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Some of my images are availble in prints over on my ETSY store
- feel free to contact me if you are interested in a certain image :) THANK YOU <3
Epic goddess video: www.youtube.com/watch?v=NtlVGi_K-Bk
Nikon D800E photography of Pretty Brunette Swimsuit Bikini Model Goddess @ the 45SURF Summer Beach House! Gorgeous Blue Eyes! I'm thinking about adding a deck and a pool to the beach house / surf shack with the famous black 45SURF surfboard, and some cool beach reading for goddesses--Shakespeare, Homer's Iliad and Odyssey, and Melville's Moby Dick! You'll have to visit!
Join/like my facebook page! www.facebook.com/45surfHerosJourneyMythology
Follow me on facebook! facebook.com/elliot.mcgucken
Classic California--an athletic model goddess in a black Gold 45 Revolver bikini with the Moving Dimensions Theory Equation on it: dx4/dt=ic! Tall, thin, fit and very, very pretty!
Here's some new epic video of the epicly pretty brunette goddess--shooting stills & video @ the same time!:
www.youtube.com/watch?v=wHvI4Uyd_FY
www.youtube.com/watch?v=NtlVGi_K-Bk
Be sure to enjoy the epic videos in full screen HD! :)
Photos shot with the AMAZING Nikon D800 E and Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens and the B W 77mm XS-Pro Kaesemann Circular Polarizer with Multi-Resistant Nano Coating. Classic California Brunette Beach Babe! Beautiful Swimsuit Bikini Model Goddess with Pretty Blue Eyes and wavy brown/black hair!
Shot in both RAW & JPEG, but all these photos are RAWs finished in Lightroom 5 ! :)
Modeling the classic 45surf t-shirts and the Gold 45 Revolver Gold'N'Virtue Bikini on a sunny Malibu summer afternoon--my favorite for shooting on the beautiful socal beach!
Shot with the new Nikon D800E and Nikon 70-200mm f/2.8G ED VR II AF-S Nikkor Zoom Lens.
Captured in both RAW and JPEG.
Modeling the black & gold "Gold 45 Revolver" Gold'N'Virtue swimsuits with the main equation to Moving Dimensions Theory on the swimsuits: dx4/dt=ic. Yes I have a Ph.D. in physics! :) You can read more about my research and Hero's Journey Physics here:
herosjourneyphysics.wordpress.com/ MDT PROOF#2: Einstein (1912 Man. on Rel.) and Minkowski wrote x4=ict. Ergo dx4/dt=ic--the foundational equation of all time and motion which is on all the shirts and swimsuits. Every photon that hits my Nikon D800e's sensor does it by surfing the fourth expanding dimension, which is moving at c relative to the three spatial dimensions, or dx4/dt=ic!
May the Hero's Journey Mythology Goddess inspire you (as they have inspired me!) along your own artistic journey! Love, love, love the 70-200mm F/2.8 Lens! :)
All the Best on Your Epic Hero's Journey from Johnny Ranger McCoy!
May the classic California HJM Goddesses guide, inspire, and exalt ye along yer heroic artistic journey!
he.easternlightning.org/videos/the-gospel-messenger-trail...
סרטים תנכיים | 'שליח הבשורה' – טריילר רשמי
המשיחית צ'ן ייסין מאמינה בישוע מזה שנים רבות, והתמזל מזלה לקדם את פני ישוע אדוננו בשובו באחרית הימים – האל הכול יכול! היא הבינה את רצונו של אלוהים להושיע בדחיפות את האנושות, וזאת מתוך דברי האל הכול יכול. היא גם הבינה מהי השליחות ומהי האחריות שעל ברוא ליטול על עצמו; ולכן היא החלה לשתף את הבשורה ולהעיד על עבודתו של אלוהים באחרית הימים. בתוך כך היא נוסעת להרבה ערים ומחוזות, סופגת דיכוי ודחייה חוזרים ונשנים מצד חוגים דתיים, וכן נרדפת בידי הממשל הקומוניסטי הסיני. היא עוברת סבל רב, אך היות שדברי האל הם כנר לרגליה, היא נותרת נאמנה לשליחותה ואינה חוששת מהסכנות, אלא מתקדמת באומץ לב…
צפה בסרט השלם:הסרט המלא 'שליח הבשורה' | הטפת בשורת אחרית הימים
Image Source:ברק ממזרח
Terms of Use: he.easternlightning.org/disclaimer.html
Research the history of your house: www.publications.qld.gov.au/dataset/brief-guides-at-qsa/r...
Acacia Ridge, a residential and industrial suburb, is 13 km south of central Brisbane. It is positioned either side of Beaudesert Road, which runs southwards along the suburb's predominant ridge line. The name came about from the ridge line and its most common vegetation, the acacia or wattle trees.
Acacia Ridge was originally part of Cowpers (Coopers) Plains, which extended from Oxley Creek to Logan. The Acacia Ridge primary school (1869) was known as Coopers Plains between 1873 and 1956, after which it regained its original name. The school, which opened with an enrolment of 26 pupils, was near Oxley Creek, some way west of the South Coast railway line (1885). The farm lands running further west to Blunder Creek were considered to be in Acacia Ridge, or in part of the district known as 'the Blunder'.
Farming was mixed, and included dairying, poultry and market gardens. Pugh's Post Office directory (1918) recorded a post office (1898), a fuel depot, a butcher, several timber cutters and a sawmill. Thirty years later Acacia Ridge was still rural: pig and poultry farmers (70), fuel depots, baker, blacksmith and two storekeepers.
The Queensland Housing Commission began constructing estates in the suburb in the early 1950s, in some cases using imported Swedish houses. Industrialisation followed, General Motors Holden beginning work on a vehicle-assembly plant in 1964 in the north of the suburb near the railway line. Lysaght opened a steel building-products factory nearby in 1968. By 1966 the primary school had over 1250 pupils.
Acacia Market Place shopping centre opened in 1966, but by this time housing and industry were already moving southwards. The Elizabeth Street shopping centre, Beaudesert Road, and the Watson Road primary school (1967) are in the southern part. New suburbs were named and detached from Acacia Ridge in 1971 - Willawong, Pallara, Larapinta and Heathwood, all west of Oxley Creek. On the east of the creek Algester was detached and named in 1972.
In addition to the State primary schools there are a Catholic primary school (1954) and the Aboriginal and Islander Independent Community School (1986). State secondary education was rather short lived. The high school (1971) merged with neighbouring Salisbury (renamed Nyanda in 1998), and the site was taken by Acacia Ridge primary.
Acacia Ridge's proximity to the interstate railway line was augmented with transmission and marshalling yards attached to the industrial estates east of the railway during the early 1980s. In 1991 the rail freight facility was relocated from Roma Street to Acacia Ridge to facilitate the increasing mechanisation of freight handing. Diversification into warehousing and non-manufacturing began in the 1990s. Colgate Palmolive's factory was sold, and Acacia Business Park (strata title showroom/warehouse complex) was built in 1990. By 2000 most new industries were classified as 'light, quiet industries', although with plenty of transport activity to rail, Archerfield airport and the Gateway and Pacific Motorways. Traffic congestion, however, left Acacia Ridge inferior to sites such as Yatala adjacent to major road transport routes, but enhancement of existing rail links improved the suburbs's economic prospects.
The Oxley Creek flood plain on Acacia Ridge’s western side was extensively flooded in January 2011, but most built-up areas were missed. A notable exception not missed was part of the industrial area south of the Archerfield airport.
A pre-feasibility study began in 2013 regarding a proposed underground tunnel linking Acacia Ridge and the Port of Brisbane to accommodate the forecast 7 million annual truck journeys on that route by 2025, with both major federal parties also supporting an inland rail route.
Acacia Ridge history: Queensland Places – Acacia Ridge
Reference: Photo 24/(117)
From the Girdwood Collection held by the British Library.
This image is part of the Europeana Collections 1914-1918
Date: 25 Jul 1915
See also:
- View this at the British Library's site
Tetamanu pass in Fakarava on Google Earth l Fakarava on wikipedia l Raimiti Inn, Fakarava l
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Drone Photography DJI MAVIC Air
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Traditionnal Fish park in Tetamanu Pass Fakarava, Frenc Polynesia
Pedaliaceae (pedalium, or sesame family) » Sesamum orientale
see-SAM-um -- from Latin sesamum borrowed from other languages
or-ee-en-TAY-lee -- of or from the Orient, eastern
commonly known as: bene seeds, beniseed, benne, gingelly, til • Bengali: তিল til • Hindi: gingli, safed til, til • Kannada: ಎಳ್ಳು ellu, ತಿಲ tila • Kashmiri: कुंजद् kunjad, कूंजल् or कूंज्यल् kunjal • Malayalam: ellu, schit-elu • Manipuri: thoiding • Marathi: तीळ or तिल tila • Punjabi: ਤਿਲ til • Sanskrit: तिल tila • Tamil: சிற்றெள் cirrel, எள் el, எள்ளு ellu, திலம் tilam, yellu cheddi • Telugu: నువ్వులు nuvvulu, నువ్వుపువ్ nuvvupuvvu, తెలిక telika, తిలలు tilalu
Native to: sub-saharan Africa, India
References: Flowers of India • M.M.P.N.D. • Wikipedia
Ultracontemporary art works / periode Venice Biennale 2019
www.emergencyrooms.org/biennalist.html
www.emergencyrooms.org/formats.html
more here about the Biennale :
Ralph Rugoff has declared: «May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).»
ALBANIA
Maybe the cosmos is not so extraordinary
Commissioner: Ministry of Culture Republic of Albania. Curator: Alicia Knock.
Exhibitor: Driant Zeneli.
ALGERIA***
Time to shine bright
Commissioner/Curator: Hellal Mahmoud Zoubir, National Council of Arts and Letters Ministry of Culture. Exhibitors: Rachida Azdaou, Hamza Bounoua, Amina Zoubir, Mourad Krinah, Oussama Tabti.
