation-begi...
kokomoperspective.com/news/local_news/governor-appoints-c...
kokomoperspective.com/news/local_news/mcrobbie-chancellor...
kokomoperspective.com/xtra/education/indiana-university-k...
kokomoperspective.com/community/education/iu-kokomo-chanc...
kokomoperspective.com/news/iu-kokomo-finalist-for-nationa...
kokomoperspective.com/news/local_news/iu-kokomo-contribut...
kokomoperspective.com/news/iu-kokomo-recognized-for-tuiti...
kokomoperspective.com/news/iu-kokomo-sets-summer-enrollme...
kokomoperspective.com/xtra/education/iu-kokomo-graduates-...
kokomoperspective.com/xtra/education/iu-kokomo-hosts-regi...
kokomoperspective.com/kp/news/iu-kokomo-restructures-to-b...
kokomoperspective.com/sports/iuk/naia-approves-indiana-un...
kokomoperspective.com/news/local_news/community-to-be-bro...
kokomoperspective.com/kp/news/gkeda-hopes-the-chinese-are...
kokomoperspective.com/lifestyles/iu-kokomo-student-alunni...
kokomoperspective.com/xtra/education/indiana-university-k...
kokomoperspective.com/xtra/education/iuk-summer-enrollmen...
kokomoperspective.com/lifestyles/indiana-university-kokom...
kokomoperspective.com/news/local_news/iu-kokomo-introduce...
kokomoperspective.com/xtra/education/iu-kokomo-prepares-f...
kokomoperspective.com/kp/news/iu-kokomo-raising-funds-for...
kokomoperspective.com/kp/lifestyles/more-students-choose-...
kokomoperspective.com/news/local_news/iu-kokomo-makes-his...
kokomoperspective.com/indiana-university-kokomo-achieves-...
prezi.com/mqmsmgcgni1u/iu-kokomomoving-forward/
homepages.indiana.edu/web/page/normal/22030.html
kokomoperspective.com/kp/news/people-of-the-year/article_...
kokomoperspective.com/news/local_news/inaugural-nursing-m...
kokomoperspective.com/kp/news/iu-kokomo-an-agent-for-chan...
kokomoperspective.com/xtra/education/u-s-news-world-repor...
kokomoperspective.com/news/local_news/freshman-increase-d...
kokomoperspective.com/former-vatican-employee-increases-d...
www.prnewswire.com/news-releases/indiana-university-kokom...
kokomoperspective.com/local_sports/iu-kokomo-women-s-voll...
kokomoperspective.com/sports/iuk/iu-kokomo-selects-cross-...
kokomoperspective.com/lifestyles/indiana-university-kokom...
kokomoperspective.com/news/iu-kokomo-chancellor-s-message...
www.huffingtonpost.com/2010/11/23/auto-industry-bailout-p...
kokomoperspective.com/xtra/education/iu-kokomo-celebrates...
kokomoperspective.com/news/local_news/perspective-names-p...
kokomoperspective.com/kp/perspective-s-people-of-the-year...
kokomoperspective.com/xtra/education/iu-kokomo-prepares-h...
kokomoperspective.com/local_sports/cougar-women-s-volleyb...
www.prnewswire.com/news-releases/indiana-university-kokom...
whotalking.com/flickr/Chancellor
m.kokomoperspective.com/joe-biden-michael-harris-barack-o...
articles.southbendtribune.com/2011-10-02/news/30236848_1_...
kokomoperspective.com/milt-cole-and-chancellor-michael-ha...
kokomoperspective.com/search/?t=article&q=michael+harris
en.wikipedia.org/wiki/Michael_Harris_%28academic%29
kokomoperspective.com/news/local_news/transformation-begi...
nciia.org/network/conference/2010/presenters/michael_harris
www.in.gov/che/files/All_Bios.pdf
kokomoperspective.com/news/local_news/transformation-begi...
newsroom.iuk.edu/campus.html?start=270
www.spokeo.com/Michael+Harris+10
www.deseretnews.com/article/700084585/Auto-industry-bailo...
articles.southbendtribune.com/2011-10-02/news/30236848_1_...
www.utsandiego.com/news/2010/Nov/22/auto-industry-bailout...
www.huffingtonpost.com/2010/11/23/auto-industry-bailout-p...
tackk.com/michaelharrischancellor
www.insideindianabusiness.com/newsitem.asp?ID=51072
www.kokomoherald.com/main.asp?SectionID=52&SubSection...
www.prnewswire.com/news-releases/indiana-university-kokom...
avoyership13.moxai.com/chan-7603525/all_p2.html
bulldogs.kettering.edu/perspective/2010/08/01/china-2010/
www.kettering.edu/news/seeking-presence-china
www.facultyfocus.com/articles/academic-leadership/academi...
blogs.forbes.com/people/michaelharrischancellor/
www.businesswire.com/news/home/20100602005505/en/Ketterin...
www.mlive.com/news/flint/index.ssf/2010/02/post_92.html
www.mlive.com/news/flint/index.ssf/2010/02/post_92.html
blogs.forbes.com/people/michaelharrischancellor/
prezi.com/mqmsmgcgni1u/iu-kokomomoving-forward/
Chancellor Michael Harris IUK - On the Move
www.youtube.com/watch?v=uD3exIJ-hGs
The Big Move, Visioned, Initiated and Implemented by Chancellor Michael Harris IU Kokomo:
www.youtube.com/watch?v=mJIe0t6aDEU
The Big Move, Visioned, Initiated and Implemented by Chancellor Michael Harris IU Kokomo:
www.youtube.com/watch?v=mJIe0t6aDEU
homepages.indiana.edu/web/page/normal/22373.html
homepages.indiana.edu/web/page/normal/17736.htmlhtml
mydigimag.rrd.com/article/Up_Front/706709/67528/article.html
www.mlive.com/news/index.ssf/2008/08/swedish_king_to_visi...
www.deseretnews.com/article/700084585/Auto-industry-bailo...
www.youtube.com/watch?v=uD3exIJ-hGs
www.youtube.com/watch?v=uD3exIJ-hGs
www.youtube.com/watch?v=uD3exIJ-hGs
Notable Alumni of Tel Aviv University: en.wikipedia.org/wiki/Tel_Aviv_University#Notable_alumni
Chancellor Michael Harris, IU Kokomo. Expert Analysis
splashkokomo.com/2012/01/23/third-house-remained-hospitab...
www.slideshare.net/michaelharrischancellor/value-basedlea...
Chancellor Michael Harris, IU Kokomo, Expert Analysis
www.bizjournals.com/prnewswire/press_releases/2011/05/19/...
www.reuters.com/article/2011/05/20/idUS35859+20-May-2011+...
kokomoperspective.com/xtra/education/indiana-university-k...
kokomoperspective.com/news/kokomo-wins-indiana-associatio...
kokomoperspective.com/news/kokomo-wins-indiana-associatio...
kokomotribune.com/local/x1526182114/Alliance-highlights-K...
kokomoperspective.com/indiana-university-kokomo-chancello...
IU Notable Alumni
en.wikipedia.org/wiki/List_of_Indiana_University_(Bloomington)_people
Michael Harris - "A viking with a heart of a mother and an Incandescent spirit."
Product Description
My Fitness Coach 2: Exercise & Nutrition Wii
Product Features
* Personal virtual trainer demonstrates moves, gives advice, and provides motivation
* Access almost 80 exercises for losing weight, lowering your cholesterol, and getting ready for swimsuit season
* Personalized goals let you chose length and frequency of program on a calendar
* Customize your environment and pick your favorite type of workout music
* Chart your progress with graphs over an extended period of time
Image 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.
_________________
Additional information from source:
In 2002, NASA produced the Blue Marble, the most detailed true-color image of the Earth's surface ever produced. Using data from NASA’s Terra satellite, scientists stitched together four months of observations of the land surface, coastal oceans, sea ice, and clouds into a seamless, photo-like mosaic of every square kilometer (.386 square mile) of our planet. In October 2005, the creators of the Blue Marble released a new version of the spectacular image collection that provides a full year's worth of monthly observations with twice the level of detail as the original called the Blue Marble: Next Generation.
Like the original, the Blue Marble: Next Generation is a mosaic of satellite data taken mostly from a NASA sensor called the Moderate Resolution Imaging Spectroradiometer (MODIS) that flies board NASA’s Terra and Aqua satellites.
Blue Marble: Next Generation improves the techniques for turning satellite data into digital images, providing greater detail in areas that usually appear very dark to the satellite (because a large amount of sunlight is being absorbed), for example in dense tropical forests. The ability to create a digital image that provides great detail in darker regions without 'washing out' brighter regions, like glaciers, snow-covered areas, and deserts is one of the great challenges of visualizing satellite data. The new version also improves image clarity, and gives highly reflective bodies of water a more realistic appearance.
Image Credit: NASA
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.
hi.kingdomsalvation.org/gospel/normal-relationship-with-g...
परमेश्वर के प्रासंगिक वचन:
तहेदिल से परमेश्वर की आत्मा को स्पर्श करके लोग परमेश्वर पर विश्वास करते हैं, उससे प्रेम करते हैं, और उसे संतुष्ट करते हैं, और इस प्रकार वे परमेश्वर की संतुष्टि प्राप्त करते हैं; जब वे परमेश्वर के वचनों के संपर्क में आते हैं, तो परमेश्वर का आत्मा का उन पर भावनात्मक प्रभाव पड़ता है। यदि तुम एक उचित आध्यात्मिक जीवन प्राप्त करना चाहते हो और परमेश्वर के साथ एक उचित संबंध स्थापित करना चाहते हो, तो तुम्हें पहले उसे अपना हृदय अर्पित करना होगा, और अपने हृदय को उसके सामने शांत करना होगा। अपने पूरे हृदय को परमेश्वर की स्तुति में डुबोकर ही तुम धीरे-धीरे एक उचित आध्यात्मिक जीवन का विकास कर सकते हो। यदि लोग परमेश्वर को अपना हृदय अर्पित नहीं करते हैं और उस पर पूरी तरह विश्वास नहीं करते हैं, और अगर उनका दिल उन्हें महसूस नहीं करता है और वे परमेश्वर के बोझ को अपना बोझ नहीं मानते हैं, तो जो कुछ भी वे कर रहे हैं उससे केवल परमेश्वर को धोखा दे रहे हैं, और ये धार्मिक व्यक्तियों का केवल व्यवहार है—ये परमेश्वर की प्रशंसा प्राप्त नहीं कर सकता है।
— "वचन देह में प्रकट होता है" में "परमेश्वर के साथ एक उचित संबंध स्थापित करना बहुत महत्वपूर्ण है" से उद्धृत
आज पवित्र आत्मा के वचन पवित्र आत्मा के कार्य का गतिविज्ञान हैं और इसके दौरान पवित्र आत्मा के द्वारा मनुष्य का निरंतर प्रबोधन, पवित्र आत्मा के कार्य की प्रवृत्ति है। और आज पवित्र आत्मा के कार्य की प्रवृत्ति क्या है? यह आज परमेश्वर के कार्य और एक सामान्य आध्यात्मिक जीवन में दर्ज होने में लोगों का नेतृत्व करना है। ...
सबसे पहले, तुम्हें अपने दिल को परमेश्वर के वचनों में उड़ेल देना चाहिए। तुम्हें परमेश्वर के अतीत के वचनों का अनुसरण नहीं करना चाहिए, और न तो उनका अध्ययन करना चाहिए और न ही आज के वचनों से उनकी तुलना करनी चाहिए। इसके बजाय, तुम्हें पूरी तरह से परमेश्वर के वर्तमान वचनों में अपना दिल उड़ेल देना चाहिए। अगर ऐसे लोग हैं जो अभी भी अतीत काल के परमेश्वर के वचन, आध्यात्मिक किताबें, या प्रचार-प्रसार के अन्य विवरणों को पढ़ना चाहते हैं, जो आज पवित्र आत्मा के वचनों का पालन नहीं करते हैं, तो वे सभी लोगों में सबसे अधिक मूर्ख हैं; परमेश्वर ऐसे लोगों से घृणा करता है। यदि तुम आज पवित्र आत्मा का प्रकाश स्वीकार करने के लिए तैयार हो, तो फिर अपने दिल को आज परमेश्वर की उक्तियों में उड़ेल दो। यह पहली चीज़ है जो तुम्हें हासिल करनी है।
— "वचन देह में प्रकट होता है" में "परमेश्वर के सबसे नए कार्य को जानो और परमेश्वर के चरण-चिन्हों का अनुसरण करो" से उद्धृत
परमेश्वर में विश्वास करने में तुम्हें कम से कम परमेश्वर के साथ एक सामान्य संबंध रखने के विषय का समाधान करना चाहिए। परमेश्वर के साथ सामान्य संबंध के बिना परमेश्वर में विश्वास करने का महत्व खो जाता है। परमेश्वर के साथ एक सामान्य संबंध को स्थापित करना परमेश्वर की उपस्थिति में अपने हृदय को शांत करने के द्वारा ही किया जा सकता है। परमेश्वर के साथ एक सामान्य संबंध को स्थापित करने का अर्थ है परमेश्वर के किसी भी कार्य पर संदेह न करना या उसका इनकार न करना, बल्कि उसके प्रति समर्पित रहना, और इससे बढ़कर इसका अर्थ है परमेश्वर की उपस्थिति में सही इरादों को रखना, स्वयं के बारे में न सोचते हुए हमेशा परमेश्वर के परिवार की बातों को सबसे महत्वपूर्ण विषय के रूप में सोचना, फिर चाहे तुम कुछ भी क्यों न कर रहे हो, परमेश्वर के अवलोकन को स्वीकार करना और परमेश्वर के प्रबंधनों के प्रति समर्पण करना। परमेश्वर की उपस्थिति में तुम जब भी कुछ करते हो तो तुम अपने हृदय को शांत कर सकते हो; यदि तुम परमेश्वर की इच्छा को नहीं भी समझते हो, फिर भी तुम्हें अपनी सर्वोत्तम योग्यता के साथ अपने कर्तव्यों और जिम्मेदारियों को पूरा करना चाहिए। अभी देर नहीं हुई है, परमेश्वर की इच्छा का स्वयं पर प्रकट होने की प्रतीक्षा करो, और फिर तुम इसे अभ्यास में लाओ। जब परमेश्वर के साथ तुम्हारा संबंध सामान्य हो जाता है, तब तुम्हारा संबंध लोगों के साथ भी सामान्य होगा। सब कुछ परमेश्वर के वचनों पर स्थापित है। परमेश्वर के वचनों को खाने और उन्हें पीने से परमेश्वर की माँगों के अनुसार कार्य करो, अपने दृष्टिकोणों को सही रखो, और ऐसे कार्यों को न करो जो परमेश्वर का प्रतिरोध करते हों या कलीसिया में विघ्न डालते हों। ऐसे कार्यों को न करो जो भाइयों और बहनों के जीवनों को लाभान्वित न करें, ऐसी बातों को न कहो जो दूसरे लोगों के जीवन में योगदान न दें, निंदनीय कार्य न करो। सब कार्यों को करने में न्यायी और सम्माननीय बनो और उन्हें परमेश्वर के समक्ष प्रस्तुति योग्य बनाओ। यद्यपि कभी-कभी देह कमज़ोर होती है, फिर भी तुम अपने लाभों का लालच न करते हुए परमेश्वर के परिवार को लाभान्वित करने को सर्वोच्च महत्त्व दे सकते हो, और धार्मिकता को पूरा कर सकते हो। यदि तुम इस तरह से कार्य कर सकते हो, तो परमेश्वर के साथ तुम्हारा संबंध सामान्य होगा।
जब भी तुम कुछ करते हो, तो तुम्हें यह जांचना आवश्यक है कि क्या तुम्हारी प्रेरणाएँ सही हैं। यदि तुम परमेश्वर की माँगों के अनुसार कार्य कर सकते हो, तो परमेश्वर के साथ तुम्हारा संबंध सामान्य है। यह निम्नतम मापदंड है। जब तुम अपनी प्रेरणाओं को जाँचते हो, तो यदि उनमें ऐसी प्रेरणाएँ मिल जाएँ जो सही न हों, और यदि तुम उनसे फिर सकते हो और परमेश्वर के वचनों के अनुसार कार्य कर सकते हो, तो तुम एक ऐसे व्यक्ति बन जाओगे जो परमेश्वर के समक्ष सही है, और जो दर्शाएगा कि परमेश्वर के साथ तुम्हारा संबंध सामान्य है, और तुम जो कुछ करते हो वह परमेश्वर के लिए है, न कि तुम्हारे अपने लिए। तुम जब भी कुछ करते या कहते हो, तो तुम्हें अपने हृदय को सही रखना, और धर्मी बनना चाहिए, और अपनी भावनाओं में नहीं बहना चाहिए, या तुम्हारी अपनी इच्छा के अनुसार कार्य नहीं करना चाहिए। ये ऐसे सिद्धांत हैं जिनमें परमेश्वर के विश्वासी स्वयं आचरण करते हैं। एक व्यक्ति की प्रेरणाएँ और उसका महत्व छोटी बातों में प्रकट हो सकता है, और इस प्रकार, परमेश्वर द्वारा सिद्ध बनाए जाने के मार्ग में प्रवेश करने के लिए लोगों को पहले उनकी अपनी प्रेरणाओं और परमेश्वर के साथ उनके संबंध का समाधान करना आवश्यक है। जब परमेश्वर के साथ तुम्हारा संबंध सामान्य होता है, केवल तभी तुम परमेश्वर के द्वारा सिद्ध किए जाओगे, और केवल तभी तुम में परमेश्वर का व्यवहार, काट-छाँट, अनुशासन और शोधन अपने वांछित प्रभाव को पूरा कर पाएगा। कहने का अर्थ यह है कि लोग अपने हृदयों में परमेश्वर को रख सकेंगे, और व्यक्तिगत लाभों को नहीं खोजेंगे, अपने व्यक्तिगत भविष्य (अर्थात् शरीर के बारे में सोचना) के बारे में नहीं सोचेंगे, बल्कि वे जीवन में प्रवेश करने के बोझ को रखेंगे, सत्य का अनुसरण करने में अपना सर्वोत्तम प्रयास करेंगे, और परमेश्वर के कार्य के प्रति समर्पित रहेंगे। इस प्रकार से, जिन लक्ष्यों को तुम खोजते हो वे सही हैं, और परमेश्वर के साथ तुम्हारा संबंध सामान्य है।
— "वचन देह में प्रकट होता है" में "परमेश्वर के साथ तुम्हारा संबंध कैसा है?" से उद्धृत
संदर्भ के लिए धर्मोपदेश और संगति के उद्धरण:
परमेश्वर के साथ उचित संबंध स्थापित करते समय, हमें कहाँ से शुरू करना चाहिए? परमेश्वर से प्रार्थना करते समय दिल से बात करना सबसे महत्वपूर्ण बात है। उदाहरण के लिए, प्रार्थना में तुम कहते हो, "हे परमेश्वर, मैं देखता हूँ कि मेरे कई भाई-बहन तेरे लिए खुद को समर्पित करते हैं, लेकिन मेरी हैसियत बहुत छोटी है। मैं अपनी आजीविका, अपने भविष्य के बारे में सोचता हूँ और सोचता हूँ कि क्या मेरा शरीर भविष्य में कठिनाइयों का सामना कर पाएगा। मैं सब कुछ नहीं त्याग सकता। मैं वाकई तेरे कर्ज में हूँ। उनके पास इतना बड़ा कद कैसे हो सकता है? हम समान प्रकार के परिवारों से आते हैं। मगर वे खुद को परमेश्वर के लिए पूरे समय खपा सकते हैं, मैं ऐसा क्यों नहीं कर सकता? मुझमें सत्य की बहुत कमी है। मैं हमेशा अपने शारीरिक इच्छाओं की चिंता करता हूँ। मेरे पास पर्याप्त आस्था नहीं है। हे परमेश्वर, मैं चाहता हूँ कि तू मुझे प्रबुद्ध करे, मुझे रोशन करे, मुझे वास्तव में तुझ पर विश्वास करने और तेरे लिए जल्द से जल्द खुद को खपाने में सक्षम बना।" यह दिल से बात करना है। यदि तुम हर दिन, दिल से, इस तरह परमेश्वर के साथ संवाद करते हो, तो उसे पता चलेगा कि तुम ईमानदार हो और उसे मूर्ख बनाने या चिकनी चुपड़ी बातों में फंसाने और उसे धोखा देने की कोशिश नहीं कर रहे हो। तब पवित्र आत्मा अपना कार्य करेगा। परमेश्वर के साथ उचित संबंध स्थापित करने का यही अर्थ है। हम रचनाएं हैं, और वह सृष्टिकर्ता है। रचना जब अपने सृष्टिकर्ता के सामने खड़ी हो तो उसके पास क्या-क्या होना चाहिए? उसके पास सच्ची आज्ञाकारिता, स्वीकृति, विश्वास और आराधना होनी चाहिए। हमें अपने दिल पूरी तरह से परमेश्वर को दे देना चाहिए। उन्हें उसे अगुवाई करने, शासन करने और योजना बनाने देना चाहिए। इस तरह प्रार्थना करना और तलाश करना सही है। परमेश्वर के साथ उचित संबंध स्थापित करने का यही अर्थ है।
— जीवन में प्रवेश पर धर्मोपदेश और संगति से उद्धृत
परमेश्वर के साथ उचित सम्बन्ध कैसे स्थापित करें? बहुत से सिद्धांत इसमें शामिल हैं। पहला यह है कि तुम्हें परमेश्वर की सर्वशक्तिमत्ता और बुद्धि में विश्वास करना होगा, तुम्हें विश्वास करना होगा कि परमेश्वर के सभी वचनों को पूरा किया जाएगा। यही आधार है। यदि तुम परमेश्वर के वचनों में विश्वास नहीं करते हो, तो यह नहीं चलेगा, क्योंकि इससे वास्तविक विश्वास की कमी दिखाई देती है; परमेश्वर की सर्वशक्तिमत्ता में विश्वास करने में विफलता वास्तविक विश्वास की कमी दर्शाती है। दूसरा, तुम्हें अपना दिल परमेश्वर को देना होगा और परमेश्वर को सभी चीजों में अधिकार लेने देना होगा। तीसरा, तुम्हें परमेश्वर की परीक्षा को स्वीकार करना होगा, और यह महत्वपूर्ण है। यदि तुम अपनी प्रार्थनाओं और सहभागिता, अपने कार्यों और शब्दों के बारे में परमेश्वर की परीक्षा को स्वीकार नहीं करते हो, तो तुम परमेश्वर के साथ सच्ची सहभागिता कैसे कर सकते हो? क्या तुम उसे बता सकते हो कि तुम्हारे दिल में क्या है? जब तुम बोलते हो, तो तुम केवल अपने लिए प्रार्थना करते हो; जब तुम बोलते हो, तो तुम जो कहते हो वह झूठ के साथ मिश्रित होता है, बुरे इरादे रखता है, और दिखावे और झूठ से भरा हुआ है। यदि तुम परमेश्वर की परीक्षा को स्वीकार नहीं करते हो, तो क्या तुम इन चीज़ों को पहचान सकते हो? एक बार जब तुम परमेश्वर की परीक्षा को स्वीकार कर लेते हो, तो जब तुम गलत बातें कहते हो, निरर्थक शब्दों को कहने के बाद, वादे करने के बाद, तुम तुरंत सोचते हो, "अरे, क्या मैं परमेश्वर को धोखा नहीं दे रहा हूँ? यह परमेश्वर से झूठ बोलने जैसा क्यों लगता है?" यही परमेश्वर की परीक्षा को स्वीकार करना है, और इसी कारण से यह इतना महत्वपूर्ण है। चौथा, तुम्हें सभी चीजों में सत्य तलाशना सीखना होगा। शैतान के दर्शन पर भरोसा न करो, और तुम्हें लाभ होता है या नहीं, इस पर आधारित चीजें मत करो। तुम्हें सत्य का अर्थ निकालते हुए, सत्य की तलाश करनी चाहिए, फिर तुम्हें सत्य का अभ्यास करना चाहिए। व्यक्तिगत लाभों या नुकसानों की परवाह किये बिना, तुम्हें सत्य का अभ्यास करना चाहिए और सत्य कहना चाहिए, साथ ही एक ईमानदार व्यक्ति बनना चाहिए। नुकसान उठाना एक तरह का आशीर्वाद है; जब तुम नुकसान उठाते हो, तो तुम्हें परमेश्वर का और अधिक आशीष मिलता है। अब्राहम का कई बार फायदा उठाया गया, और लोगों से अपने संवाद के दौरान वह हमेशा समझौता किया करता था। यहाँ तक कि उसके सेवकों ने भी शिकायत की, "आप इतने कमज़ोर क्यों हैं? आइए उनसे लड़ें!" उस समय अब्राहम ने क्या सोचा? "हम उनके साथ नहीं लड़ेंगे। सब कुछ परमेश्वर के हाथों में है, और थोड़ा सा नुकसान उठाने में कुछ भी बुरा नहीं है।" नतीजतन, परमेश्वर ने अब्राहम को और भी आशीष दिया। क्या यदि सत्य का अभ्यास करने के कारण, तुम्हें अपने व्यक्तिगत लाभ के विषय में नुकसान भुगतना पड़ा है, और तुम परमेश्वर को दोष नहीं देते हो, तो परमेश्वर तुम्हें आशीष देगा। पाँचवाँ, तुमको सभी चीजों में सत्य का पालन करना सीखना होगा, यह भी महत्वपूर्ण है। जो व्यक्ति सत्य के अनुसार चीजें कहता है उसकी पहचान के बावजूद, चाहे जो व्यक्ति ऐसा कहता है उसके हमारे साथ अच्छे रिश्ते हों या न हों, और चाहे हम उसके साथ कैसे भी व्यवहार करते हों, जब तक उसकी बातें सत्य के अनुसार है, हमें उसका पालन करना चाहिए और वह जो कहता है उसे स्वीकार करना चाहिए। यह क्या दर्शाता है? यह दिखाता है कि मनुष्य के पास ऐसा दिल है जो परमेश्वर का सम्मान करता है। यदि कोई व्यक्ति सत्य के अनुसार बात करने वाले तीन-चार साल के बच्चे का पालन कर सकता है, तो क्या यह व्यक्ति किसी भी तरह से घमंडी है? क्या यह कोई ऐसा है जो अहंकारी है? वह बदल गया है, उसका स्वभाव बदल गया है ...छठा, अपने कर्तव्यों को पूरा करने में परमेश्वर के प्रति वफादार रहो। सृजित प्राणी के रूप में अपने कर्तव्यों को कभी न भूलो। यदि तुम अपने कर्तव्यों को पूरा नहीं करते हो, तो तुम कभी भी परमेश्वर की अपेक्षाओं को पूरा नहीं कर पाओगे। यदि मनुष्य अपने कर्तव्यों को पूरा नहीं करता है, तो वह कचरा है, और वह शैतान से संबंधित है। यदि तुम परमेश्वर के सामने अपने कर्तव्यों को पूरा कर सकते हो, तो तुम परमेश्वर के लोगों में से एक हो, क्योंकि यही वह पहचान है। यदि तुमने अपने कर्तव्यों को अच्छी तरह से पूरा कर लिया है, तो तुम एक योग्य प्राणी हो; यदि तुम अपने कर्तव्यों को पूरा करने में असफल रहे, तो तुम एक योग्य प्राणी नहीं हो, और तुम्हें परमेश्वर की मंजूरी नहीं मिलेगी। इसलिए, यदि तुम अपने कर्तव्यों को पूरा करने में परमेश्वर के प्रति वफादार हो, यदि तुम फिर परमेश्वर के संपर्क में आते हो, तो क्या परमेश्वर तुम्हें आशीष नहीं दे सकता? क्या परमेश्वर तुम्हारे साथ नहीं हो सकता? सातवाँ, सभी चीजों में परमेश्वर के पक्ष में रहो, परमेश्वर के साथ दिल और मन से एक होकर रहो। अगर तुम्हारे माता-पिता कुछ ऐसा कहते हैं जो सत्य के अनुसार नहीं है, जो परमेश्वर के ख़िलाफ़ विद्रोह करता है और परमेश्वर का विरोध करता है, तो तुम्हें परमेश्वर के पक्ष में खड़े होने में सक्षम होना चाहिए, तुम्हें अपने माता-पिता के साथ तर्क-वितर्क करना चाहिए, उन्हें अस्वीकार कर देना चाहिए, उनकी बातों को मानने से इनकार कर देना चाहिए। क्या यह गवाही देना नहीं है? क्या यह शैतान को शर्मिंदा कर सकता है? (हाँ, कर सकता है।) ...यदि मनुष्य इन सात सिद्धांतों का पालन कर सकता है, तो वह परमेश्वर की मंजूरी प्राप्त कर सकता है और तभी परमेश्वर के साथ उसका रिश्ता पूरी तरह से सामान्य होगा। ये सात सिद्धांत बहुत ही महत्वपूर्ण हैं।
— जीवन में प्रवेश पर धर्मोपदेश और संगति से उद्धृत
स्रोत: सर्वशक्तिमान परमेश्वर की कलीसिया
उपयोग की शर्तें: hi.kingdomsalvation.org/disclaimer.html
आपके लिए अनुशंसित: प्रार्थनाओं का सही तरीका क्या है, परमेश्वर से वास्तव में प्रार्थना कैसे करें?