Venue: Fondamenta S. Giuseppe, 925
ANDORRA
The Future is Now / El futur és ara
Commissioner: Eva Martínez, “Zoe”. Curators: Ivan Sansa, Paolo De Grandis.
Exhibitor: Philippe Shangti.
Venue: Istituto Santa Maria della Pietà, Castello 3701
ANTIGUA & BARBUDA
Find Yourself: Carnival and Resistance
Commissioner: Daryll Matthew, Minister of Sports, Culture, National Festivals and the Arts. Curator: Barbara Paca with Nina Khrushcheva. Exhibitors: Timothy Payne, Sir Gerald Price, Joseph Seton, and Frank Walter; Intangible Cultural, Heritage Artisans and Mas Troup.
Venue: Centro Culturale Don Orione Artigianelli, Dorsoduro 919
ARGENTINA
El nombre de un país / The name of a country
Commissioner: Sergio Alberto Baur Ambasciatore. Curator: Florencia Battiti. Exhibitor: Mariana Telleria.
Venue: Arsenale
ARMENIA (Republic of)
Revolutionary Sensorium
Commissioner: Nazenie Garibian, Deputy Minister. Curator: Susanna Gyulamiryan.
Exhibitors: "ArtlabYerevan" Artistic Group (Gagik Charchyan, Hovhannes Margaryan, Arthur Petrosyan, Vardan Jaloyan) and Narine Arakelian.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
AUSTRALIA
ASSEMBLY
Commissioner: Australia Council for the Arts. Curator: Juliana Engberg. Exhibitor: Angelica Mesiti.
Venue: Giardini
AUSTRIA
Discordo Ergo Sum
Commissioner: Arts and Culture Division of the Federal Chancellery of Austria.
Curator: Felicitas Thun-Hohenstein. Exhibitor: Renate Bertlmann.
Venue: Giardini
AZERBAIJAN (Republic of )
Virtual Reality
Commissioner: Mammad Ahmadzada, Ambassador of the Republic of Azerbaijan.
Curators: Gianni Mercurio, Emin Mammadov. Exhibitors: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva.
Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949
BANGLADESH (People’s Republic of)
Thirst
Commissioner: Liaquat Ali Lucky. Curators: Mokhlesur Rahman, Viviana Vannucci.
Exhibitors: Bishwajit Goswami, Dilara Begum Jolly, Heidi Fosli, Nafis Ahmed Gazi, Franco Marrocco, Domenico Pellegrino, Preema Nazia Andaleeb, Ra Kajol, Uttam Kumar karmaker.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
BELARUS (Republic of)
Exit / Uscita
Commissioner: Siarhey Kryshtapovich. Curator: Olga Rybchinskaya. Exhibitor: Konstantin Selikhanov.
Venue: Spazio Liquido, Sestiere Castello 103, Salizada Streta
BELGIUM
Mondo Cane
Commissioner: Fédération Wallonie-Bruxelles. Curator: Anne-Claire Schmitz.
Exhibitor: Jos de Gruyter & Harald Thys.
Venue: Giardini
BOSNIA and HERZEGOVINA
ZENICA-TRILOGY
Commissioner: Senka Ibrišimbegović, Ars Aevi Museum for Contemporary Art Sarajevo.
Curators: Anja Bogojević, Amila Puzić, Claudia Zini. Exhibitor: Danica Dakić.
Venue: Palazzo Francesco Molon Ca’ Bernardo, San Polo 2184/A
BRAZIL
Swinguerra
Commissioner: José Olympio da Veiga Pereira, Fundação Bienal de São Paulo.
Curator: Gabriel Pérez-Barreiro. Exhibitor: Bárbara Wagner & Benjamin de Burca.
Venue: Giardini
BULGARIA
How We Live
Commissioner: Iaroslava Boubnova, National Gallery in Sofia. Curator: Vera Mlechevska.
Exhibitors: Rada Boukova , Lazar Lyutakov.
Venue: Palazzo Giustinian Lolin, San Marco 2893
CANADA
ISUMA
Commissioner: National Gallery of Canada. Curators: Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer, Candice Hopkins. Exhibitors: Isuma (Zacharias Kunuk, Norman Cohn, Paul Apak, Pauloosie Qulitalik).
Venue: Giardini
CHILE
Altered Views
Commissioner: Varinia Brodsky, Ministry of Cultures, Arts and Heritage.
Curator: Agustín Pérez. Rubio. Exhibitor: Voluspa Jarpa.
Venue: Arsenale
CHINA (People’s Republic of)
Re-睿
Commissioner: China Arts and Entertainment Group Ltd. (CAEG).
Curator: Wu Hongliang. Exhibitors: Chen Qi, Fei Jun, He Xiangyu, Geng Xue.
Venue: Arsenale
CROATIA
Traces of Disappearing (In Three Acts)
Commissioner: Ministry of Culture of the Republic of Croatia. Curator: Katerina Gregos.
Exhibitor: Igor Grubić.
Venue: Calle Corner, Santa Croce 2258
CUBA
Entorno aleccionador (A Cautionary Environment)
Commissioner: Norma Rodríguez Derivet, Consejo Nacional de Artes Plásticas.
Curator: Margarita Sanchez Prieto. Exhibitors: Alejandro Campins, Alex Hérnandez, Ariamna Contino and Eugenio Tibaldi. Venue: Isola di San Servolo
CYPRUS (Republic of)
Christoforos Savva: Untimely, Again
Commissioner: Louli Michaelidou. Curator: Jacopo Crivelli Visconti. Exhibitor: Christoforos Savva.
Venue: Associazione Culturale Spiazzi, Castello 3865
CZECH (Republic) and SLOVAK (Republic)
Stanislav Kolíbal. Former Uncertain Indicated
Commissioner: Adam Budak, National Gallery Prague. Curator: Dieter Bogner.
Exhibitor: Stanislav Kolibal.
Venue: Giardini
DOMINICAN (Republic) *
Naturaleza y biodiversidad en la República Dominicana
Commissioner: Eduardo Selman, Minister of Culture. Curators: Marianne de Tolentino, Simone Pieralice, Giovanni Verza. Exhibitors: Dario Oleaga, Ezequiel Taveras, Hulda Guzmán, Julio Valdez, Miguel Ramirez, Rita Bertrecchi, Nicola Pica, Marraffa & Casciotti.
Venue: Palazzo Albrizzi Capello, Cannaregio 4118 – Sala della Pace
EGYPT
khnum across times witness
Commissioner: Ministry of Culture. Curator: Ahmed Chiha.
Exhibitors: Islam Abdullah, Ahmed Chiha, Ahmed Abdel Karim.
Venue: Giardini
ESTONIA
Birth V
Commissioner: Maria Arusoo, Centre of Contemporary Arts of Estonia. Curators: Andrew Berardini, Irene Campolmi, Sarah Lucas, Tamara Luuk. Exhibitor: Kris Lemsalu.
Venue: c/o Legno & Legno, Giudecca 211
FINLAND (Alvar Aalto Pavilion)
A Greater Miracle of Perception
Commissioner: Raija Koli, Director Frame Contemporary Art Finland.
Curators: Giovanna Esposito Yussif, Bonaventure Soh Bejeng Ndikung, Christopher Wessels. Exhibitors: Miracle Workers Collective (Maryan Abdulkarim, Khadar Ahmed, Hassan Blasim, Giovanna Esposito Yussif, Sonya Lindfors, Bonaventure Soh Bejeng Ndikung, Outi Pieski, Leena Pukki, Lorenzo Sandoval, Martta Tuomaala, Christopher L. Thomas, Christopher Wessels, Suvi West).
Venue: Giardini
FRANCE
Deep see blue surrounding you / Vois ce bleu profond te fondre
Commissioner: Institut français with the Ministry for Europe and Foreign Affairs and the Ministry of Culture. Curator: Martha Kirszenbaum. Exhibitor: Laure Prouvost.
Venue: Giardini
GEORGIA
REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation
Commissioner: Ana Riaboshenko. Curator: Margot Norton. Exhibitor: Anna K.E.
Venue: Arsenale
GERMANY
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office, Germany. Curator: Franciska Zólyom. Exhibitor: Natascha Süder Happelmann.
Venue: Giardini
GHANA ***
Ghana Freedom
Commissioner: Ministry of Tourism, Arts and Culture. Curator: Nana Oforiatta Ayim.
Exhibitors: Felicia Abban, John Akomfrah, El Anatsui, Lynette Yiadom Boakye, Ibrahim Mahama, Selasi Awusi Sosu.
Venue: Arsenale
GREAT BRITAIN
Cathy Wilkes
Commissioner: Emma Dexter. Curator: Zoe Whitley. Exhibitor: Cathy Wilkes.
Venue: Giardini
GREECE
Mr Stigl
Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan Organization of Museums of Visual Arts of Thessaloniki - MOMus).
Curator: Katerina Tselou. Exhibitors: Panos Charalambous, Eva Stefani, Zafos Xagoraris.
Venue: Giardini
GRENADA
Epic Memory
Commissioner: Susan Mains. Curator: Daniele Radini Tedeschi.
Exhibitors: Amy Cannestra, Billy Gerard Frank, Dave Lewis, Shervone Neckles, Franco Rota Candiani, Roberto Miniati, CRS avant-garde.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
GUATEMALA
Interesting State
Commissioner: Elder de Jesús Súchite Vargas, Minister of Culture and Sports of Guatemala. Curator: Stefania Pieralice. Exhibitors: Elsie Wunderlich, Marco Manzo.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
HAITI
THE SPECTACLE OF TRAGEDY
Commissioner: Ministry of Culture and Communication.
Curator: Giscard Bouchotte. Exhibitor: Jean Ulrick Désert.
Venue: Circolo Ufficiali Marina, Calle Seconda de la Fava, Castello 2168
HUNGARY
Imaginary Cameras
Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.
Curator: Zsuzsanna Szegedy-Maszák. Exhibitor: Tamás Waliczky.
Venue: Giardini
ICELAND
Chromo Sapiens – Hrafnhildur Arnardóttir / Shoplifter
Commissioner: Eiríkur Þorláksson, Icelandic Ministry of Education, Science and Culture.
Curator: Birta Gudjónsdóttir. Exhibitor: Hrafnhildur Arnardóttir / Shoplifter.
Venue: Spazio Punch, Giudecca 800
INDIA
Our time for a future caring
Commissioner: Adwaita Gadanayak National Gallery of Modern Art.
Curator: Roobina Karode, Director & Chief Curator, Kiran Nadar Museum of Art. Exhibitors: Atul Dodiya, Ashim Purkayastha, GR Iranna, Jitish Kallat, Nandalal Bose, Rummana Hussain, Shakuntala Kulkarni.
Venue: Arsenale
INDONESIA
Lost Verses
Commissioner: Ricky Pesik & Diana Nazir, Indonesian Agency for Creative Economy.
Curator: Asmudjo Jono Irianto. Exhibitors: Handiwirman Saputra and Syagini Ratna Wulan.
Venue: Arsenale
IRAN (Islamic Republic of)
of being and singing
Commissioner: Hadi Mozafari, General Manager of Visual Arts Administration of Islamic Republic of Iran. Curator: Ali Bakhtiari.
Exhibitors: Reza Lavassani, Samira Alikhanzadeh, Ali Meer Azimi.
Venue: Fondaco Marcello, San Marco 3415
IRAQ
Fatherland
Commissioner: Fondazione Ruya. Curators: Tamara Chalabi, Paolo Colombo.
Exhibitor: Serwan Baran.
Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052
IRELAND
The Shrinking Universe
Commissioner: Culture Ireland. Curator: Mary Cremin. Exhibitor: Eva Rothschild.
Venue: Arsenale
ISRAEL
Field Hospital X
Commissioner: Michael Gov, Arad Turgeman. Curator: Avi Lubin. Exhibitor: Aya Ben Ron.
Venue: Giardini
ITALY
Commissioner: Federica Galloni, Direttore Generale Arte e Architettura Contemporanee e Periferie Urbane, Ministero dei Beni e delle Attività Culturali. Curator: Milovan Farronato.
Exhibitors: Enrico David, Liliana Moro, Chiara Fumai.
Venue: Padiglione Italia, Tese delle Vergini, Arsenale
IVORY COAST
The Open Shadows of Memory
Commissioner: Henri Nkoumo. Curator: Massimo Scaringella. Exhibitors: Ernest Dükü, Ananias Leki Dago, Valérie Oka, Tong Yanrunan.
Venue: Castello Gallery, Castello 1636/A
JAPAN
Cosmo-Eggs
Commissioner: The Japan Foundation. Curator: Hiroyuki Hattori. Exhibitors: Motoyuki Shitamichi, Taro Yasuno, Toshiaki Ishikura, Fuminori Nousaku.
Venue: Giardini
KIRIBATI
Pacific Time - Time Flies
Commissioner: Pelea Tehumu, Ministry of Internal Affairs. Curators: Kautu Tabaka, Nina Tepes. Exhibitors: Kaeka Michael Betero, Daniela Danica Tepes, Kairaken Betio Group; Teroloang Borouea, Neneia Takoikoi, Tineta Timirau, Teeti Aaloa, Kenneth Ioane, Kaumai Kaoma, Runita Rabwaa, Obeta Taia, Tiribo Kobaua, Tamuera Tebebe, Rairauea Rue, Teuea Kabunare, Tokintekai Ekentetake, Katanuti Francis, Mikaere Tebwebwe, Terita Itinikarawa, Kaeua Kobaua, Raatu Tiuteke, Kaeriti Baanga, Ioanna Francis, Temarewe Banaan, Aanamaria Toom, Einako Temewi, Nimei Itinikarawa, Teniteiti Mikaere, Aanibo Bwatanita, Arin Tikiraua.
Venue: European Cultural Centre, Palazzo Mora, Strada Nuova 3659
KOREA (Republic of)
History Has Failed Us, but No Matter
Commissioner: Arts Council Korea. Curator: Hyunjin Kim. Exhibitors: Hwayeon Nam, siren eun young jung, Jane Jin Kaisen.
Venue: Giardini
KOSOVO (Republic of)
Family Album
Commissioner: Arta Agani. Curator: Vincent Honore. Exhibitor: Alban Muja.
Venue: Arsenale
LATVIA
Saules Suns
Commissioner: Dace Vilsone. Curators: Valentinas Klimašauskas, Inga Lāce.
Exhibitor: Daiga Grantiņa.
Venue: Arsenale
LITHUANIA
Sun & Sea (Marina)
Commissioner: Rasa Antanavičıūte. Curator: Lucia Pietroiusti.
Exhibitors: Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite.
Venue: Magazzino No. 42, Marina Militare, Arsenale di Venezia, Fondamenta Case Nuove 2738c
LUXEMBOURG (Grand Duchy of)
Written by Water
Commissioner: Ministry of Culture of Luxembourg.
Curator: Kevin Muhlen. Exhibitor: Marco Godinho.
Venue: Arsenale
NORTH MACEDONIA (Republic of )
Subversion to Red
Commissioner: Mira Gakina. Curator: Jovanka Popova. Exhibitor: Nada Prlja.
Venue: Palazzo Rota Ivancich, Castello 4421
MADAGASCAR ***
I have forgotten the night
Commissioner: Ministry of Communication and Culture of the Republic of Madagascar. Curators: Rina Ralay Ranaivo, Emmanuel Daydé.
Exhibitor: Joël Andrianomearisoa.
Venue: Arsenale
MALAYSIA ***
Holding Up a Mirror
Commissioner: Professor Dato’ Dr. Mohamed Najib Dawa, Director General of Balai Seni Negara (National Art Gallery of Malaysia), Ministry of Tourism, Arts and Culture of Malaysia. Curator: Lim Wei-Ling. Exhibitors: Anurendra Jegadeva, H.H.Lim, Ivan Lam, Zulkifli Yusoff.
Venue: Palazzo Malipiero, San Marco 3198
MALTA
Maleth / Haven / Port - Heterotopias of Evocation
Commissioner: Arts Council Malta. Curator: Hesperia Iliadou Suppiej. Exhibitors: Vince Briffa, Klitsa Antoniou, Trevor Borg.
Venue: Arsenale
MEXICO
Actos de Dios / Acts of God
Commissioner: Gabriela Gil Verenzuela. Curator: Magalí Arriola. Exhibitor: Pablo Vargas Lugo.
Venue: Arsenale
MONGOLIA
A Temporality
Commissioner: The Ministry of Education, Culture, Science and Sports of Mongolia.
Curator: Gantuya Badamgarav. Exhibitor: Jantsankhorol Erdenebayar with the participation of traditional Mongolian throat singers and Carsten Nicolai (Alva Noto).
Venue: Bruchium Fermentum, Calle del Forno, Castello 2093-2090
MONTENEGRO
Odiseja / An Odyssey
Commissioner: Nenad Šoškić. Curator: Petrica Duletić. Exhibitor: Vesko Gagović.
Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE (Republic of)
The Past, the Present and The in Between
Commissioner: Domingos do Rosário Artur. Curator: Lidija K. Khachatourian.
Exhibitors: Gonçalo Mabunda, Mauro Pinto, Filipe Branquinho.
Venue: Palazzo Mora, Strada Nova, 3659
NETHERLANDS (The)
The Measurement of Presence
Commissioner: Mondriaan Fund. Curator: Benno Tempel. Exhibitors: Iris Kensmil, Remy Jungerman. Venue: Giardini
NEW ZEALAND
Post hoc
Commissioner: Dame Jenny Gibbs. Curators: Zara Stanhope and Chris Sharp.
Exhibitor: Dane Mitchell.
Venue: Palazzina Canonica, Riva Sette Martiri
NORDIC COUNTRIES (FINLAND - NORWAY - SWEDEN)
Weather Report: Forecasting Future
Commissioner: Leevi Haapala / Museum of Contemporary Art Kiasma / Finnish National Gallery, Katya García-Antón / Office for Contemporary Art Norway (OCA), Ann-Sofi Noring / Moderna Museet. Curators: Leevi Haapala, Piia Oksanen. Exhibitors: Ane Graff, Ingela Ihrman, nabbteeri.
Venue: Giardini
PAKISTAN ***
Manora Field Notes
Commissioner: Syed Jamal Shah, Pakistan National Council of the Arts, PNCA.
Curator: Zahra Khan. Exhibitor: Naiza Khan.
Venue: Tanarte, Castello 2109/A and Spazio Tana, Castello 2110-2111
PERU
“Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle
Commissioner: Armando Andrade de Lucio. Curator: Gustavo Buntinx. Exhibitors: Christian Bendayán, Otto Michael (1859-1934), Manuel Rodríguez Lira (1874-1933), Segundo Candiño Rodríguez, Anonymous popular artificer.
Venue: Arsenale
PHILIPPINES
Island Weather
Commissioner: National Commission for Culture and the Arts (NCCA) / Virgilio S. Almario.
Curator: Tessa Maria T. Guazon. Exhibitor: Mark O. Justiniani.
Venue: Arsenale
POLAND
Flight
Commissioner: Hanna Wroblewska. Curators: Łukasz Mojsak, Łukasz Ronduda.
Exhibitor: Roman Stańczak.
Venue: Giardini
PORTUGAL
a seam, a surface, a hinge or a knot
Commissioner: Directorate-General for the Arts. Curator: João Ribas. Exhibitor: Leonor Antunes.
Venue: Fondazione Ugo e Olga Levi Onlus, Palazzo Giustinian Lolin, San Marco 2893
ROMANIA
Unfinished Conversations on the Weight of Absence
Commissioner: Attila Kim. Curator: Cristian Nae. Exhibitor: Belu-Simion Făinaru, Dan Mihălțianu, Miklós Onucsán.
Venues: Giardini and New Gallery of the Romanian Institute for Culture and Humanistic Research (Campo Santa Fosca, Palazzo Correr, Cannaregio 2214)
RUSSIA
Lc 15:11-32
Commissioner: Semyon Mikhailovsky. Curator: Mikhail Piotrovsky. Exhibitors: Alexander Sokurov, Alexander Shishkin-Hokusai.