My write up on photographing the new Cosmopolitan of Las Vegas here
On the weekend of November 20-21, 2010, I was invited to photograph the new Cosmopolitan of Las Vegas prior to their opening December 15, 2010 in Las Vegas NV.
This set of images represents my efforts that weekend to showcase this newest resort property opening up on the Las Vegas Strip. Thanks to David Scherer from The Cosmopolitan of Las Vegas for showing me around, to Miiko Mentz at Katalyst Films for helping to arrange the shoot, and to my wife for modeling for me.
To learn more about The Cosmpolitan of Las Vegas, check out their website here or their Facebook page here.
BIENNALIST @ Venice Biennale
www.emergencyrooms.org/biennalist.html
by www.colonel.dk and www.emergencyrooms.org
www.emergencyrooms.org/formats.html about other art format
------------about Venice Biennale history from wikipedia ---------
The Venice Biennale in English also called the "Venice Biennial") refers to an arts organization based in Venice
The Art Biennale, a contemporary visual art exhibition and so called because it is held biennially
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Azerbaijan, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czech and Slovak Republics, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, ten new participant countries developed national pavilions for the Biennale: Angola, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada [4], Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[29]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
, Photographic Source
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation
Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artist
March is apparently question month. To ask me a question, post a comment here: toddpage.livejournal.com/370916.html or send me a flickr mail. [Or leave it here if anomynity is not of any importance - the lj post comments are screened so that only I can see them]
All questions: Here
Question 5:What was it like, first realizing that you might be gay? When did you first wonder, when did you accept it, when did you act on it? How did you feel about it all?
The first time I realized I was gay I was 12 years old, taking a shower. I was not thinking about anything in particular, and out of nowhere, as I leaned to turn the water off, I realized: "Shit. I'm gay." I had never really lined things up. I knew I tended to try to help certain people at the store more than others. I'd never considered the fact that the ones I made efforts to help were men, had chest and facial hair, and were usually of a slightly larger build. [Yeah, even then I pursued the "bear" type.] All of a sudden things clicked into place. I was terrified. I hated it. I decided right then and there, that I would not be. I would not be gay. I would control it. Stop it. I could make this not be true, and like girls. I would find a woman, make her my wife, have kids and a dog, and live the straight life. There was nothing to say I couldn't fix this. And like that, I turned a switch in my mind off, and began some pretty hardcore denial. I still tended to help certain customers, and, suffice to say, I was not immune to knowledge of the internet. But somehow I managed to convince myself that despite the fact that I still gazed at men, I was straight. I wasn't aware of it even. I did denial extremely well, and forgot my discovery [until I was ready to deal with it.] It wasn't terribly difficult, honestly. Few people in my school interested me... in that way... and it would've been extremely complicated to be out at my all-boys catholic high school as it is. Either way, I ignored it. I went on one, awkward, date with my best female friend from high school. [Our theatre program did shows with the sister school's girls.]
My freshman year of college, I sunk further in, which led to my second realization. I dated a girl from my school who is a wonderful person, and very pretty, for about 2 weeks. Maybe 3. We'd hold hands, and cuddle when the group of us watched movies, and we went to dinner and a movie once. Every night, I'd walk her home to her dorm, and give her a hug, then walk to my dorm. Something missing from this situation? Ah, yes, at this point, we perhaps should have kissed. Something about it, the idea in itself, held me back. And the last evening... 2.5 weeks in, when it could be put off no longer, as she was my girlfriend at this point... I realized that I needed to kiss her good night. And as I leaned in to do so, it hit me again, in this order. "Oh, man... I really don't want to do this. FUCK. I'm gay." As I'm leaning in, I maneuver into what is clearly the worlds most awkward hug, and uncomfortably tell her "Good night"
Some history of me at this point. I am a pius, naive, freshman at a very conservative catholic college - my college was in fact #2 in the nation for most homophobic on the Princeton Review I have never touched alcohol, and at this point still believe I will not do so until I am 21. I go to church every sunday, and I go to "Prayer and Praise" every wednesday evening. As a general rule, I stop by the Harkins Hall chapel once every day or so because it is small, quiet, and I can pray there. I do all my homework in the chapel basement. I have hidden myself in this. I believe what I am told, but there is no strong faith behind it. It is a place I can fit in, where I know the rules and what is expected of me. At the same time I fight anyone who says that being gay is evil. [I HATE the word homosexual and homosexuality. It's so clerical.]
It is 2 am on a friday night, in late november, and I am now re-realizing I am gay. I am realizing that this may not be something for me to control. I am still very much hateful of the fact. This turns inward. I hate myself, and loath every part of me that makes me feel this way. I am already an outcast from most social situations, and awkward, the last thing I needed was this extra load. People would hate me. All of them. I'm sure of it. All my friends will leave me and hate me. I'll have to start enjoying shopping, and I'll probably have to listen to Madonna instead of punk rock. But no. Maybe this is still fixable. I had convinced myself that with great prayer, God could take this away. I started being more vigilant, praying daily, fixating myself on anything I could that would help me push away from this. I told the girl that something was up, and I needed to figure it out. She respected that, and I think knew EXACTLY what was up. I would cry in church, praying so hard that I shook, hoping and calling to God to let me find women attractive. Or at least to stop finding men attractive. Anything. Anything to avoid dealing with or accepting it, me. Somehow, this didn't work. Surprising, I know.
So, I had to deal with it. I had to start accepting me. That this was an uncontrollable aspect of who and what I was. It was a piece of me. It was something that had been created in me, like the color of my eyes, or the color of my hair. I turned to the internet. Looking at forums, and still looking for loopholes. I joined a forum for the young and gay and talked it through with people there. I talked with some people who had experience, [Bruin, creator of Bear With Me gave me an excellent X-Men analogy, that I remember specifically.] All of this occurred over the length of the second semester.
No one else knew at this point. I had come to a sort of shaky acceptance with it... but it was very weak. I wasn't confident in it, and I still hated it. I still didn't want it to be true, but I was at least aware that it was something outside of my control. Which, to be fair, is a big step in it's own. I was carrying it by myself though. Till a cast party. It was the second cast party for Brigadoon. There was a particularly homophobic person in the cast, who had written a letter in The Cowl the week before comparing homosexuality to cancer. As a joke, we had discussed one of the guys drunkenly kissing him. [We we're freshman, give us a break] This was the second time I had ever had alcohol, and I still hadn't learned how to drink, or how to control when I drink. My friend, Joe, suggests I do it, and I blurt out "No. Not until I come out."
And then I realize what I'd done, and leave. Joe follows me, and confronts me... I tell him it was a joke, and he rolls his eyes. It's the next day and we're having dinner when he asks me about it. And I slowly tell him that I thought it was true. I didn't know where on the kinsey scale I was [I'd recently discovered the scale, and I thought it was fancy] but I had a hunch it was true. At some point in the next month, the girl I'd dated asked me what had happened and I'd told her too. That was two people. And I had told them I was still not sure. Come graduation week. I was really the only person in my group of friends on campus for the week, and I read books the entire time. I read Augusten Burrough's 'Running with Scissors', then Dry, then David Sedaris' "Me Talk Pretty One Day" Believe it or not, these were the first books I'd read about or by gay people - at least to my knowledge. I was still looking for loopholes but I was recognizing that other people were like this, and they managed to survive life. I started gaining a little bit of confidence. I went home for the summer and, very shyly, got the 2 books on gay subjects out of my library, and read through them, looking for understanding. Looking for some kind of knowledge about who and what I was. I tend to read about things before I go into them. Alot.
Somehow, I decided I was ready to come out to my parents. I don't know if I decided I was ready, or if I decided it was the right thing to do. This was a horrible decision at this time, because my confidence levels were still extremely low. I nervously and carefully sat them down at the dinner table, feeling my heart in my chest. Terrified. The second or third most awful feeling I've ever felt. And I told them "I think I'm gay." I had prepared for various responses, based on my books, but life, surprisingly [sarcasm], doesn't run like books. They did not express hate, or anger, and told me that they would never love me any less... but that they did not think I was gay. That perhaps it was a phase. That everyone questioned it at some point or another, and that I needed more time to know for sure. Essentially, that the conclusion I had clawed my way too, was wrong. I didn't know how to respond, and instead of standing my ground, conceded that it was possible. We made dinner and watched Shrek. [My parents, by the way, are amazingly supportive people, who I have put through a lot, and who love and accept me for who I am, through everything I've done. They take the details of my life quite well. I don't want anyone thinking less of the two wonderful people who brought my life. This is something that for them, as for me, would take some adjusting to. And they have adjusted to it, now, and support me fully]
Nothing further was said. The response I'd received had shaken the confidence. I still knew I was attracted to guys, but what happened from there? I told another friend, a close female friend from PC, and her response was amazing. She told me she was proud of me for coming to terms with it, and that she was so happy for me. She was so... supportive. The people I'd told so far had expressed acceptance... but this was the first time support in it had come. It was surprising, and my confidence in myself and my ability to cope with it grew. I went back to school and started talking a little less furtively. And on October 10th, I got an IM from Joe: "So... tomorrows national coming out day... you gonna tell everyone?" I had never even thought about telling the rest of my friends. "I guess so. Might as well now, gonna have to do it eventually, right?" "Yup." I then sent the girlfriend an IM telling her my plan.
So, yeah. I came out on National Coming Out Day. Not because of the holiday, but because the holiday had kind've reminded me that it was something I should do. All my friends were in the cafe, eating lunch, and before some left for class, I said "I have to say something." *silence* "I'm queer."
Oh, how I regret saying "I'm queer". I had chosen it carefully, it was an umbrella term, and it allowed me retreat, should things turn a direction that I didn't favor. 3 or 4 raised their eyebrows in shock, 2 laughed. [Kaitlin told me later her exact reaction was "Well, yeah."] Only 1 person in my group of friends reacted poorly... and she kind've cast herself away. I still don't talk to her. It was kind've amazing. I could start talking about all the shit I had bottled up openly, and I didn't have to fit any mold. I was, amusingly, now requested by friends to do things like go to the mall, or go dancing. I think this was hilarious. I had not been hiding any desires or actions... so upon coming out I still hated shopping, and still, for the most part, was not interested in an evening of dancing. Still my confidence grew, and I got to be really okay with it. I started having recognizable crushes, and though I was still uncomfortable with some aspects, I made progress.