Venue: Giardini
SAN MARINO (Republic of)
Friendship Project International
Commissioner: Vito Giuseppe Testaj. Curator: Vincenzo Sanfo. Exhibitors: Gisella Battistini, Martina Conti, Gabriele Gambuti, Giovanna Fra, Thea Tini, Chen Chengwei, Li Geng, Dario Ortiz, Tang Shuangning, Jens W. Beyrich, Xing Junqin, Xu de Qi, Sebastián.
Venue: Palazzo Bollani, Castello 3647; Complesso dell’Ospedaletto, Castello 6691
SAUDI ARABIA
After Illusion بعد توهم
Commissioner: Misk Art Insitute. Curator: Eiman Elgibreen. Exhibitor: Zahrah Al Ghamdi.
Venue: Arsenale
SERBIA
Regaining Memory Loss
Commissioner: Vladislav Scepanovic. Curator: Nicoletta Lambertucci. Exhibitor: Djordje Ozbolt.
Venue: Giardini
SEYCHELLES (Republic of)
Drift
Commissioner: Galen Bresson. Curator: Martin Kennedy.
Exhibitors: George Camille and Daniel Dodin.
Venue: Palazzo Mora, Strada Nova, 3659
SINGAPORE
Music For Everyone: Variations on a Theme
Commissioner: Rosa Daniel, Chief Executive Officer, National Arts Council (NAC).
Curator: Michelle Ho. Exhibitor: Song-Ming Ang.
Venue: Arsenale
SLOVENIA (Republic of)
Here we go again... SYSTEM 317
A situation of the resolution series
Commissioner: Zdenka Badovinac, Director Moderna galerija / Museum of Modern Art, Ljubljana. Curator: Igor Španjol. Exhibitor: Marko Peljhan.
Venue: Arsenale
SOUTH AFRICA (Republic of)
The stronger we become
Commissioner: Titi Nxumalo, Console Generale. Curators: Nkule Mabaso, Nomusa Makhubu. Exhibitors: Dineo Seshee Bopape, Tracey Rose, Mawande Ka Zenzile.
Venue: Arsenale
SPAIN
Perforated by Itziar Okariz and Sergio Prego
Commissioner: AECID Agencia Espanola de Cooperacion Internacional Para El Desarrollo. Ministerio de Asuntos Exteriores, Union Europea y Cooperacion. Curator: Peio Aguirre.
Exhibitors: Itziar Okariz, Sergio Prego.
Venue: Giardini
SWITZERLAND
Moving Backwards
Commissioner: Swiss Arts Council Pro-Helvetia: Marianne Burki, Sandi Paucic, Rachele Giudici Legittimo. Curator: Charlotte Laubard. Exhibitors: Pauline Boudry/Renate Lorenz.
Venue: Giardini
SYRIAN ARAB (Republic)
Syrian Civilization is still alive
Commissioner/Curator: Emad Kashout. Exhibitors: Abdalah Abouassali, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia, Giuseppe Biasio.
Venue: Isola di San Servolo; Chiesetta della Misericordia, Campo dell'Abbazia, Cannaregio
THAILAND
The Revolving World
Commissioner: Vimolluck Chuchat, Office of Contemporary Art and Culture, Ministry of Culture, Thailand. Curator: Tawatchai Somkong. Exhibitors: Somsak Chowtadapong, Panya Vijinthanasarn, Krit Ngamsom.
Venue: In Paradiso 1260, Castello
TURKEY
We, Elsewhere
Commissioner: IKSV. Curator: Zeynep Öz. Exhibitor: İnci Eviner.
Venue: Arsenale
UKRAINE
The Shadow of Dream cast upon Giardini della Biennale
Commissioner: Svitlana Fomenko, First Deputy Minister of Culture. Curators: Open group (Yurii Biley, Pavlo Kovach, Stanislav Turina, Anton Varga). Exhibitors: all artists of Ukraine.
Venue: Arsenale
UNITED ARAB EMIRATES
Nujoom Alghanem: Passage
Commissioner: Salama bint Hamdan Al Nahyan Foundation.
Curators: Sam Bardaouil and Till Fellrath. Exhibitor: Nujoom Alghanem.
Venue: Arsenale
UNITED STATES OF AMERICA
Martin Puryear: Liberty
Commissioner/Curator: Brooke Kamin Rapaport. Exhibitor: Martin Puryear.
Venue: Giardini
URUGUAY
“La casa empática”
Commissioner: Alejandro Denes. Curators: David Armengol, Patricia Bentancur.
Exhibitor: Yamandú Canosa.
Venue: Giardini
VENEZUELA (Bolivarian Republic of)
Metaphore of three windows
Venezuela: identity in time and space
Commissioner/Curator: Oscar Sottillo Meneses. Exhibitors: Natalie Rocha Capiello, Ricardo García, Gabriel López, Nelson Rangelosky.
Venue: Giardini
ZIMBABWE (Republic of)
Soko Risina Musoro (The Tale without a Head)
Commissioner: Doreen Sibanda, National Gallery of Zimbabwe. Curator: Raphael Chikukwa. Exhibitors: Georgina Maxim, Neville Starling , Cosmas Shiridzinomwa, Kudzanai Violet Hwami.
Venue: Istituto Provinciale per L’infanzia “Santa Maria Della Pietà”. Calle della Pietà Castello n. 3701 (ground floor)
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invited artist :
Lawrence Abu Hamdan (Jordan / Beirut)
Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),
Darren Bader (USA),Nairy Baghramian (Iran / Germany,
Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,
Christoph Büchel (Switzerland / Iceland,
Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA
Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,
Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)
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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
وینس Venetsiya
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venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism
Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia
Ralph Rugoff Ralph_Rugoff #RalphRugoff RalphRugoff 2019
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artist curator commissaire country contemporary ultracontemporary art kunst perfomance sport jogging emergency room urgency panic saving artist role responsability
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Thierry Geoffroy / Colonel
artfair copenhagen
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Série complète, Été et Automne 2016 à Paris : www.flickr.com/photos/sebastienduhamel/albums/72157677146...
Projets/Reportages à Paris : www.flickr.com/photos/sebastienduhamel/collections/721576...
Albums : Education, Société et Politiques : www.flickr.com/photos/sebastienduhamel/collections/721576...
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Sébastien Duhamel, professionnel de l’image : www.sebastien-duhamel.com/présentation-références/
Derniers sujets photos : www.flickr.com/photos/sebastienduhamel/collections/721576...
Classeurs photos : www.flickr.com/photos/sebastienduhamel/collections
Albums photos : www.flickr.com/photos/sebastienduhamel/sets/
Tournages : vimeo.com/137495739
www.dailymotion.com/user/Sebastien_Duhamel/1
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Termes et conditions photos : www.sebastien-duhamel.com/conditions-tarifs/
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Format: Photographic print.
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Part Of: Powerhouse Museum Collection
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Acquisition credit line: Gift of Dorothy Stuckey, 1987
Free 8th Annual College Park Blues Festival (CPBF)
Follow on Facebook | #FreeCPBF
Memphis or Bust! IBC Fundraiser to send The DC Blues Society Battle of the Bands winner to Memphis, TN.
Live Bands ~ Vendors ~ Dancing ~ Craft Beer
WHEN: Saturday, November 14, 2015 - 6pm to 11:30pm
FREE: Free entry and free Parking
WHERE: 7675 Baltimore Avenue, College Park, MD 20742
WHO: Patty Reese Band, Jesi Terrell & The Love Mechanic Band, Ron Hicks Project, DCBS Battle of the Bands winner announced after October 10 competition
SPONSORS: City of College Park, University of Maryland, Maryland National Capital Park and Planning Commission, UMD Dining Services, DC Blues Society, Atomic Music, Audio Event Services Inc., Original Ledo Restaurant, College Park Arts Exchange, Phillips-Kleiner VFW, Shop College Park, UMD WMUC 88.1fm, WPFW 89.3fm
Featuring
• DCBS Battle of the Band Winner – attend the competition on October 10
• Ron Hicks Project
• Jesi Terrell & The Love Mechanic Band
• Patty Reese Band
CPBF 2015 brought to you by the College Park Recreation Board and the DC Blues Society.
Festival on the Web: www.dcblues.org/ or shopcollegepark.org/events/cpbf/
Follow on Twitter: #FreeCPBF
Sponsors / Vendors - contact cp@dcblues.org
Artists and schedule subject to change.
Mingle Media TV and our Red Carpet Report team with host, Denise Salcedo, were invited to come out again and cover the arrivals for the Thirst Project’s 7th Annual Thirst Gala at the Beverly Hilton Hotel.
Honored at the event
Director and Producer Catherine Hardwick
Actor Ansel Elgort
Get the Story from the Red Carpet Report Team, follow us on Twitter and Facebook at:
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www.youtube.com/MingleMediaTVNetwork
About the Thirst Project
The Thirst Project is the world's largest youth water organization. Thirst Project is a nonprofit organization that travels across the United States speaking at schools to educate students about the global water crisis. 100 percent of all student and public donations raised go directly to funding freshwater wells on the ground in developing nations and impoverished communities to provide people with safe, clean water. The Thirst Project has made a bold commitment to do what no organization has ever done before and give the entire nation of Swaziland safe, clean drinking water within a decade. Swaziland has the single-highest-density HIV/AIDS population of any country in the world, and water plays an incredibly critical role in effectively treating and managing AIDS. The organization has already provided over 306,000 people safe, clean drinking water through 1800 water projects in 13 countries in the last eight years. Find out more at www.thirstproject.org
For more of Mingle Media TV’s Red Carpet Report coverage, please visit our website and follow us on Twitter and Facebook here:
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En micamara.es/gran-canaria/ para conocer las Islas Canarias.
Conoce lugares de otros paises en micamara.es/.
Check the video - youtu.be/TcV6ViyvH9w
Schachenpiste - youtu.be/4G7kEMoWVVc
Special TVB Tannheimer Tal - youtu.be/MY4o7sbavZE
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Schöne Unterkünfte direkt im Tannheimer Tal buchen - www.booking.com/searchresults.en.html?region=3780&aid...
Mehr zu Lena Unterkunft - BerghotelTirol.de
Rollei Actioncam bestelllen - amzn.to/36oZdQb
Mehr zum Skigebiet und zur Region: Lifte-Graen.com & TannheimerTal.com
Lobelia gloria-montis (Glory of the mountain lobelia)
Rosette at Puu Kukui, Maui, Hawaii.
February 27, 2009
Presidential Candidate 總統候選人
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Tianliang Ma
~ a Taiwanese social reformer, philosopher, photographer and film director
“Touching Fairness and Justice”
馬天亮
~ 臺灣的社會改革者，哲學家，攝影師，和電影導演
《感動的公平與正義》
TianLiang Maa, alternative spelling: Tianliang Ma, also known as Theophilus Raynsford Mann; Ma, Tianliang; Chinese: 馬天亮; 马天亮.
SUMMARY
TianLiang Maa is a naturalist, occultist, Buddhist and Taoist. In 1982, Maa developed a technique for abstract photography, applied “Rayonism” into photographic works. Maa staged 32 individual, extraordinary exhibitions around Taiwan, who was the first exhibitor around Formosa. Maa’s works is the beginning of modernization in the modern abstract arts in the world. At the University of Oxford, Maa’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”; also an author at the University of California, Berkeley and the University of Michigan in the United States; an alumnus from Christ Church College at the University of Oxford in England, the University of Glamorgan in Wales, and National Taiwan University in Taipei on Taiwan. Maa’s works have been quoted by the scholars many times, making Maa one of the highly cited technological, artistic, and managing public administrators in the academia. Maa was listed in “Taiwan Who’s Who In Business” © 1984, 1987, 1989 Harvard Management Service.
Early Life and Record of Genealogy
TianLiang Maa possesses both Taiwanese and German surnames from birth. Usually, whenever anyone asks Maa about where he comes from, he would reply “Formosa” as he grew up and was educated in the Far East and lives in Taiwanese and Japanese lifestyles. Moreover, he often teaches and educates younger generations based on the methods of the Far Eastern teaching he experienced when he was young, though he does not oppose the Western ways of teaching and thinking. Maa takes great pride in his roots, which go back 150 years (since 1864); Maa’s ancestry originates and creates generations, and prepares younger generations to succeed their personality and ethical standards and integrity.
Education in Taiwan and a Brief of Latest Generation of History in Taiwan / Formosa
In 1980, Maa obtained his postgraduate certificate from the Graduate Institute of Electrical Engineering of National Taiwan University in Taipei; successfully completed another graduate studies in Information dBase III Plus and Taiwanese Traditional Chinese Mandarin Information System at National Sun Yat-Sen University in Kaohsiung in 1989.
In history, the Portuguese explorers discovered and called the island (Taiwan), “Formosa” (meaning “Beautiful Island”) in 1590. They are non-Chinese people; it was long a Chinese and Japanese pirate base. Fighting continued, between its original inhabitants of Taiwanese and the Chinese settlers, into the 19th century. In 1894-95 first Sino-Japanese War that ended in Manchus of the Qing (Ching) dynasty defeat, the late Manchu Qing Government forced to cede Formosa to Japan. This result was made by the Treaty of Shomonoseki in 1895 and remained under Japanese control until the end of the Second World War. Early on, Taiwan was conquered by the Qing in 1683 and for the first time became part of older China dynasty. However, today, the home country of Maa’s origin has around 165 institutions (93 universities) of higher education, which now has one of the best-educated populations in Asia. Among the major public (state) ones are the National Taiwan University (NTU) at Taipei, and National Sun Yat-Sen University (NSYSU) at Kaohsiung. NSYSU is also called National Chun-Shan University; according to Times Higher Education 2010-2011, NSYSU ranks as the 3rd university in Taiwan, 21st in Asia, and 163rd worldwide. National Taiwan University is ranked 51 to 60 ranks on Times Higher Education World University Rankings - Top Universities by Reputation 2013, the United Kingdom (see www.timeshighereducation.co.uk/world-university-rankings/...); King's College London (KCL) (21st in the world and 6th in Europe in the 2010, QS World University Rankings), the University of London, and University of Southern California (is one of the world's leading private research universities, located in the heart of Los Angeles), afterward.
Backing to Maa’s early school-time of Taiwan Provincial Kaohsiung Industrial Senior High School (Kaohsiung Municipal Kaohsiung Industrial High school), the professional technical education, which is equivalent to Advanced Level General Certificate of Education, commonly referred to as an A-level in the United Kingdom; China Electronic Engineering College, the distance learning programme, which is in equivalence as UK’s Diploma of Higher Education / Undergraduate Diploma (as an Associate Degree in the United States). An additional, his middle education was taught by the Kaohsiung Municipal Chihjh (Ci Sian) Junior High School; and Kaohsiung Municipal San Min Elementary School was his first school in Taiwan.
Early Career
In 1989, Maa instituted Maa’s Office of Electrical Engineer, he settled himself in electrical technology and industries as a chief engineer in his early years. He put his professional and precise knowledge to good account in business management. A formal business management with business relationship established to provide for regular services, dealings, and other commercial transactions and deed. He had many customers having a business and credit relationship with his firm then he was a successful engineer.
Study Abroad and Immigration into the United Kingdom
In 1998, Maa studied abroad when he arrived in Great Britain; he studied at School of Built Environment, the University of Glamorgan (Prifysgol Morgannwg) in Merthyr Tydfil, Pontypridd, Wales for a master of science in real estate appraisal. Until the summer of 2000, Maa completed an academic course on “Towns through the Ages” from Christ Church College at the University of Oxford (is ranked the 2nd place worldwide on The Times Higher Education, World University Rankings 2012-2013
www.timeshighereducation.co.uk/world-university-rankings/...) in England. Afterward, Maa immigrated into the United Kingdom in the early year of 2004.
PHILOSOPHICAL VIEWS
Maa is a naturalist; he trusts spiritual naturalism and naturalistic spirituality, which teaches that “the unknown” created this wonderful world. “The unknown” arranged the nature with its law so that everything in nature is kept balanced and in order. However, human beings failed to control themselves, deliberately went against the law of nature, and resulted in disasters, which we deserved. He also is an occultist, a Taoist, and a Buddhist; but in Britain, he frequently goes to Christian and Catholic churches, where he makes friends with pastors and fathers as well as churchgoers. In his mind, he recognizes “Belief is truth held in the mind; faith is a fire in the heart”. He is always a freethinker, does not accept traditional, social, and religious teaching, but based on his ideas: a thought or conception that potentially and actually exists in his mind as a product of mental activity - his opinion, conviction, and principle. If people have not come across eastern classics and philosophy, we are afraid that people would never understand TianLiang Maa. People cannot judge an eastern philosopher based on western ways of thinking. He studies I Ching discovering eastern classics of ancient origin consisting of 64 interrelated hexagrams along with commentaries. The hexagrams embody Taoist philosophy by describing all nature and human endeavour in terms of the interaction of yin and yang, and the classics may be consulted as an oracle.
Back in the 1990s when Maa just arrived at England, he had been offered places to do Ph.D. and LL.M. degrees (degree in Law and Politics of the European Union) by several western professors in the Great Britain. He has met all the requirements for postgraduate admissions to study at UK’s universities.
During his time at Oxford, he learnt a lot of British culture and folk-custom while carrying out research with many British and Western professors, experts, and archaeologists. This proves that Maa understands various aspects in British society, culture, and lifestyles. Of course, he does not fully understand about the perspectives of thinking of a typical British. For example, what would be the most valuable in life for a British person? What would a British want to gain from life? What is the goal in life for a British? Is it fortune or a lover? Alternatively, perhaps honour? On the other hand, maybe being able to travel around the world and see the world?
FAIRNESS and JUSTICE
As TianLiang Maa’s (馬天亮) saying are:
“Touching Fairness and Justice”
Feel good about themselves, but do not know the sufferings of the people...
Who can get easy life like them?
What is profile of modern society?
What type and style is truly solemn for this society identify?
Where “the characterization” is? Who can see? Did you see it?
《感動的公平與正義》
自我感覺良好, 不知民間疾苦...
誰能得到安逸的生活如同他們一樣？
這是個什麼樣子的社會？
這個社會認定什麼樣的類型和風格是真正莊重的?
「特徵」在那裡？誰可以看到？你看到了嗎？
Jurisprudence and Political Philosophy and Perspectives
Maa ever studied judicial review and governmental action, the impact of law and legal techniques, constitutional mechanisms for the protection of basic rights, and ensuring the integrity of commercial activity, the impact of law and legal techniques on government, policymaking, and administration, as well as the creation of markets. He tries to understand these critical trends in the political development of modern state. Maa will combine both theoretical and empirical approaches, and the conditions for democratic transition and the nature of state development in the ‘post-industrial’ era of globalisation and economic integration.
According as Maa’s legal experiences, he comprehend that “the knowledge of the law is like a deep well, out of which each man draught according to the strength of his understanding”, and, law and arbitrary power are in eternal enmity. He is also sure law and institutions are constantly tending to gravitate like clocks; they must be occasionally cleansed, and wound up, and set to true time.
The government issues a decree - an authoritative order having the force of law, which charged with putting into effect a country's laws and the administering of its functions. Any of the officials promulgate a law or put into practice relating to the government charged with the execution and administration of the nation's laws then they announce and carry out the creation of any order or new policy that will be responsible for the people.
Maa had knowledge in connexion with construction law; he also understands architectural arts, and as well learnt the forms by combining materials and parts include as an integral part concerning modern construct. I ever built urban buildings and rural architecture in different styles under new housing and building projects by the governmental administration and construction corporations.