That covers all of the acceptance bit. It's still a process for me in some ways. I notice I have this instinct within me to push against anything stereotypical. I refused to listen to Madonna, or Cher... would not even give them a try, and I still respond to some "gay" things with a negative attitude. I'm working on this. I recently listened to Madonna, to give it a chance. I still don't really like it, but at least now I've given it a chance. I mean, the girl has some definite pipes... and Like a Prayer is hella fun, but it's just not something I'd listen to for the hell of it. I'm teaching myself to recognize that doing things that are stereotypical aren't bad, as long as you aren't doing them to fit the stereotype. And not doing them to avoid the stereotype is just another way of letting the stereotype control you.
When I first acted on it is a tricky business. There had been some minor flirting, back and forth, with a freshman named ... gah, we'll say Alex. Alex was bearish, and cute, but personality-wise, not at all a match for me. As has been discussed, this is important. I was not really interested, and had tried to express that in nice ways... or avoid it anyway. We did crew together for a show called My Sister In This House, and at the second cast party, I had a lot of beer. Like, A-LOT. This was probably my 7th time ever drinking [ a year later ] and I was pretty hammered. Okay, very hammered. I was blurrily aware of the goings-ons, it was very late, and few people we're left at the gathering. I was warm, and I came to realize it was because Alex was standing behind me, with his arms around me. It felt nice, and I was hammered, so I let it occur. Then he started to pull me into the room where no one else was. A little something triggered in my brain, and I resisted. But another tug and I followed. We were standing in the room when this exchange happened:
Alex: "You're beautiful."
Me: *pause* "You smell like soap."
Alex: "Is that a good thing?"
Me: *long pause* "Yes."
At this point, he licked the back of my neck, which felt nice, but weird, but didn't have much [drunk] time to recognize it, as he leaned in and put his tongue straight in my mouth.
This woke me up pretty quickly. I'm pretty glad, too, had it been a subtle kiss first, I might have a story I'd regret. Who knows though. I told him "No." and he asked me if that meant just now, or ever. I said I didn't know.
He didn't talk to me for a year. I'm not entirely sure I blame him. I'm not sure if that counts as acting on it, as I was barely aware, and didn't really act except for to realize I was not comfortable with it. But it was my first kiss, regardless. My first real acting on it was a year later. February of my junior year of college, and began with a meeting for coffee, then a kiss in a Chili's parking lot. It moved forward from there into my first relationship.
To sum up: Ages 12 and 18, never really wondered, it just HIT me, 19 and 20, and I hated it. Alot. I don't anymore though. I'm really actually comfortable with it now. I like that it's a part of me, and I no longer feel any desire to change it. I don't believe in gay pride, because I think it's something embedded within me, just like I wouldn't be proud of having blue eyes, I wouldn't be proud of being gay... but I do embrace it as a part of me, and support it. I am comfortable with who I am, finally, at 22, and it feels glorious. I've gotten beyond accepting it, and I support it in myself. Whenever you read about people's coming outs, they always refer to coming out to themself first. I think we can add a step and that is supporting themself in that. I am finally there. Not without my share of work left to accomplish further, but I have made great progress, and I feel certain I will make more in times to come.
[This photo was taken in my actual closet, PS... it was supposed to be a photo reflecting the "in the closet" thing - also, I don't take the time to edit any of these. [the text, that is]]
[self-portrait]
//========================
This account is officially actively taking part of Year 2 of my 365 project.
3/7/09
Fonte dell'immagine: La Chiesa di Dio Onnipotente
Condizioni d'Uso: www.kingdomsalvation.org/it/disclaimer.html
I
Cieli sconfinati, immensi e stupendi, infinitamente meravigliosi. Uomini nati su questa terra, chi dovreste adorare? Dio è il Creatore e il Signore di tutte le cose, pieno di mistero. Dappertutto c'è il prodigio di Dio, apri i tuoi occhi e guarda. Il moto di tutte le cose nell'immenso universo dipende interamente da Dio. Disgrazie e benedizioni sono cose inattese, ma sono nelle mani di Dio, di Dio. La vita passa, dura solo un istante, le nostre anime non devono avere rimpianti. Solo potendo conoscere e amare Dio le nostre vite avranno senso, le nostre vite avranno senso.
II
Dopo tanti anni di fede, ora io vedo la verità e conosco il volere di Dio. Egli loda solo l'onestà e la vita a somiglianza dell'uomo. Il piacere dell'anima viene solo vivendo secondo la parola di Dio. Adorando con il cuore e con sincerità, noi siamo felici e pieni di vita, pieni di vita. La ricerca della verità e la conoscenza di Dio non finiranno mai. L'indole cambia quando la verità è ricevuta. Noi vedremo la nostra profonda corruzione solo quando conosceremo veramente Dio. Se ci sforziamo con impegno, siamo sicuri di una cosa: alla fine potremo realizzare il senso della vita, realizzare il senso della vita.
III
La presenza del Dio incarnato tra di noi è un evento unico nella vita. Niente è più grande del conoscere Dio e del Suo perfezionarci. La parola di Dio rivela tutti i misteri della verità, Dio concede la vita all'umanità intera. Com'è grande l'amore di Dio per l'umanità! Egli merita eterna lode. È giusto e appropriato che l'umanità creata accetti e obbedisca all'opera di Dio. È certamente compito dell'intera razza umana ottenere la verità e conoscere Dio. Io sono tornato al fianco del Creatore, tutti i rimpianti della mia vita sono scomparsi. Io sono tornato al fianco del Creatore, i rimpianti della vita non esistono più, i rimpianti della vita non esistono più.
Preserved and on display at Musee Delta, Orly Airport, Paris, France
Concorde 02 F-WTSA was fourth aircraft to be manufactured, and the second of preproduction aircraft.
Sierra-Alpha was the first to have dimensions and the shape of future the production aircraft: it had the extended tail cone fitted as well as the production specification secondary engine nozzle, with the thrust reverse buckets.
02 was the first Concorde to be visit the United States when she visited Dallas, Texas on September 20, 1973. It returned to Europe by carrying out the first crossing of the North Atlantic, between Washington and Orly, under the conditions of a passenger flight, with 32 passengers invited on his board on the September 26, 1973. The flight time was in 3 hours and 33 minutes of effective flight, with a block time of 3 hours and 47 minutes.
For several years during testing the aircraft was painted in British Airways colours on one side and Air France's 1970's livery on the other, although still being registered as a French aircraft. Today it has an Air France colour scheme
The aircraft completed its 313rd and final test flight on January 29, 1976. Its work took in such areas as the development of new engines, and a considerable number (134) rolling runway tests for amongst other things the certification of the new carbon brakes, the water deflectors and thrust reversers...etc?
F-WTSA's final flight was between Toulouse and Paris Orly on May 20, 1976. Takeoff was at 15:19 ans seh arrived into at Orly 16:26, where an ADP team will take over responsibility for the aircraft. It was gifted to ADP, the operator of Orly and other Paris airport in 1976 to replace a full size wooden replica that was originally on show at the airport, which was destroyed by fire a few years earlier.
The aircraft was decommissioned with the engines and of many parts being recovered to be used as spares on the Air France fleet. As the aircraft was going on public display its test equipment installations were removed, and its cabin was reconfigured to give her the interior of an in-service aircraft.
In 1988, ADP, the Orly airport operator decided that Concorde 02 was no longer a priority and condemned it to be scrap and to be cut out of pieces. Athis-Paray-Aviation saved Sierra Alpha from this tragedy, and since April 12, 1988, it has been on display at the Museum Delta in Athis-Mons, just outside the airport.
www.childrenscottagehomes.org.uk/fazakerley.html
These cottage homes in Liverpool were built in 1888 and opened on 27th March 1889 by the West Derby Union. They continued to function as children's homes until, according to archive records, 1964.
Fazakerley is an area near to University Hospital Aintree, to the north of Liverpool.
There were 24 cottages in the complex each of which could house up to 25 children - a grand total of 600 children. At the top of the drive was a large clock tower. At some point, perhaps in the 1950s, the cottages were no longer known by their numbers but were given names after flowers or plants - perhaps suggested by what was growing in their gardens.
A quote from a former resident of the cottage homes (from the Liverpool History Society blog)
"I was in the Fazakerley Cottage Homes in about 1961 or 1962. It was the first time my siblings and I had been away from our parents. My mother was ill in hospital and my father couldn't cope with us. I was 7 or 8 at the time and I was placed there with my brother and two sisters. We were looked after by two old ladies (I can't remember their names) who were very strict. I had a birthday shortly after being sent there, they did a bit of a special tea for me, but we were not allowed to talk at the table, we ate in silence. I remember my brother being sick because they made him eat tinned spaghetti which he hated, then they shouted at him for being sick! Then said "he couldn't have his cake either" as punishment. I remember being forced to wear shoes that were way too small for me as they didn't have any to fit me, and they wouldn't buy any, as the place was due to be closed. I subsequently ended up with deformed toes (hammer toes, I think they're called).The only positive memory I have of the Homes is that one of the ladies taught me to embroider. I used to sit at her feet while she taught me different stiches."
All these photos can also be seen on my new Facebook page...
www.facebook.com/LiverpoolThenAndNow
Please feel free to add any comments, corrections, additional info or memories you may have, and if you know anyone else who might be interested, please feel free to let them know about it.
I have contacted the owners of as many 'original' photos as I can to ask their permission to use it in this way, and where they have requested it, I have credited them accordingly. However, if you are the copyright holder and I haven't yet been able to contact you, please do get in touch and I'd be happy to add any details, credits or links, or remove the photo if you wished..
Thanks for looking, I hope they are of some interest!
Kern Invite - 11/01/08
Hart Park - Bakersfield, CA
www.andynoise.com/kernxcinvite08.html
JV Boys - 2008 Kern County Cross Country
Championships
School Athlete Time Overall Scoring Team
1. Ridgeview Tino Romero 11:17.25 1 1 1
2. Wasco Oscar Gomez 11:26.11 2 2 1
3. East Marc Sotello 11:26.90 3 x 1
4. Shafter Matthew Yanez 11:34.14 4 x 1
5. McFarland Grenardo Garcia 11:34.63 5 x 1
6. Highland Juan Delgado 11:37.47 6 3 1
7. Centennial Brandon Ballard 11:38.17 7 4 1
8. Ridgeview Ernesto Castillo 11:38.94 8 5 2
9. Shafter Elias Picazo 11:40.09 9 x 2
10. Ridgeview Sukhwinder Singh 11:42.25 10 6 3
11. Wasco M. Vasquez 11:49.94 11 7 2
12. East Felix Trevino 11:51.62 12 x 2
13. Ridgeview Tree Hoisson 11:52.34 13 8 4
14. Stockdale Raymon Griggs 11:52.62 14 9 1
15. Highland Rafael Alcaraz 11:53.30 15 10 2
16. East Esteban Vargas 11:54.83 16 x 3
17. McFarland Adam Marquez 11:56.93 17 x 2
18. Frontier Corry Harris 12:02.24 18 11 1
19. Highland M. Shaffer 12:04.99 19 12 3
20. Highland Jo Dixon 12:05.53 20 13 4
21. Centennial Nick Trieberg 12:06.03 21 14 2
22. Highland Daniel Espinosa 12:07.15 22 15 5
23. Foothill Cesar Espinosa 12:10.84 23 16 1
24. Highland Ernan Lopez 12:18.78 24 17 6
25. Stockdale P. Bowen 12:25.59 25 18 2
26. Stockdale Andrew Worth 12:26.63 26 19 3
27. Foothill Jovani Pineda 12:32.47 27 20 2
28. Centennial Jake Smoot 12:33.35 28 21 3
29. Foothill Robert Guillen 12:36.97 29 22 3
30. Garces Jose Lopez 12:37.53 30 23 1
31. Highland Pablo Santiago 12:38.23 31 24 7
32. Ridgeview Ian Dowot 12:38.71 32 25 5
33. Frontier Ramon Sanchez 12:42.97 33 26 2
34. Foothill Peter Reyna 12:45.32 34 27 4
35. Ridgeview Hector Garay 12:45.76 35 28 6
36. Frontier Brian Cisneros 12:46.11 36 29 3
37. Stockdale Cornelius Sockey 12:49.24 37 30 4
38. Stockdale Nick Haley 12:49.57 38 31 5
39. Frontier Christopher Bedke 12:51.77 39 32 4
40. Frontier Chris Corral 12:52.80 40 33 5
41. Centennial CJ Carr 12:55.06 41 34 4
42. Ridgeview Arty Sanchez 12:55.60 42 35 7
43. Garces Dominic Gallegos 12:56.21 43 36 2
44. Foothill Oscar Rivera 12:57.02 44 37 5
45. Shafter Jonatan Lopez 12:59.96 45 x 3
46. Stockdale Evan Szablowsk 13:01.10 46 38 6
47. BHS Hector Sanchez 13:02.38 47 39 1
48. Foothill Guillermo Cisneros 13:05.95 48 40 6
49. Stockdale Jit Malay 13:06.90 49 41 7
50. Highland Nick Lopez 13:07.10 50 42 8
51. Centennial Craig Varner 13:15.59 51 43 5
52. Highland Tyler Dunlap 13:20.14 52 44 9
53. Stockdale Davis McLeod 13:20.73 53 45 8
54. Foothill Luis Garcia 13:22.06 54 46 7
55. Shafter Miguel Sanchez 13:23.34 55 x 4
56. Independence Curtis Valencia 13:25.34 56 47 1
57. Wasco Kyle Bearley 13:26.41 57 48 3
58. Ridgeview Martin Oropeza 13:27.08 58 49 8
59. Frontier Chris Mount 13:28.88 59 50 6
60. Wasco Anthony Ramirez 13:29.86 60 51 4
61. Frontier Jairo Garcia 13:34.10 61 52 7
62. Stockdale Kevin Chun 13:37.01 62 53 9
63. Foothill Marcos Sandoval 13:38.55 63 54 8
64. Arvin Jose Rodriguez 13:39.04 64 x 1
65. Frontier Steven Saenz 13:39.36 65 55 8
66. Stockdale John Bracamant 13:40.57 66 56 10
67. Wasco Kr. Brown 13:43.42 67 57 5
68. Stockdale Adrian Esquivas 13:45.00 68 58 11
69. Stockdale Joshua St. Clair 13:46.57 69 59 12
70. BHS Josh Harbin 13:49.65 70 60 2
71. Mira Monte Hislon Belo 13:53.35 71 x 1
72. Stockdale Eric Jorgensen 13:56.96 72 61 13
73. Garces Anthony Martinez 14:05.99 73 62 3
74. Arvin Rodger Tabada 14:15.08 74 x 2
75. Stockdale Phillip Radon 14:16.70 75 63 14
76. Stockdale Landon Medina 14:18.10 76 64 15
77. East Donald Sanchez 14:18.32 77 x 4
78. Frontier Spencer Cordova 14:25.94 78 65 9
79. Frontier Matt Walker 14:32.16 79 66 10
80. Wasco Arturo Miranda 14:32.82 80 67 6
81. Highland Luis Lopez 14:36.85 81 68 10
82. Independence Devin Lane 14:43.22 82 69 2
83. Garces Sterling Garza 14:43.64 83 70 4
84. Mira Monte Michael Pineda 14:45.10 84 x 2
85. Stockdale Joshua Le 14:45.99 85 71 16
86. Independence Michael Gallarza 14:46.50 86 72 3
87. Foothill William Saavedra 14:48.22 87 73 9
88. BHS Trevor Dalke 14:48.96 88 74 3
89. Independence Andrew Cruz 14:57.45 89 75 4
90. Highland Alex Harrell 15:01.62 90 76 11
91. BHS Wesley Elrich 15:02.07 91 77 4
92. Frontier Jason Phillips 15:02.54 92 78 11
93. Foothill Mason De La Cruz 15:03.92 93 79 10
94. Highland Estevan Espinoza 15:06.66 94 80 12
95. Mira Monte Rick Mendoza 15:08.42 95 x 3
96. Foothill AJ Lara 15:09.07 96 81 11
97. Centennial Jarod Kashwer 15:13.28 97 82 9
98. Highland Ryan Gonzalez 15:28.65 98 83 13
99. BHS Andres Eagleson 15:35.28 99 84 5
100. Frontier Kevin Sanchez 15:41.75 100 85 12
101. Centennial Brent Williams 15:46.70 101 86 10
102. Ridgeview Eric Jacques 15:46.93 102 87 9
103. Garces P. Newman 15:55.87 103 88 5
104. Foothill Jose Mejia 16:22.51 104 89 12
105. Independence Sky Payne 16:38.36 105 90 5
106. Foothill Logan Power 20:16.50 106 91 13
107. Arvin Oswaldo Leyva 24:45.86 107 x 3
108. North Sonny Medina 25:53.00 108 x 1
From Historic US 99 Guide
gbcnet.com/ushighways/US99/US99b.html
This bridge also carried US 60 and US 70 and was in operation from 1925 to 1952 when it was replaced by the freeway (Expressway?) ('not' the I-10) . Mt San Jacinto is in the background.