Right now, Maa studies the problems caused by ethnic disputes and human armed conflicts in the modern society resulted code of mixed civil and criminal procedure. He wishes an agreement or a treaty to end human hostilities - the absence of war and other hostilities around the world. The interrelation and arrangement of freedom from quarrels and disagreement become harmonious relations living in peace with each other. Actually, erect peace in more friendly ways of making friendships for modern human society is comfortable in my ideal. It is like building monolithic architecture: houses and buildings for the people. Maa would like to do “something beautiful for `the unknown`”.
In the ethnic disagreement and armed conflicts as concerning the poor people and children notwithstanding they live through a bad environment on any of poor or crowded village or town in a particular manner - lived frugally. However, after years of industrialisation as a more educated population, becomes more aware of global plenum, continuing to be alive. Environmental groups are increasing and lobbing government will legislate to stop bad environmental and social practices. The establishments of human rights’ wide and untiring efforts will be alleviated people’s suffering. And as well the poor people shall meet and debate sustainable development and for a concerted government led action towards sustainability is an example that the younger generation are concerned for the future. It shall be making the younger easier for their life and make better on their lives, and help them to build a better future.
In present world, Maa really knows the full meanings of “Fundamental Human Rights and Equal Opportunities for the People”. He thinks ethics is the moral code governing the daily conduct of the individual toward those about him / her. It represents those rules or principles by which men and women live and work in a spirit of mutual confidence and service. Without going into the question of how an ethical code was formulated or why anybody should obey it, we can look at the matter in a common-sense fashion with reference to its influence upon our legal affairs. In brief, from the law point of view, a reputable ethical code embodies the qualities of accuracy, dependability, fair play, sound judgement, and service. It is based upon honesty.
No person can have an ethical code that concerns him / her alone. Living in society, as he / she must, a person encounters others whose rights must be respected as well as his / her own. An honest regard for the rights of others is an essential element of any decent code of ethics, and one that anyone must observe if anybody intends to follow that code. After all, ethics is not something apart from human beings. Indeed, there is no such thing apart from our actions and us. It is the duty, therefore, of every man and woman in legal affairs to see that his daily associations with others are truly in conformity with the plain meaning of the Ten Commandments: “Thou shalt not barratry, thou shalt not bear false witness, thou shalt not receive illegal fee and the rest”.
The knowledge Maa has, in connection with legal affairs, was usually come from his precious experiences of his past over ten year’s law and political careers. In an interval regarded as a distinct period of 1980s, he studied mixed civil and crime, and the code of mixed civil and criminal procedure for the problems caused by ethnic disputes and human armed conflicts in the modern society. He was especially one who maintains the language and customs of the group, and social security in Taiwan.
Since 30 July of 1988, Maa settled himself in law as a chief executive and scrivener at Central Legal, Real Estate, and Accounting Services Office; it is in the equivalent to a solicitor of the United Kingdom. The Office provided full legal, accounting, real estate, and commercial services to the public. He did his job as a person legally appointed by another to act as his or her agent in the transaction of business, specifically one qualified and licensed to act for plaintiffs and defendants in legal proceedings and affairs. Over and above Maa was a chairman and executive consultant at Taiwan Credit Information Company®, founded in 1994. The company offered services to the public in response to need and demand in the area of credit information.
Maa had excellent experiences in political and law work was pertaining to mixed civil and crime, the code of mixed civil and criminal procedure, construction, and commercial law abroad. The experiences of legal services related to the rights of private individuals and legal proceedings concerning these rights as distinguished. In the criminal proceedings, he did many cases for the defendants. Although an act committed or omitted in violation of a law forbidding or commanding it and for which punishment is imposed upon conviction; but he also laid legal claim, required as useful, just, proper, or necessary to the defendants under the human rights in the meantime. This provision ensures to the defendant a real voice in the subject.
The men whose judgement we respect are those who do not allow prejudices, preferences, or personalities to influence their decisions. Profit and self-aggrandisement are likewise ignored in their determination to reach an equitable and fair settlement. What are the basic principles upon which good judgement is founded? A keen intellect, a normal emotionally, a through understanding of human nature, experience of law work, sincerity, and integrity.
Developed a Technique for Abstract Photography and Abstractionist
In 1982, Maa developed a technique for abstractive photography, which applied “rayonism” to the photographic works. In November of 1984, Maa was 26-year-old, he instructed many professors and students of National Taiwan Normal University in photography of abstract impressionism and rayonnisme in Taipei, Taiwan. The word “rayonnisme” is French for rayonism - a style of abstract painting developed in 1911 in Russia.
Photographic Exhibitions
TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibition of “Rayonnisme / Rayonism” Tour - Invitational Exhibition of Taiwan 1983-84.
一九八三〜八四年中華民國臺灣 馬天亮攝影巡迴邀請展
TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibition of Rayonnisme / Rayonism (32 individual exhibitions) 1983~1985.
馬天亮『光影』攝影特展（個人展32場）1983〜1985年.
Maa staged 32 individual, extraordinary exhibitions and annual special exhibitions on photography of abstractive image and Rayonnisme around Taiwan / Formosa. Maa was the first exhibitor around the country. All of the invited displays were by the Chinese Government, cultural and artistic organisations, and sponsors. Maa’s earliest exhibition took place in the National Taiwan Arts Education Institute (Museum) on 19 December 1983 when Maa was 25 years old; Maa was the youngest exhibitor in the history of the Institute in any solo exhibitions. The Institute that was opened in March 1957, kept a collection of Maa’s work. It is currently updating the Institute’s internal organisation and strengthening co-operation with leading institutes and museums around the world. Meanwhile, it widened the institute’s scope to increase its emphasis on Taiwan’ regional culture and folk arts.
Modernization in the Modern Abstract Arts of Taiwan
Maa’s works is the beginning of modernization in the modern abstract arts of Taiwan, China and greater Chinese society in the world. The use of “modernisation” as a concept that is opposed to “Traditional” of “Conservative” ideas began with the approach of the 20th century. It spreads rapidly through academic circles, and was broadly accepted as a means to reform society. Chinese Manchu Qing (Ching) dynasty’s first steps toward modernisation began in the Tung-chih era (1862-1874) with the “Self-Empowerment Movement”. During the late 19th century, as late Manchu dynasty was confronted on all sides by foreign aggression, voices throughout society debated the most effective means to reform and strengthen the country. Some advocated “combining the best of East and West”, while others went so far as to call for “complete Westernisation”. Taiwan was at the centre of these waves of reform. Faced with direct threats against the island by foreign enemies, the Chinese Ching dynasty court took special steps to push Taiwan’s modernisation.
In a role just like that of a gardener wanting to create a rich and fertile environment for the seeds of culture, one in which Maa may sprout, grow and bloom. Maa aims to provide an educational stimulus for society by introducing his works - Maa can express the neo-romantic spirit deftly from various creations and supporting international artistic exchanges. Maa believes that the first step in creating such a new and independent state is the real emergence of culture and arts, for which the art and science of designing and erecting buildings, and fine arts (including photography and motion picture) of the civilization is a good measurement of success. For the foreseeable future, Maa should be continuing to forge ahead, working diligently and unceasingly towards its mission of raising China and Formosa / Taiwan’s culture in his spare time.
Became an Author and a Scholar
In 1980, TianLiang Maa completed his first book - scenario original “The Soul's Sentimentalizing”, also named: “Hun Yun : Jin Qi Tu Rui” 電影原著《魂韻》(衿契吐蕊) then Maa was at the age of 22. In 1983, The General Library of the University of California, Berkeley in the United States of America, collected and kept Maa’s writings - scenario original 「魂韻 : 衿契吐蕊」“Hun Yun : jin qi tu rui”, included a musical composition of his own – “Sonate Nr. 1 C-dur op. 3 für Klavier (piano)”, composed on 3rd April 1977 then Maa was 18 years old. The works were published in 1980; the theme was based on “The Soul's Sentimentalizing”. Another masterpiece was an Album of Academic Work for News Publication “TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibition of Rayonnisme / Rayonism”, published in 1985. The Hathi Trust Digital Library, the University of Michigan also collected and kept Maa’s writings.
Authorship
Maa’s articles and writings were published in more than 200 different kinds of domestic and foreign magazines, newspapers, and periodicals, in the period between May of 1972 and 1990s. It was all started when Maa was just 13-year-old. Many of which have been very influential. These have been quoted by Western and Eastern scholars many times in the last few years, making Maa one of the highly cited technological, artistic, and managing public administrators in the world in the late 20th and early 21st century. The Ministry of the Interior in Taiwan had registered Maa’s professional writings and given him two certificates of copyright. The numbers are 33080 and 33081 on 4th July of 1985; and Taiwan’s Gazette of The Presidential Office issue No. 4499, featured his writings on 4th September 1985.
Became an Academic and Film Director
Today, Maa is a professor at Space Time Life Research Academy, and a photographer, film director, and computer engineer now live and work in London.
Director Works:
FILMS:
Experimental Film “New Image for the Spring” © 1982
Documentary Film “Rayonnisme” © 2011
“The Soul's Sentimentalizing” of the feature film is based on the scenario original “The Soul's Sentimentalizing” (preparation)
FASHION SHOWS:
New Image for the Spring of Shapely Models International © 1982
High Lights on the Summer and Fall Fashion of Shapely Models Int’l © 1982
ART EXHIBITIONS:
The Cadillac Club International Fine Arts Exhibition © 1981
The Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts © 1981
Musician Work:
MUSIC COMPOSITION:
Sonate Nr. 1 C-dur op. 3 für Klavier (piano) © 1977, © 1980, © 1981, © 1983, the theme was based on “The Soul's Sentimentalizing”.
PHOTOGRAPHIC ALBUMS:
Portrait and Landscape in France © 2000
Portrait and Landscape in Scotland © 2001
Portrait and Landscape in England © 2009
Portrait at Queen Mary, University of London © 2010
Rayonism of London © 2011
Portrait at The University of Nottingham, United Kingdom © 2011
Snowy London © 2012
Portrait at King's College London © 2013
BOOKS:
Scenario Original「魂韻」(衿契吐蕊) “Hun yun: jin qi tu rui” © December 1980, © 1981, © 1983 (Date of First Publication: 31 December 1980, Second Edition on 29 July 1981, Date of Revision: Revised Edition on 8 May 1983), Languages: Chinese (traditional), and English language.