Indio and Palm Springs
Like the Imperial Valley, Indio and Palm Springs are part of the arid Colorado Desert and have thrived because of it. Indio is known as "The Date Capital of the World" and of course, Palm Springs is noted as the playground of the stars. In recent years, Palm Springs and the surrounding cities have become retirement havens due to the year round warm weather. This area is significant for highway history since it is located near the divergence of US 60 and US 70, two major transcontinental routes, from US 99.
After the junction with SR-195, SR-86 continues northwest. This section is little changed from the days when it was signed as US 99. In fact, between Riverside County post mile 2.00 and the intersection with SR-195 there are some sections of very old road dating from the 1920s to the east side. This road is the single slab By 2000, this section of SR-86 will be relinquished by the state since the SR-86 expressway will follow the alignment of SR-195 north to SR-111. This is probably fortunate since it means there will be no designs for widening or otherwise altering this section of road, even though it does mean the end of state maintenance.
SR-86 (Harrison St) continues due north to the intersection with Grapefruit Blvd, which is former SR-111, although it is still signed as such. The road here was widened to the current four lanes in 1956 as part of the expressway/freeway that went to Los Angeles. Almost immediately after at the next signal is Dillon Rd. As inauspicious as it looks, this intersection is where US 60 and US 70 converged with US 99. According to the old maps, this interchange was in use from sometime in the 1930s to 1972 when it was bypassed by I-10. From this intersection to Los Angeles, US 99 was co-signed with US 70 and US 60, intermittently, to Los Angeles. The three routes continued north on Grapefruit Blvd, which now turns into Indio Blvd. The overpasses are newer, being built during the 1960s and 1970s. However, this road was divided as it is now at the time it was US 99. This section was
A few miles to the north, Indio Blvd crosses the railroad tracks over two bridges, then merges with I-10. The westbound bridge was built in 1936 as part of the widening of US 99 from the single slab of concrete to a full two lane road. The eastbound bridge was built in 1956 as a part of the four lane expressway/freeway. From this interchange to just south of Ramon Rd, the original routing follows the freeway on the north side as a frontage road. This road is now called Varner Rd. and several sections still have signs of the original concrete showing through the asphalt overlay. After the merge with Indio Blvd, current I-10 was part of the expressway and subsequently widened. At Ramon Rd, the original alignment of US 99, along Varner Rd. splits to the north of the freeway. Like the frontage road to the east, this section of US 99 was bypassed by the expressway/freeway around 1952. The freeway, the newer alignment of US 99, remains essentially unchanged, with the exception that the original concrete has been paved over with asphalt and additional lanes were added on the outside. Just north of Palm Ave, the route of old US 99 rejoins the freeway, but Varner Ave now ends just short of the freeway. One who is nitpicky, like myself, would notice that the lines from the concrete expansion joints that show through the asphalt on Varner Rd. do not correspond with the current lane markings. This is because a lot of the original portions of US 99 were paved as single slab concrete in the 1920s and a small strip of concrete was added along the sides to enable the road to accommodate two cars going in opposite directions In all honesty, there is not much to see to the west of Palm Ave; the best thing is to get back on the freeway at Palm Ave.
The San Gorgonio Pass
This pass is named after the giant Mt San Gorgonio which lies on the north side. This is the tallest peak in southern California with a height of 11,499 feet. The pass is flanked on the south end by Mt San Jacinto (hah-SEEN-toh is the correct pronunciation), which is no small peak at 10,804 feet. In some ways this mountain is even more impressive than Mt San Gorgonio since it is part of a range that drops off sharply at the pass. In fact, the top of Mt San Jacinto is a mere six miles to the south of I-10! The San Gorgonio Pass itself is the only easily passable opening through the coastal ranges to southern California and has played a big role in the region's development. It was the construction of the Southern Pacific rail line through here that put Los Angeles on the map. In fact, it was this rail line that favored Los Angeles over San Diego, even though San Diego has its beautiful natural harbor. It is appropriate that US 99, the major highway in California follows this line into Los Angeles.
The stretch of freeway north of here was built as I-10 from 1962-67, although parts are merely widened portions of the 1952 expressway. Just to the west of the interchange with SR-111, portions of the original alignment of US 99 remain as frontage road. A distinctive feature is the white painted wood posts characteristic of bridges from the 1920s and 1930s. This can be reached by exiting at Verbenia Ave (the first exit west of SR-111) and taking it to the south frontage road. This road continues for five miles to the East Cabazon exit. There is a well preserved four lane divided section of US 99 visible at the Cabazon exit which is part of the expressway, but which was bypassed by the freeway in 1964. This really gives a good idea of what a typical town was like on 99 or any other old US highway. Unfortunately, this town has really died out since it was bypassed, much like a lot of other US 99 towns.
The road rejoins I-10 and at this point there is no choice but to head west on I-10. At the next exit, it is possible to reach some old segments of US 99 which acted as frontage road. This road is no longer maintained for vehicular use which makes it somewhat difficult to reach. These sections are well worth the effort it takes to get to them since the old concrete joints are visible through the asphalt overlay as well as the old style broken white line which separated both directions of traffic. There are also a couple more old style bridges which have been preserved. This section ends at the Ramsey St. on-ramp and the only way to get back to I-10 and the rest of the tour is to back-track to the last exit.
The town of Beaumont were bypassed in 1956 by the freeway west of the Ramsey St. off-ramp. Ramsey St. (or 6th St. in Banning) is the original routing of US 99 and still is an important street for the twin towns as many of the traveler oriented businesses still line this street. These towns still give an excellent feel for the way US 99 looked, especially since most of the buildings date back from before the freeway. Sixth St. in Banning is still the split level divided four lane road that it was when it was 99.
The freeway itself bears little resemblance to when it was originally constructed due to the fact that it was widened to eight lanes in 1969-70. Beyond SR-243, the freeway bypassed the town of Banning in 1961. Again this was widened in 1970. A little fun fact about the names of these two towns. Beaumont is a derivative of the French word for "beautiful mountain," a description that holds well in this area. Banning is named for Phineas Banning, the Army General who built the first railroad through this area.
At the western edge of Banning is the junction of I-10 and SR-60 which was built in 1961 as the US 60 / US 99,US 70 (I-10) separation. On one of the overhead signs on I-10 westbound it is obvious that an US 60 shield was covered by an SR-60 "greenout" cover because the white edges are still visible. US 60 did not rejoin US 99 until San Dimas, over 50 miles to the west, but US 70 remained co-signed with US 99 to the intersection with US 101.
The Foothills and San Bernardino
Even though the San Gorgonio Pass offers relatively easy access to metropolitan Los Angeles, there are still some hills to be crossed. While they are low and rolling, they posed an obstacle to the railroad; as a consequence it splits from US 99 (I-10) just west of Banning, following San Timiteo Canyon and rejoins US 99 at the outskirts of San Bernardino. San Bernardino was established as a Mormon settlement and marked the end of the Mormon Trail. This trail paralleled what is now I-15, although it started/ended its passage over the San Bernardino Mountains near the present route of SR-18. San Bernardino lies in a valley formed by creeks that drain the nearby mountains; the Santa Ana River and Cajon Creek are mostly responsible for this. One result is that this valley made excellent farmland to to the fertile soil being washed down from the mountains, although farmland is rare to see now. It has been successful due to its position at the crossroads of the route going north and the route heading east. Today San Bernardino is the most populous city of the Inland Empire and it continues to grow as more people flee from the suburbs of Los Angeles and Orange County.
Tourist attractions in Warangal city & surrounds and Warangal History
The design of the gateways is redolent like the ‘thoranas’ of the Great Stupa at Sanchi. The architecture and sculpture of these temples are magnificent as no one can fail to see the rich imagination, patient industry and skilful workmanship of the builders of the temples of the Kakatiya period.
History of Kakatiya Dynasty
The 12th and the 13th centuries saw the emergence of the Kakatiyas. They were at first the feudatories of the Western Chalukyas of Kalyana, ruling over a small territory near Warangal. A ruler of this dynasty, Prola II, who ruled from 1110 AD to 1158 AD, extended his sway to the south and declared his independence. His successor Rudra (1158 - 1195 AD) pushed the kingdom to the north up to the Godavari delta. He built a fort at Warangal to serve as a second capital and faced the invasions of the Yadavas of Devagiri. The next ruler Mahadeva extended the kingdom to the coastal area. In 1199 AD, Ganapati succeeded him. He was the greatest of the Kakatiyas and the first after the Satavahanas to bring the entire Telugu area under one rule. He put an end to the rule of the Velanati Cholas in 1210 AD. He forced the Telugu Cholas of Vikramasimhapura to accept his suzerainty. He established order in his vast dominion and encouraged trade.
As Ganapati Deva had no sons, his daughter Rudramba succeeded him in 1262 AD and carried on the administration. Some generals, who did not like to be ruled by her, rebelled. She could, however, suppress the internal rebellions and external invasions with the help of loyal subordinates. The Cholas and the Yadavas suffered such set backs at her hands that they did not think of troubling her for the rest of her rule.
Prataparudra succeeded his grandmother Rudramba in 1295 AD and ruled till 1323 AD. He pushed the western border of his kingdom up to Raichur. He introduced many administrative reforms. He divided the kingdom into 75 Nayakships, which was later adopted and developed by the Rayas of Vijayanagara. In his time the territory constituting Andhra Pradesh had the first experience of a Muslim invasion. In 1303 AD, the Delhi Sultan Ala-ud-din Khilji sent an army to plunder the kingdom, but Prataparudra defeated them at Upparapalli in Karimnagar district. In 1310 AD, when another army under Malik Kafur invaded Warangal, Prataparudra yielded and agreed to pay a large tribute. In 1318 AD when Ala-ud-din Khilji died, Prataparudra withheld the tribute. It provoked another invasion of the Muslims. In 1321 AD Ghiaz-ud-din Tughlaq sent a large army under Ulugh Khan to conquer the Telugu country then called Tilling. He laid siege to Warangal, but owing to internal dissensions he called off the siege and returned to Delhi. Within a short period, he came back with a much bigger army. In spite of unpreparedness, Prataparudra fought bravely. For want of supplies, he surrendered to the enemy who sent him to Delhi as a prisoner, and he died on the way. Thus ended the Kakatiya rule, opening the gates of the Telugu land to anarchy and confusion yielding place to an alien ruler.