“Album of the Cadillac Club International Fine Arts Exhibition” © 1981
“Album of the Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts” © 1981
“Album of New Image for the Spring of Shapely Models International” © 1982
“Album of High Lights on the Summer and Fall Fashion of Shapely Models Int’l” © 1982
“Romantic Carol” © 1982
Album of Academic Work for News Publication: “TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibitions of Rayonnisme” © May 1985
新聞出版之學術著作專輯「馬天亮『光影』“Rayonism” 攝影展」© May 1985
New version of scenario original “The Soul's Sentimentalizing” (to be published)
「曾經輝煌到頂天立地」 “The Indomitable Spirit Was Brilliant to Upright” (individual biography, to be published)
“My Life, My History, and My Love” (based on a legend, to be published, a film scenario will be developed later)
「感動的公平與正義」“Touching Fairness and Justice” (political science and social studies, to be published)
Research Interests:
University of Oxford
Research Studies in Archaeology:
Maa’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”.
National Taiwan University
Graduate Certificate,
Graduate Institute of Electrical Engineering:
Maa’s monograph of seminar was “Applied the sequence control in the electric power distribution engineering”.
University of Glamorgan
M.Sc. Course,
Master of Science in Real Estate Appraisal:
Maa’s thesis - major subject, with relevant construction law was “The Assignment is under Economics of Construction Management in Architecture”.
National Sun Yat-Sen University
Postgraduate Certificate,
Postgraduate Studies in Computing:
Maa’s required subject was Information dBase III Plus and Taiwanese Traditional Mandarin Chinese Information System. He combined academic course work and practical laboratory sessions in “Applied Mandarin Phonetic Symbols into Traditional Taiwanese Personal Computer and Its Information System”.
Associations:
Since 1980, a member of Chinese Taipei Film Archive (CTFA, National Film Archive, Taiwan; founded in 1978), The Motion Picture Foundation, R.O.C. (member of Fédération Internationale des Archives du Film, FIAF; The International Federation of Film Archives was founded in Paris in 1938 by the British Film Institute, the Museum of Modern Art in New York City, the Cinémathèque Française and the Reichsfilmarchiv in Berlin.)
Commissioner of the cinema, photography, radio, and television committee of The Culture and Arts Association (Chinese Writers and Artists Association) of Taiwan ever since September 1983.
Classic member, the membership is equivalent to a doctorate membership of the Chinese Institute of Electrical Engineering since 23 March 1984.
On 15 March 1989, Maa promoted and founded the Consortium Juridical Person Mr. TianLiang Maa Social Benefit Foundation 財團法人馬天亮先生社會公益基金會 in Taiwan. near.archives.gov.tw/cgi-bin/near2/nph-redirect?rname=tre...
Classic member, the membership is equal to a professor or associate professor of The Chinese Institute of Engineers since 30 September 1991.
Honours:
Listed on ‘Taiwan Who’s Who In Business’, © 1984, © 1987, and © 1989 Harvard Management Service.
中華民國企業名人錄編纂委員會, 哈佛企業管理顧問公司.
On 26 August 1985, Maa was awarded a professional certificate of the Outdoor Artistry Activities issued by Education Bureau, Kaohsiung City Government, Taiwan. He acquired awards and certificates of honour about twenty times from National Taiwan Arts Education Center (Museum) on 24 December 1983; Kaohsiung Municipal Social Education Center on 17 March 1984, Kaohsiung Cultural Center, Taipei Cultural Center (Taipei Municipal Social Education Hall); and Taiwan Province Government, Taipei City Government, Kaohsiung City Government, and many cultural centres and art galleries, and so on.
Careers:
Honorary Professor at Space Time Life Research Academy, 7 June 2012 to present; Professor at Space Time Life Research Academy, 1 September 2011 to 1 June 2012 in London, United Kingdom:
Academia,
Teaching and Research:
business management and consultant, political philosophy, Chinese classics, Chinese humanities, modern Chinese language and literature, photography (portrait, fashion, commercial, digital, architectural, abstract photography), visual arts and film production.
教學與研究：
企業管理及顧問、政治哲學、中華經典 (古典漢學、文學、藝術、語言) 、中華人文、中華現代語言與文學、攝影 (人像、時裝、商業、數位/數碼、建築、抽象攝影) ，視覺藝術和影片製作。
Consultant and Translator at Eternal Life Consultants of Immigration and Translations Services, 10 March 2004 to present in London, United Kingdom:
consultants of immigration, translations, and legal services.
永生移民顧問翻譯服務社的移民諮詢顧問和翻譯：
移民事務，翻譯和法律服務。
Computer Hardware & Networking Engineer at Maa Office of Electrical Engineer, 8 March 2004 to present in London, United Kingdom:
Computer Engineering and Network Services. Repairing of Motherboards, Monitors, Power Supplies, CD-ROM Drives; UPS, Hard Disk Drives, H.D.D Data Recovery; BIOS Programming, and all types of Computer Hardware and Software Solutions.
計算機工程和網絡服務。維修主機板，顯示器，電源供應器，光碟機/光盘驱动器，不斷電系統，硬碟/硬盘，硬盤數據恢復，基本輸入輸出系統編程，以及所有類型的電腦/計算機硬體/硬件和軟體/軟件解決方案。
Film Director & Photographer at Photographer and Film Director (Shapely), 2 April 2007 to present in London, United Kingdom:
1) Photo, Video and Film Production; 2) Graphic Design, Web Design, Social Networking, Social Media and Advertising; 3) Architectural Design and Interior Design.
www.facebook.com/filmshapely/info
Reformer and Philosopher at Taiwanese Social Reformer and Philosopher, 7 April 2012 (location: Los Angeles, California) to present in London, United Kingdom:
Social Reform in Taiwan
www.facebook.com/twreform/info
《魂韻》(衿契吐蕊) - 馬天亮22歲寫的電影原著。TianLiang Maa (Theophilus Raynsford Mann) wrote “Hun Yun” (Jin Qi Tu Rui), scenario original “The Soul’s Sentimentalizing” © 1980, 1981, 1983, was at the age of 22.
Website
mtltwp.pixnet.net/album/set/1265174
photo.roodo.com/photos/mtltwp/albums/small/100469.html
Sonate Nr. 1 C-dur op. 3 für Klavier (piano) by Theophilus Raynsford Mann (TianLiang Maa 馬天亮) © 1977, © 1980, © 1981, © 1983. The Sonate composed on 3rd April 1977 then Maa was 18-year-old. The work was published in 1980; the theme was based on “The Soul's Sentimentalizing”.
Website
LINKS:
University of California, Berkeley
berkeley.worldcat.org/search?q=Ma%2C+Tianliang&dblist...
berkeley.worldcat.org/title/hun-yun/oclc/813684284?refere...
oskicat.berkeley.edu/record=b11283690~S1
University of Michigan
mirlyn.lib.umich.edu/Record/006237256
catalog.hathitrust.org/Record/006237256
WorldCat® Identities
www.worldcat.org/search?q=au%3AMa%2C+Tianliang%2C&dbl...
www.worldcat.org/wcidentities/np-ma,%20tianliang$1958
Google Books
books.google.co.uk/books?id=PkyaAAAAIAAJ&redir_esc=y
books.google.co.uk/books?id=JfxnMwEACAAJ&dq=editions:...
scholar.google.com/scholar?cluster=3569983911138966023&am...
National Bibliographic Information Network (NBINet)
nbinet3.ncl.edu.tw/search~S10?/a%7bu99AC%7d%7bu5929%7d%7b...
192.83.186.170/search*cht/a%E9%A6%AC%E5%A4%A9%E4%BA%AE
National Yang Ming University 國立陽明大學
library.ym.edu.tw/search~S7*cht?/tThe+Soul%27s+and+sentim...
National Taiwan University of Science and Technology 國立臺灣科技大學
millennium.lib.ntust.edu.tw/record=b1016706~S1
Wikimedia Commons 維基共享資源
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國家圖書館 期刊文獻資訊網, 臺灣期刊論文索引
readopac3.ncl.edu.tw/nclJournal/search/search_result.jsp?...
聲音藝術的審美角度, 大學雜誌, 天然
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為文化中心把脈, 幼獅文藝
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科學家與守財奴, 中國地方自治
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Atomzone
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Nature - National Library Board Singapore
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Japan Photos and Pictures
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far-east-movement - Blogcu (Turkey)
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man fashion
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Travel Splash
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itpints
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Who is talking
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University of California, Berkeley period
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University of Michigan period
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University of Oxford period
atomzone.co.uk/scaffold/images/search/University%20of%20O...
www.wer-ist.org/person/Oxford_Archaeology
University of Glamorgan period
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www.worldofbuildings.worldofbuildings.org/flickr/wob_flic...
University of Huddersfield period
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art galleries uk
artgalleriesuk.blogspot.co.uk/2012/08/bigandtall-stores-s...
Mitrasites system
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articles.whmsoft
articles.whmsoft.com/related_search.php?keyword=Tianliang...
pantieslace-forwomen.blogspot.co.uk/2012/08/motherhood-ma...
3piece-suits.blogspot.co.uk/2012/07/nursing-shawl-become-...
3piece-suits.blogspot.co.uk/2012/08/body-briefers-childre...
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German
www.wer-ist.org/person/Jin_Mann
www.pediatr.org.tw/DB/News/file/1913-1.pdf
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And here're a couple of HD video movies I shot of the goddess with the 4K Sony:
Enjoy! Be sure to watch in the full 1080P HD!
The epic goddess was tall, thin, fit, tan, and in wonderful shape (as you can see).
Check out my greatest hits compilation, and let me know what you think:
www.elliotmcguckenphotography.com/45surf/45SURF-Heros-Ody...
Epic Goddess Straight Out of Hero's Odyssey Mythology! Pretty Model! :) Tall, thin, fit and beautiful!