Couple Gets Married After Waiting 23 Years
By Jami Brinton, Reporter
Apr 27, 2009 at 4:45 PM CDT
IOWA CITY - More than 40 same-sex couples applied for a marriage license in Johnson County alone today.
Among those, one couple didn't want to wait to get married.
It isn't the typical way to start your wedding day.
Instead of primping and preparing to walk down the aisle, Lois and Karen Gray filled out paperwork for a marriage license.
"It's a really significant moment for us," said Lois.
Lois and Karen fell in love 23 years ago.
They've already shared much of their lives together but having this piece of paper is important to them.
"It's really wonderful to say no just this is my life's partner, but my wife, we're married," said Lois.
Lois and Karen didn't want to wait the required three days to get married.
So, this afternoon they asked Judge Stephen Gerard to let them exchange vows now.
The judge agreed and just a few hours ago they said "I do" in a private ceremony at the Johnson County Courthouse.
Afterwards they showed us the gold bands they exchanged during the ceremony. They were the same rings they gave each other in 1986.
"It was really special," said Lois. "I'm just still feeling overwhelmed, but overwhelmed with joy."
Their daughter Lauren agrees.
"It's really special because now they're married by the law," said Lauren.
A wedding day they've always dreamed of.
"It was," said Lois. "I think its this sense of we feel so married in our hearts and minds already but it was so affirming to have the legal recognition that so many other Iowans enjoy."
Even though their marriage became official today the Grays say they'll still celebrate their silver anniversary in two years.
Kern Invite - 11/01/08
Hart Park - Bakersfield, CA
www.andynoise.com/kernxcinvite08.html
Varsity Boys - 2008 Kern County Cross Country
Championships
School Athlete Time Overall Scoring Team
1. Foothill Chris Schwartz 14:59.76 1 1 1
2. McFarland Alfonso Cisneros 15:33.49 2 2 1
3. McFarland Francisco Nava 15:48.44 3 3 2
4. McFarland Marco Perez 15:48.85 4 4 3
5. Stockdale Curtis Kelly 15:50.33 5 5 1
6. Ridgeview Brian Solis 15:50.81 6 6 1
7. Wasco A. Mendoza 15:51.72 7 7 1
8. Ridgeview Alex Garcia 15:52.70 8 8 2
9. Shafter Chris Handel 15:53.96 9 9 1
10. McFarland Gerardo Alcala 15:54.28 10 10 4
11. Shafter Jesus Villalpondo 16:05.48 11 11 2
12. Highland Colin Lewis 16:06.79 12 12 1
13. Centennial Nathan Vincent 16:08.77 13 13 1
14. Ridgeview Robby Baker 16:13.01 14 14 3
15. McFarland Eduardo Bautista 16:18.69 15 15 5
16. BHS Andrew Ariey 16:21.59 16 16 1
17. Garces Connor O'Malley 16:23.32 17 17 1
18. Stockdale Blair Slaton 16:25.15 18 18 2
19. Ridgeview Jerrio Lewis 16:25.61 19 19 4
20. East Jose Ramirez 16:25.97 20 20 1
21. East Mose Valdez 16:26.30 21 21 2
22. Highland Thomas Turner 16:26.59 22 22 2
23. Golden Valley Daymon Sandles 16:26.91 23 23 1
24. Foothill Jose Lopez 16:27.22 24 24 2
25. Ridgeview Miguel Munoz 16:30.13 25 25 5
26. Wasco G. Linares 16:34.10 26 26 2
27. Shafter Josh Wittenberg 16:34.61 27 27 3
28. Highland Jake Van Zandt 16:36.62 28 28 3
29. East Charlie Zaragoza 16:39.22 29 29 3
30. BHS Andrew Edquist 16:41.12 30 30 2
31. Cesar Chavez Martin Rios 16:45.91 31 31 1
32. Highland Ivan Esquivias 16:47.91 32 32 4
33. BHS Zachary Holt 16:48.98 33 33 3
34. Stockdale Anthony Dao 16:49.30 34 34 3
35. Cesar Chavez Ruben Galaviz 16:49.67 35 35 2
36. Wasco O. Mirando 16:50.04 36 36 3
37. Shafter Alex Moreno 16:51.14 37 37 4
38. Wasco E. Sanchez 16:52.02 38 38 4
39. Wasco E. Ramirez 16:53.29 39 39 5
40. East Camilo Mosqueda 16:53.84 40 40 4
41. East Vincente Herrera 16:54.31 41 41 5
42. Foothill Erick Bautista 16:54.82 42 42 3
43. Arvin Ben Orozco 16:57.57 43 43 1
44. Shafter Hector Montoya 17:01.02 44 44 5
45. Garces Jesus Guzman 17:02.28 45 45 2
46. Garces Michael Bedard 17:02.88 46 46 3
47. Frontier Tanner Urmston 17:03.48 47 47 1
48. BHS John Purcell 17:04.08 48 48 4
49. Centennial Ty Heiter 17:04.73 49 49 2
50. Frontier Richard Peralta 17:05.73 50 50 2
51. Shafter Cristian Barrios 17:07.93 51 51 6
52. Centennial Gehrig Smith 17:08.86 52 52 3
53. BHS Christopher Anderson 17:09.32 53 53 5
54. Highland Justin Burnett 17:10.77 54 54 5
55. Wasco J. DeJulian 17:11.97 55 55 6
56. Stockdale Stephen Burke 17:16.30 56 56 4
57. Arvin Juan Calderon 17:16.89 57 57 2
58. Wasco Cesar Patino 17:19.39 58 58 7
59. Cesar Chavez Tim Yanez 17:21.10 59 59 3
60. Highland Ariel Hurtado 17:23.69 60 60 6
61. North Adam Ralls 17:24.02 61 x 1
62. Ridgeview Michael Anseno 17:24.53 62 61 6
63. Ridgeview Jaime Madrigal 17:31.18 63 62 7
64. Foothill Patrick Manrique 17:32.75 64 63 4
65. Frontier Will Beechinor 17:33.57 65 64 3
66. East Alex Estrada 17:38.64 66 65 6
67. Burroughs Jesse Wigfield 17:38.99 67 66 1
68. Centennial Eric Millan 17:39.50 68 67 4
69. Burroughs Daniel Lathrop 17:39.91 69 68 2
70. Shafter Jacob Vasquez 17:40.47 70 69 7
71. Garces David Freed 17:40.91 71 70 4
72. Centennial Jake Howry 17:42.54 72 71 5
73. Burroughs Andrew Szczpiorski 17:44.05 73 72 3
74. Frontier D. Sclafani 17:47.26 74 73 4
75. Stockdale Max Morales 17:48.38 75 74 5
76. Burroughs Eduardo Carrillo 17:51.64 76 75 4
77. Burroughs Keith Christman 17:57.59 77 76 5
78. Golden Valley Jose Salgado 17:59.82 78 77 2
79. Cesar Chavez Rudy Sandoval 18:00.34 79 78 4
80. Centennial Brad Hinsley 18:04.58 80 79 6
81. Arvin Yessuri Villsenor 18:05.30 81 80 3
82. Burroughs Nathan Cheadle 18:10.33 82 81 6
83. Foothill Javier Garcia 18:11.22 83 82 5
84. Foothill Ernest Marquez 18:11.57 84 83 6
85. BC Kevin Yarian 18:27.47 85 84 1
86. North Chris Emmett 18:29.51 86 x 2
87. Cesar Chavez Andres Rodriguez 18:30.45 87 85 5
88. Tehachapi Corey Torres 18:32.16 88 86 1
89. Frontier Michael Sclafani 18:33.62 89 87 5
90. Garces Patrick Gomez 18:37.52 90 88 5
91. Highland Humberto Ramirez 18:37.98 91 89 7
92. Golden Valley David Gamino 18:40.22 92 90 3
93. Frontier Ricky Gonzales 19:03.13 93 91 6
94. Garces Chris Real 19:06.29 94 92 6
95. Stockdale D. Sherrill 19:08.29 95 93 6
96. Garces Dillon Lyles 19:16.75 96 94 7
97. Tehachapi Christian Torres 19:19.03 97 95 2
98. BC Mark McCutcheon 19:20:78 98 96 2
99. Golden Valley Nick Cruz 19:22.49 99 97 4
100. Golden Valley Daniel Perez 19:25.13 100 98 5
101. Foothill Christian Paredes 19:32.03 101 99 7
102. Arvin Adrian Rodriguez 19:32.67 102 100 4
103. BC Thomas Beard 19:59.04 103 101 3
104. West Michael Branquino 19:59.63 104 x 1
105. BHS Nick Flores 20:04.27 105 102 6
106. Tehachapi Logan Collier 20:07.47 106 103 3
107. Kern Valley C. Woodward 20:22.63 107 x 1
108. Arvin Christian Guerrero 20:31.41 108 104 5
109. Burroughs Daniel Meade 20:41.26 109 105 7
110. Golden Valley Ryan Davis 20:41.26 110 106 6
111. BHS Robby Harris 20:42.01 111 107 7
112. East Hector Fuentes 20:42.57 112 108 7
113. Frontier Alex Blanton 20:56.97 113 109 7
114. Cesar Chavez Joel Hernandez 21:02.22 114 110 6
115. Tehachapi Trent Sherman 21:02.94 115 111 4
116. Tehachapi Shaddi Haddad 21:18.14 116 112 5
117. BC Austin Adee 21:25.45 117 113 4
118. BC Aaron Stephens 21:31.77 118 114 5
119. Kern Valley J. Pistocco 23:15.37 119 x 2
120. Tehachapi Corey Hebron 23:19.78 120 115 6
121. West Kevin Serrano 23:48.05 121 x 2
KVG is the largest local bus company in NVP, based in Ribnitz-Damgarten. Seen passing the 15th century Rostocker Tor gate at the western approach to the town, a replacement for a much earlier entry point. A new bus depot is located at the western approaches to the town. The bus is Setra, Kennzeichen NVP RL 175, on a Dienstfahrt, or empty working from the garage. KVG is rather an uninspiring company abbreviation....it stands for Motor Transport Company with no hint of place. I wonder why they chose this one? Perhaps to keep the name neutral when Ribnitz-Damgarten and Grimmen companies were combined.
In the background, flats of the Boddenstrasse estate ,commenced 1956, but taller buildings date from the 1970s,which housed many of the 2000 workers at the huge former VEB Faserplattenwerke making fibreboard on the land of the former Bachmann aeroplane works further west beside the KVG depot. More about the corruption following privatisation of the firm and ownership by Knyder of Bison-Werke in Hamburg, eventual bankruptcy and worker occupation here and especially here
After being sold for DM1, millions of Marks of publicly invested money went up in smoke..well actually ended up in Swiss banks...in a classical Rover style sting.
Based on Bonsaibirder's blog, I think it's a rock bunting...
Wednesday 19 February 2014: Neltner Refuge (3207 m / 10522 ft) - Toubkal (جبل توبقال) (4167 m / 13671 ft) - Neltner Refuge (3207 m / 10522 ft)
An early rise and shine at the Neltner Refuge - 5.53am alarm, breakfast back down in the dining room at 6.30am ish, donning waterproofs, boots, then outside for crampon lacing and ice axe wrangling (and photos) and we were ready and raring to go on our Mt Toubkal ascent by 7.15am. Beautiful clear blue skies, pristine snow and very cold. We'd had feather patterned ice on the inside of our dorm window this morning.
After a bit of stopping and starting we found our pace, with Hussein-the-guide leading the way and Mohammed bringing up the rear, and eventually splitting into two groups. Strong winds en route brought the temperature down further and whipped up the snow - beautiful but occasionally painful. You needed to keep moving. My ears got very cold (hence the scarf-as-headscarf look in the photos). Towards the top of the valley, the morning sun caught up with us, providing a touch of warmth but making the snowscape very bright. Time to don the Julbo sunglasses (another image element I'd rather be without!).
Just after 11am we reached the head of the valley - Tizi'n'Toubkal (3940 m / 12926 ft) - and were rewarded with a magical view east of misty blue ridges and, somewhere beyond that, the Sahara. Looking behind us we could see the valley we'd climbed through, to the north the path up to the peak - the metal pyramid on top making it easy to identify. A very photogenic stop, and Hussein found us a sheltered spot for a bit of a breather before the final push up and round to the very top of Toubkal.
We summited at 11.45am or there abouts, and once we'd caught our breaths it was time for celebratory snaps, sweets and mélange courtesy of Hussein. Tara, Liz, Denyse and Mohammed arrived about half an hour later accompanied by another group who were carrying skis on their packs, planning to a ski descent. Now that's what I call nuts (but then again, I don't ski....). More photos, plus bread and cheese triangles to celebrate. Beautiful panoramic views under blue skies - who could ask for more?
A speedy descent - due to a combination of taking a more direct path down and gravity, plus the lure of lunch back at the refuge. The wind had dropped and it got hot clad in accumulated thermals. I'd settled on Uniqlo polo neck base layer, M&S thermal top, Mountain Kingdoms fleece, plus my Goretex jacket on top; for bottoms, Icebreaker thermal leggings, Gelert trousers, Tibetan waterproof trews (admittedly a little on the short side) plus gaiters - a lower half look reminiscent of Little Lord Fauntleroy. As I'd absent-mindedly done yesterday's crampon training in my Salomon hiking boots (Women's Sector Mid GTX), I'd worn them again today - my new Scarpas didn't get a look in on this trip. My Mountain Equipment Women's Randonee Mitts were invaluable, as were (Hazel's - thank you...) trekking poles.
We were back at the refuge around 3.30pm, and by 4 o'clock were feasting on a late lunch of pasta, lentils, carrots, peas, cucumber/tomato/red onion/sweetcorn salad, bread and olives, accompanied by lots of tea and rounded off with the zingyest clementines I've ever tasted - it's citrus season, and these are fully ripened, fresh fruit.
As the wood stove warmed the dining room, afternoon tea followed at 5.30pm - paratha-y pancakes drizzled with honey - followed by dinner at 7pm. Bed followed not long after (and a good night's sleep, partly due to escaping last night's condensation drips).
A fantastic day.
PS It looks like we did the South Col / Cwm (Irhzer n'Ikhibi Janoub) route.
Read more on sparklytrainers.com ....
DSC04003_small
Kern Invite - 11/01/08
Hart Park - Bakersfield, CA
www.andynoise.com/kernxcinvite08.html
Varsity Girls - 2008 Kern County Cross Country
Championships
School Athlete Time Overall Scoring Team
1. Ridgeview Tijerra Lynch 18:58.24 1 1 1
2. Shafter Elizabeth Wittenberg 19:02.62 2 2 1
3. Garces Monica Guzman 19:15.89 3 3 1
4. North Celilia Lopez 19:21.87 4 4 1
5. Ridgeview Ashley Duran 19:23.47 5 5 2
6. Ridgeview Jessica Huizar 19:25.81 6 6 3
7. Foothill Natalie Fernandez 19:35.65 7 7 1
8. East Lucia Garcia 19:46.20 8 x 1
9. Stockdale Amber Nelson 19:59.40 9 8 1
10. Taft Megan Thompson 20:01.34 10 x 1
11. Stockdale Carolin Haney 20:01.70 11 9 2
12. Stockdale Shelbe Pennel 20:03.86 12 10 3
13. Shafter Moriah Milwee 20:05.23 13 11 2
14. Ridgeview Desiree Armendariz 20:08.00 14 12 4
15. Arvin Tanya Hernandez 20:10.02 15 x 1
16. Highland Nichole Berry 20:19:01 16 13 1
17. BHS Sarah Baker 20:25.37 17 14 1
18. North Medeline Maier 20:29.38 18 15 2
19. Ridgeview Monica Lazo 20:33.39 19 16 5
20. Shafter Lindsee Handel 20:36.70 20 17 3
21. Centennial Jessica Folsom 20:41.80 21 18 1
22. BHS Emily Shuford 20:45.35 22 19 2
23. Ridgeview Linda Gonzalez 20:58:28 23 20 6
24. BHS Gabrielle Lerma 21:03.97 24 21 3
25. Stockdale Courtney Moore 21:06.02 25 22 4
26. North Meagan Menzel 21:10.17 26 23 3
27. BHS Gracie Garcia 21:11.76 27 24 4
28. Foothill Perla Veloz 21:13.21 28 25 2
29. Foothill Crystal Rodriguez 21:20.30 29 26 3
30. Independence Katelynn Webb 21:21.51 30 27 1
31. Golden Valley Karina Rocha 21:23.57 31 28 1
32. Shafter Katerina Plaza 21:27.21 32 29 4
33. North Blanca Perez 21:27.98 33 30 4
34. Wasco Amanda Castellon 21:28.25 34 31 1
35. Foothill Kaitlyn Mrasak 21:31.45 35 32 4
36. Tehachapi Brenda Gonzalez 21:33.34 36 33 1
37. Highland Gabi Rodier 21:34.56 37 34 2
38. Centennial Margaret Martinez 21:35.39 38 35 2
39. Stockdale Cynthia Lopez 21:35.61 39 36 5
40. Centennial Jessica Crowe 21:43.49 40 37 3
41. Highland Hilaria Vasquez 21:43.76 41 38 3
42. North Yadira Perez 21:49.62 42 39 5
43. Foothill Erica Castro 21:53.39 43 40 5
44. Centennial Stephanie Dittman 21:55.56 44 41 4
45. Independence Natalie Ambriz 22:08.45 45 42 2
46. Stockdale Madison Schutzner 22:14.92 46 43 6
47. Highland Katherine Mayberry 22:16.42 47 44 4
48. Centennial Jorey Braughton 22:18.95 48 45 5
49. North Kaylee Meyer 22:20.98 49 46 6
50. Garces Lauren Brown 22:21.19 50 47 2
51. Golden Valley Denise Silva 22:23.90 51 48 2
52. Foothill Violeta Quintanar 22:24.92 52 49 6
53. Highland Desiree Martinez 22:25.59 53 50 5
54. Independence Sara Sullivan 22:25.95 54 51 3
55. Garces Lizbeth Lopez 22:28.11 55 52 3
56. Garces Tammy Vu 22:35.68 56 53 4
57. West Selam Habebo 22:39.75 57 x 1
58. Shafter Leana Lara 22:51.69 58 54 5
59. Independence Carlie Croxton 22:55.06 59 55 4
60. Cesar Chavez Rosa Montanez 22:57.28 60 x 1
61. Foothill Maria Zepeda 22:57.55 61 56 7
62. Garces Marissa Machado 22:57.92 62 57 5
63. Shafter Mayra Torres 23:00.88 63 58 6
64. Golden Valley Carmelita Aguilar 23:04.07 64 59 3
65. Ridgeview M. Salgado 23:14.56 65 60 7
66. Golden Valley Anna Avina 23:20.23 66 61 4
67. Golden Valley Ninive Alveno 23:26.73 67 62 6
68. Golden Valley Mercedes Salgado 23:26.73 68 63 5
69. Centennial Paige Anderson 23:30.27 69 64 6
70. Garces Sammie Lobardo 23:34.37 70 65 6
71. Arvin Bianca Quinonez 23:41.85 71 x 2
72. Kern Valley S. Hinkey 23:42.47 72 x 1
73. Frontier Ariel Driskill 23:43.12 73 66 1
74. Centennial J. Estrada 23:50.91 74 67 7
75. Kern Valley S. Hazzard 23:51.80 75 x 2
76. Garces G. Ortiz 23:54.66 76 68 7
77. North Priscilla Cruz 23:55.51 77 69 7
78. BHS Kristina Logan 24:04.10 78 70 5
79. Frontier Jasmine Mattos 24:05.42 79 71 2
80. Stockdale Delilah Diaz 24:10.83 80 72 7
81. West Wennie Agbalog 24:28.90 81 x 2
82. Wasco Anna Orozco 24:29.57 82 73 2
83. Wasco Ruby Jacabo 24:30.22 83 74 3
84. Tehachapi Anna Duke 24:33.57 84 75 2
85. Wasco S. Castellon 24:42.66 85 76 6
86. Independence Shelby Woolf 24:58.35 86 77 6
87. BHS Sarah Stidham 24:58.76 87 78 6
88. Arvin Gaby Gomez 25:04.17 88 x 3
89. Highland Cristina Valenzuela 25:05.21 89 79 6
90. McFarland Monica Gonzalez 25:42.30 90 x 1
91. Tehachapi Susie Cuevas 25:57.15 91 x 3
92. Wasco B. Medina 26:00.11 92 80 4
93. Cesar Chavez Shannan Albay 26:00.32 93 x 2
94. BC Tiffany Rodriguez 26:26.77 94 x 1
95. Tehachapi Ariel Deval 26:50.73 95 81 4
96. Wasco A. Rios 27:14.74 96 82 5
97. Independence Samantha Antu 27:17.44 97 83 5
98. Tehachapi L. Shoemaker 27:44.92 98 84 5
99. BC Victoria Wheeler 28:09.47 99 x 2
100. Tehachapi J. Bahera 29:20:93 100 85 6
101. Frontier T. See 29:29.12 101 86 3
102. Frontier Savanah Olson 30:18.04 102 87 4
103. Frontier A. Rojas NT 103 88 5
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
protestart
Believed to be in Public Domain From Library of Congress, Prints and Photographs Collections. More on copyright: What does "no known restrictions" mean?
______________________
For information from Creative Commons on proper licensing for images believed to already be in the public domain please-- click here. By using this image from this site, you are acknowledging that you have read all the information in this description and accept responsibility for any use by you or your representatives. You are accepting responsibility for conducting any additional due diligence that may be necessary to ensure your proper use of this image.
________________
Public Domain. Suggested credit: Library of Congress via pingnews. Additional information from source:
TITLE: Berlin. Reichstagsgebäude
CALL NUMBER: FOREIGN GEOG FILE - Germany--Berlin (West--Buildings--Reichstagsgebäude (Hall of the Imperial Diet) [P&P]
REPRODUCTION NUMBER: LC-USZC4-2802 (color film copy transparency)
LC-USZ62-7446 (b&w film copy neg.)
SUMMARY: The Reichstag, Berlin.
MEDIUM: 1 photomechanical print : photochrom, color.
CREATED/PUBLISHED: [between 1890 and 1900]
NOTES:
No. 1970, Photoglob Zürich.
SUBJECTS:
Germany. Reichstag--1890-1900.
Government buildings--Germany--Berlin--1890-1900.
FORMAT:
Photochrom prints Color 1890-1900.
REPOSITORY: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA
DIGITAL ID: (color film copy transparency) cph 3g02802 hdl.loc.gov/loc.pnp/cph.3g02802
(b&w film copy neg.) cph 3a10095 hdl.loc.gov/loc.pnp/cph.3a10095
CARD #: 93517365
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.
заказать деревянные окна sotdel.ru/dereviannye-okna.html #sotdel #vk #скидки #сотдел #окна Преимущества современных деревянных окон: прослужат до 50 лет сохранят тепло и микроклимат жилища защитят от посторонних шумов благотворно отразятся на Вашем здоровье благодаря смоле, выделяемой хвойными породами деревьев Обо всем этом свидетельствуют многочисленные положительные отзывы о деревянных окнах. заказать деревянные окна sotdel.ru/dereviannye-okna.html Современные деревянные окна не только защищают наш дом от капризов природы, но и вносят заметный штрих в интерьер. Технологический процесс и новейшие разработки в области остекления позволяют эксплуатировать современные деревянные окна более 100 лет. Современная технология изготовления деревянных окон – из специального клееного бруса. Благодаря этой технологии рама и створки окна не деформируются во время всего срока службы. Изготовление деревянных окон – процесс трудоемкий и долгий. Помимо сборки самих конструкций, необходимо также тщательно подобрать составы для их пропитки. Дерево – натуральный природный материал и нуждается в особой защите от насекомых, влаги и ультрафиолета. Всех этих проблем легко избежать, используя лаки, краски и грунты на водной основе финской компании Teknos, применяемые на нашем производстве. www.facebook.com/110372909302943/photos/a.274679919538907...
Первое тюнинг-ателье по загородным домам - отделка фасадов, кровельные работы. Монтаж сайдинга под ключ. Гарантия 5 лет на монтаж сайдинга
Строительные блоки WOODBE из древесины www.sotdel.ru/stroitelnye-bloki-woodbe.html
Панели ДВП (Древесно Волокнистая Плита) www.sotdel.ru/paneli-dvp-drevesno-voloknistaya-plita/
ПАНЕЛИ KMEW fasadnye-panely.sotdel.ru/
Фартук для кухни (Кухонный фартук) www.sotdel.ru/fartuk-dlya-kuhni.html
Москва ул. Верхние Поля, 48а
пн–пт 09:00–18:00; сб 09:00–15:00
+7 (495) 258-62-08
[
O Advogado do Emigrante Português ]( r.info-castilhoadvogados.com/912361q1b0rf.html ) [ ]( r.info-castilhoadvogados.com/1048co6la1b0rd.html )
Estimados Portugueses Emigrados pelo Mundo
Os nossos melhores cumprimentos
É com enorme prazer que o(a) contactamos a fim de lhe dar a conhecer que o serviço de O Advogado do Emigrante Português celebra doze anos de existência e de plena actividade, onde muitos foram os Portugueses por esse mundo fora que recorreram aos nossos serviços, legalizando e lutando pelos seus direitos em Portugal apesar da distância.
Para comemorar esta data a Sociedade de Advogados Tavares Castilho, Rodrigues & Associados SP, RL, criadora do serviço [ O Advogado do Emigrante Português ]( r.info-castilhoadvogados.com/1048co7dq1b0rd.html ) e do serviço [ Mudar o Estado Civil em Portugal ]( r.info-castilhoadvogados.com/1048co8661b0rd.html ), oferecerá aos seus clientes um desconto de 30 % sobre o valor da tabela interna da sociedade em todos os serviços, aplicando-se o mesmo a todos os orçamentos já dados.
Esta campanha vigorará até ao final do presente ano de 2016.
Assim, usufrua desta oportunidade para recorrer aos nossos serviços e aproveitar para, legalizar o seu estado civil em Portugal ou divorciar-se ou exigir partilhas, entre outros serviços, que poderá conhecer nos nossos sites:
r.info-castilhoadvogados.com/1048co8ym1b0rd.html
r.info-castilhoadvogados.com/1048co9r21b0rd.html ENVIE UM E-MAIL - NÓS LIGAMOS GRÁTIS [ ]( r.info-castilhoadvogados.com/1048coaji1b0rd.html ) O Advogado do Emigrantes Português
O ADVOGADO DO EMIGRANTE PORTUGUÊS é propriedade da sociedade de Advogados TAVARES CASTILHO RODRIGUES & ASSOCIADOS SOCIEDADE DE ADVOGADOS SP. R. L,
AVEIRO / LISBOA / ÁGUEDA / ESPANHA
Site web: www.castilhoadvogados.com
E-mail: geral@castilhoadvogados.com
Telefone: 00351 234 48 22 14
Fax: 00351 234 48 00 45
This email was sent to very30chum@photos.flickr.com
You received this email because you are registered with TAVARES CASTILHO RODRIGUES & ASSOCIADOS SOCIEDADE DE ADVOGADOS SP RL
We respect your privacy.
[ Unsubscribe here ]( r.info-castilhoadvogados.com/912361q1b0rg.html )
Enviado pela
Kern Invite - 11/01/08
Hart Park - Bakersfield, CA
www.andynoise.com/kernxcinvite08.html
Varsity Girls - 2008 Kern County Cross Country
Championships
School Athlete Time Overall Scoring Team
1. Ridgeview Tijerra Lynch 18:58.24 1 1 1
2. Shafter Elizabeth Wittenberg 19:02.62 2 2 1
3. Garces Monica Guzman 19:15.89 3 3 1
4. North Celilia Lopez 19:21.87 4 4 1
5. Ridgeview Ashley Duran 19:23.47 5 5 2
6. Ridgeview Jessica Huizar 19:25.81 6 6 3
7. Foothill Natalie Fernandez 19:35.65 7 7 1
8. East Lucia Garcia 19:46.20 8 x 1
9. Stockdale Amber Nelson 19:59.40 9 8 1
10. Taft Megan Thompson 20:01.34 10 x 1
11. Stockdale Carolin Haney 20:01.70 11 9 2
12. Stockdale Shelbe Pennel 20:03.86 12 10 3
13. Shafter Moriah Milwee 20:05.23 13 11 2
14. Ridgeview Desiree Armendariz 20:08.00 14 12 4
15. Arvin Tanya Hernandez 20:10.02 15 x 1
16. Highland Nichole Berry 20:19:01 16 13 1
17. BHS Sarah Baker 20:25.37 17 14 1
18. North Medeline Maier 20:29.38 18 15 2
19. Ridgeview Monica Lazo 20:33.39 19 16 5
20. Shafter Lindsee Handel 20:36.70 20 17 3
21. Centennial Jessica Folsom 20:41.80 21 18 1
22. BHS Emily Shuford 20:45.35 22 19 2
23. Ridgeview Linda Gonzalez 20:58:28 23 20 6
24. BHS Gabrielle Lerma 21:03.97 24 21 3
25. Stockdale Courtney Moore 21:06.02 25 22 4
26. North Meagan Menzel 21:10.17 26 23 3
27. BHS Gracie Garcia 21:11.76 27 24 4
28. Foothill Perla Veloz 21:13.21 28 25 2
29. Foothill Crystal Rodriguez 21:20.30 29 26 3
30. Independence Katelynn Webb 21:21.51 30 27 1
31. Golden Valley Karina Rocha 21:23.57 31 28 1
32. Shafter Katerina Plaza 21:27.21 32 29 4
33. North Blanca Perez 21:27.98 33 30 4
34. Wasco Amanda Castellon 21:28.25 34 31 1
35. Foothill Kaitlyn Mrasak 21:31.45 35 32 4
36. Tehachapi Brenda Gonzalez 21:33.34 36 33 1
37. Highland Gabi Rodier 21:34.56 37 34 2
38. Centennial Margaret Martinez 21:35.39 38 35 2
39. Stockdale Cynthia Lopez 21:35.61 39 36 5
40. Centennial Jessica Crowe 21:43.49 40 37 3
41. Highland Hilaria Vasquez 21:43.76 41 38 3
42. North Yadira Perez 21:49.62 42 39 5
43. Foothill Erica Castro 21:53.39 43 40 5
44. Centennial Stephanie Dittman 21:55.56 44 41 4
45. Independence Natalie Ambriz 22:08.45 45 42 2
46. Stockdale Madison Schutzner 22:14.92 46 43 6
47. Highland Katherine Mayberry 22:16.42 47 44 4
48. Centennial Jorey Braughton 22:18.95 48 45 5
49. North Kaylee Meyer 22:20.98 49 46 6
50. Garces Lauren Brown 22:21.19 50 47 2
51. Golden Valley Denise Silva 22:23.90 51 48 2
52. Foothill Violeta Quintanar 22:24.92 52 49 6
53. Highland Desiree Martinez 22:25.59 53 50 5
54. Independence Sara Sullivan 22:25.95 54 51 3
55. Garces Lizbeth Lopez 22:28.11 55 52 3
56. Garces Tammy Vu 22:35.68 56 53 4
57. West Selam Habebo 22:39.75 57 x 1
58. Shafter Leana Lara 22:51.69 58 54 5
59. Independence Carlie Croxton 22:55.06 59 55 4
60. Cesar Chavez Rosa Montanez 22:57.28 60 x 1
61. Foothill Maria Zepeda 22:57.55 61 56 7
62. Garces Marissa Machado 22:57.92 62 57 5
63. Shafter Mayra Torres 23:00.88 63 58 6
64. Golden Valley Carmelita Aguilar 23:04.07 64 59 3
65. Ridgeview M. Salgado 23:14.56 65 60 7
66. Golden Valley Anna Avina 23:20.23 66 61 4
67. Golden Valley Ninive Alveno 23:26.73 67 62 6
68. Golden Valley Mercedes Salgado 23:26.73 68 63 5
69. Centennial Paige Anderson 23:30.27 69 64 6
70. Garces Sammie Lobardo 23:34.37 70 65 6
71. Arvin Bianca Quinonez 23:41.85 71 x 2
72. Kern Valley S. Hinkey 23:42.47 72 x 1
73. Frontier Ariel Driskill 23:43.12 73 66 1
74. Centennial J. Estrada 23:50.91 74 67 7
75. Kern Valley S. Hazzard 23:51.80 75 x 2
76. Garces G. Ortiz 23:54.66 76 68 7
77. North Priscilla Cruz 23:55.51 77 69 7
78. BHS Kristina Logan 24:04.10 78 70 5
79. Frontier Jasmine Mattos 24:05.42 79 71 2
80. Stockdale Delilah Diaz 24:10.83 80 72 7
81. West Wennie Agbalog 24:28.90 81 x 2
82. Wasco Anna Orozco 24:29.57 82 73 2
83. Wasco Ruby Jacabo 24:30.22 83 74 3
84. Tehachapi Anna Duke 24:33.57 84 75 2
85. Wasco S. Castellon 24:42.66 85 76 6
86. Independence Shelby Woolf 24:58.35 86 77 6
87. BHS Sarah Stidham 24:58.76 87 78 6
88. Arvin Gaby Gomez 25:04.17 88 x 3
89. Highland Cristina Valenzuela 25:05.21 89 79 6
90. McFarland Monica Gonzalez 25:42.30 90 x 1
91. Tehachapi Susie Cuevas 25:57.15 91 x 3
92. Wasco B. Medina 26:00.11 92 80 4
93. Cesar Chavez Shannan Albay 26:00.32 93 x 2
94. BC Tiffany Rodriguez 26:26.77 94 x 1
95. Tehachapi Ariel Deval 26:50.73 95 81 4
96. Wasco A. Rios 27:14.74 96 82 5
97. Independence Samantha Antu 27:17.44 97 83 5
98. Tehachapi L. Shoemaker 27:44.92 98 84 5
99. BC Victoria Wheeler 28:09.47 99 x 2
100. Tehachapi J. Bahera 29:20:93 100 85 6
101. Frontier T. See 29:29.12 101 86 3
102. Frontier Savanah Olson 30:18.04 102 87 4
103. Frontier A. Rojas NT 103 88 5
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
protestart
MAY DAY IN WHITSTABLE
From my blog: rangefinderchronicles.blogspot.co.uk/2014/08/may-day-in-w...
Toyo 45/ 45 slide
► Ver imagen en alta resolución aquí: www.compartir.me/2013/07/9-fotos-de-pareja-de-novios-con-...
Colección de fotos e imágenes de parejas de novios con frases románticas, mensajes de amor y pensamientos para reflexionar acerca del verdadero amor. Son 9 tarjetas bonitas en la que encontrarás novias con vestido de boda, parejas enamoradas y bellos lugares. Ideal para dedicarlo en una postal. Compártelo!
Las personas que disfrutan relaciones satisfactorias y estables son seres equilibrados. No andan en busca de alguien que "llene un hueco". Reconocen su propia valía.
La felicidad proviene de la capacidad de sentir profundamente, de disfrutar simplemente, de pensar libremente, de arriesgar la vida, de ser necesitado.
Nacerá una unión, entre el hombre y la mujer, mucho más verdadera, mucho más fuerte, mucho más digna de respeto. La unión magnífica de dos seres iguales que se enriquecerán mutuamente puesto que poseen riquezas distintas.
El verdadero amor es eterno, infinito. El aspecto puede cambiar, pero no la esencia. Es equilibrado y puro, sin manifestaciones violentas: se tiene los cabellos blancos y se es siempre joven en el corazón.
No me importa quien eres realmente, mientras permanezcas a mi lado, para mí eso es suficiente.
Somos cada uno de nosotros ángeles con una sola ala, y sólo podemos volar abrazándonos el uno al otro.
El amor es paciente, es servicial; el amor no es envidioso, no hace alarde, no se envanece, no procede con bajeza, no busca su propio interés, no se irrita, no tiene en cuenta el mal recibido, no se alegra de la injusticia, sino que se regocija con la verdad. El amor todo lo disculpa, todo lo cree, todo lo espera, todo lo soporta. El amor no pasará jamás.
Se dice que uno se enamora sólo una vez verdaderamente, pero yo no lo creo. Cada vez que te veo me enamoro de nuevo.
Cuando te das cuenta que quieres pasar el resto de tu vida con alguien, entonces quieres que el resto de tu vida comience tan pronto como sea posible.
9 Fotos de pareja de novios con frases bonitas de amor || Tarjetas de Amor, Imagenes de parejas enamoradas, Amor, Frases de amor
Bought this shaving scuttle a few weeks back from a pottery artisan that has branched out into shaving scuttles. Julie Moore's pottery shop is called Dirty Bird and you can find her on the net here-
www.dirtybirdpottery.com/shavinggear.html
This particular scuttle, how you use is to fill the outer bowl with very hot water through the spout which will in turn, keep the lather you build in the bowl, hot, or as warm or hot as the water surrounding the bowl is
In fact, you do not want to use boiling water as it will (the high temperature) break down your lather. I use my tap water (from the hot faucet) which is 138 degrees f ...yes, I've read this temp with a dial thermometer
Typically the way I use it I fill the outside bowl with hot water and also the inside lather bowl with hot water too, to preheat, then I hop in the shower, prep my beard before shaving then when I'm out of the shower ready to shave I dump the water that I used for pre-heating and re-fill the outer bowl only. Then I proceed to build lather in the inner bowl
This scuttle keeps my lather very warm from my first shaving pass to the last pass. I like warm lather for my entire shave so this scuttle ranks high on my must have wet shaving gear list
In the scuttle (in this pic) you see one of my straight razors, my first Thiers Issard straight razor. Yes, there is oil on the blade. I leave oil on the blade and tang of all of my razors when I'm not using them to shave with. The humidity is high in my Fla. bathroom so I want to protect this carbon steel from rusting. Also pictured in the scuttle's bowl is my boar hair shaving brush. My badger shaving brush is sitting in the stand outside of the scuttle
Ralph Lauren Long Sleeved males’s polo may be described as american clothing classic representation, polo ralph lauren’s logo is a household name. the early 1960s, ralph lauren studied in the manhattan school of design. shortly after graduation, he entered a organization developed to sell neckties. in 1967, ralph lauren emphasis to personal style urban men, stylish classical polo within the name of the establishment of personal clothing brand ralph lauren polo guys.
mr. ralph lauren, locked his buyers within the fashion-oriented, middle-class groups considering high-grade ??Ralph Lauren Match Polo clothing. soon, he occupied a location within the fashion industry. in 1970, ralph lauren polo awarded the highest honor within the fashion business, and becoming the world's very best men's designer.
ralph lauren, the first batch of women's fashion series launched in 1971. his couture shows a lively, independent and confident style of american girls. starting in 1978, ralph lauren involved in children's clothing field, initial created and manufactured boys' clothing, following the 1981 he set foot in girls style. by the 1980s, Ralph Lauren Shirts ??gained the overall success, setting off a couple of fashion trends. in addition to ralph lauren outlet clothing, accessories style and production is also maturing.
apparel goods designed by ralph lauren, and you'll be able to smell the full bodied taste from the life from the u.s. and british society in the beginning from the last century. ralph lauren design inspiration from the american wild west, earlier baseball and also the old upper classes of society. all of??ralph lauren shoes shops, marketing and item display, rigorous style let men and women look like walking into a study space or living room of an upper-class family in new england. allegedly, this piece of new england white elite graffiti, the fit from the class superiority with the americans bones, and thus appeals for the possible consumer want to buy.
This passage is transloading from other blog.
references: guys’s polo ralph lauren brand history introduction