Welcome to your epic hero's odyssey! The beautiful 45surf goddess sisters hath called ye to adventure, beckoning ye to read deeply Homer's Iliad and Odyssey, whence ye shall learn of yer own exalted artistic path guided by Hero's Odyssey Mythology. I wouldn't be saying it if it hadn't happened to me.
New 500px!
500px.com/herosodysseymythology
New instagram! instagram.com/45surf
Pretty Swimsuit Bikini Model Goddess! :)
Follow me on facebook! facebook.com/elliot.mcgucken
She was a beauty--a gold 45 goddess for sure! A Gold 45 Goddess exalts the archetypal form of Athena--the Greek Goddess of wisdom, warfare, strategy, heroic endeavour, handicrafts and reason. A Gold 45 Goddess guards the beauty of dx4/dt=ic and embodies 45SURF's motto "Virtus, Honoris, et Actio Pro Veritas, Amor, et Bellus, (Strength, Honor, and Action for Truth, Love, and Beauty," and she stands ready to inspire and guide you along your epic, heroic odyssey into art and mythology. It is Athena who descends to call Telemachus to Adventure in the first book of Homer's Odyssey--to man up, find news of his true father Odysseus, and rid his home of the false suitors, and too, it is Athena who descends in the first book of Homer's Iliad, to calm the Rage of Achilles who is about to draw his sword so as to slay his commander who just seized Achilles' prize, thusly robbing Achilles of his Honor--the higher prize Achilles fought for. And now Athena descends once again, assuming the form of a Gold 45 Goddess, to inspire you along your epic journey of heroic endeavour.
ALL THE BEST on your Epic Hero's Odyssey from Johnny Ranger McCoy!
Modeling the Gold 45 Revolver Gold'N'Virtue swimsuit. :)
A laid-back,classic, socal lifestyle shoot!
May the 45surf goddesses inspire you along am artistic journey of your own making!
All 45surf Hero's Odyssey Mythology Photography is shot in the honor of Truth, Beauty, and the Light of Physicist Dr. E's Moving Dimensions Theory's dx4/dt=ic . The fourth dimension is expanding relative to the three spatial dimensions at the rate of c. Ergo relativity, time, entropy, and entanglement.
New blog celebrating my philosophy of photography with tips, insights, and tutorials!
Ask me any questions! :)
Sony A7R RAW Photos of Pretty Brunette Bikini Swimsuit Model Goddess! Carl Zeiss Sony FE 55mm F1.8 ZA Sonnar T* Lens! Lightroom 5.3 ! Pretty Hazel Eyes & Silky Brown Black Hair!
All the best on your Epic, Homeric, Heroic Odyssey into the Art of Photography from Johnny Ranger McCoy!
All 45surf Hero's Odyssey Mythology Photography is shot in the honor of Dynamic Dimensions Theory's First Law and equation: The fourth dimension is expanding relative to the three spatial dimensions at the rate of c: dx4/dt=ic.
Đã từ lâu, du lich Da Lat là điểm hẹn của những đôi lứa đang say trong hạnh phúc, những tuần trăng mật ngọt ngào của các cặp vợ chồng mới cưới,…Do đó, địa danh này được du khách ưu ái đặt cho những tên gọi rất lãng mạn, trữ tình như: thành phố tình yêu, thành phố ngàn hoa, thành phố sương mù,… Hãy cùng chúng tôi khám phá sự hấp dẫn của thành phố tình yêu Đà Lạt.
NHỮNG ĐỊA DANH DU LỊCH HẤP DẪN TẠI ĐÀ LẠT
1. Khám phá những thung lũng lãng mạn
- Thung lũng Tình Yêu - nơi hò hẹn
Thung lũng tình yêu là một trong những địa danh thơ mộng nhất tại Đà Lạt, cách trung tâm thành phố khoảng 6 km. Trong thung lũng có đập Đa Thiện, nơi quy tụ những dòng suối nhỏ chảy từ đồi núi cao, thành một hồ nước trong vắt uốn quanh thung lũng rợp bóng thông xanh. Trước kia, người Pháp gọi là Vallée d'Amour (Thung lũng tình yêu) sau đó, thung lũng này được đổi tên thành Thung lũng Hòa Bình và đến năm 1953 thì tên gọi thung lũng Tình Yêu được giữ lại cho tới ngày nay.
Thung lũng Tình Yêu thơ mộng và cuốn hút bởi độ sâu và đồi thông xanh ngát bao quanh. Năm 1972, đập ngăn nước được xây dựng vắt ngang qua thung lũng tạo thành hồ Đa Thiện, làm tăng thêm sức quyến rũ cho cảnh quan nơi đây.
Đến đây, du khách có thể đi dọc theo những lối mòn, leo những bậc thang để ngắm toàn cảnh thung lũng hoặc đi qua những cổng hoa với màu sắc rực rỡ để lên đồi Vọng Cảnh. Từ trên đồi Vọng Cảnh, du khách sẽ thấy hình ảnh thung lũng Tình Yêu hiện ra như một bức tranh vô cùng thơ mộng.
- Thung lũng Vàng - điểm đến lý tưởng
Từ trung tâm thành phố Đà Lạt mất khoảng 15 phút đi xe ô tô, du khách sẽ đến khu du lịch thung lũng Vàng. Đây là một trong những điểm du lịch sinh thái lãng mạn ở Đà Lạt, được sự ưu đãi đặc biệt của thiên nhiên với rừng thông bạt ngàn và mênh mông đồi cỏ. Đứng trên triền dốc nhìn xuống một vùng nước tĩnh lặng, mênh mông bát ngát, hàng thông rũ bóng xuống mặt hồ đẹp như một bức tranh thủy mặc.
2. Chinh phục Lang Biang – nóc nhà của Đà Lạt
Lang Biang với chiều cao 2.167 mét, là một ngọn núi hấp dẫn với những ai muốn thám hiểm, chinh phục độ cao. Nằm trong lòng thung lũng Lâm Viên, nơi đây rất thích hợp cho những chuyến tham quan, dã ngoại, cắm trại qua đêm.
Lang Biang còn được ví như "nóc nhà" nóc nhà của Đà Lạt, của cao nguyên Lâm Viên, là chốn lý tưởng để du khách tận hưởng những cảm xúc lạ, đáp ứng khát khao chinh phục, khám phá những điều bất ngờ của du khách.
Chinh phục đỉnh Lang Biang du khách còn được nghe một truyền thuyết về tình yêu say đắm của chàng Lang và nàng Bian huyền thoại.
3. Khám phá sự bí ẩn của những dòng thác
- Thác Cam Ly:
Thác Cam Ly nằm trên dòng suối Cẩm Lệ, cách trung tâm của thành phố Đà Lạt hơn 2km về hướng tây. Ngọn thác hùng vĩ cùng với đồi thông bao quanh đã tạo nên một thắng cảnh khó quên trong lòng du khách khi tới Đà Lạt.
- Thác Datanla
Từ quốc lộ 20 rẽ xuống dốc khoảng 300m, bạn sẽ gặp một thung lũng nhỏ, trong thung lũng có dòng thác Datanla với cảnh trí đầy hấp dẫn và đậm nét hoang sơ.
Nằm giữa đèo Prenn, thác Datanla không hùng vĩ, ồn ào như nhiều dòng thác khác ở Đà Lạt nhưng lại có sức cuốn hút đặc biệt đối với những du khách thích mạo hiểm phiêu lưu.
Datanla là tên gọi do các từ K’Ho ghép lại: “Đà –Tàm - N’ha” có ý nghĩa là “nước dưới lá”. Dòng nước của thác đổ xuống từ ghềnh cao 20m, len lỏi qua nhiều tầng của các khe đá rồi lẫn khuất giữa rừng sâu tạo thành một dòng suối.
Tại chân thác có những tảng đá nhẵn bóng thật đẹp, tương truyền rằng xưa kia đây là nơi các tiên nữ thường ghé xuống tắm suối và nô đùa tạo nên dòng Suối Tiên. Đến thăm dòng thác hung vỹ này, du khách sẽ gặp một hẻm vực sâu hun hút được gọi là vực Tử Thần. Đây là nơi có thể đáp ứng đam mê khám phá và chinh phục của các bạn trẻ.
- Thác Prenn
Thác Prenn nằm ở chân đèo Prenn cách trung tâm Đà Lạt khoảng 10 km, nằm ven quốc lộ 20. Thác Prenn mang một vẻ êm dịu và duyên dáng, có những dòng nước đổ nhè nhẹ từ độ cao 10m xuống một hồ nước nhỏ, được bao bọc bởi rừng thông xanh ngát.
Để vào thác, du khách sẽ được qua một chiếc cầu ngắn bắc ngang dòng suối đã được kè chắn bằng bêtông. Con đường xuống thác với những bậc đá ôm theo sườn đồi được bố trí đẹp mắt.
- Thác Pongour
Thác Pongour hay còn gọi là thác Bảy tầng nằm tại huyện Đức Trọng, tỉnh Lâm Đồng, cách Đà Lạt 50 km.
Thác này có dòng nước đổ từ độ cao gần 40 m, trải rộng hơn 100m. Bạn có thể tham quan sự huyền ảo của dòng thác qua hệ thống bậc thang bảy tầng. Bao quanh thác Pongour là khu rừng nguyên sinh có diện tích khoảng 2,5 ha với hệ thống động thực vật đa dạng và phong phú.
4. Đắm chìm vào muôn sắc hoa của công Viên hoa Đà Lạt
Công viên hoa Đà Lạt nằm quanh bờ phía Bắc của hồ Xuân Hương, trên thung lũng của Đồi Cù. Diện tích của công viên hoa rộng tới 7000 m², với cách bố trí ấn tượng với sự góp mặt của muôn vàn loài hoa.
Các loại hoa và cây cảnh ở đây đều được chăm sóc, cắt tỉa chu đáo. Thăm vườn hoa, quý khách sẽ “say” bởi cách bố trí những chậu hoa từ nhỏ đến lớn với những hình thù khác nhau cực bắt mắt.
Các festival hoa tổ chức hằng năm ở Đà Lạt đều thu hút lượng lớn du khách gần xa về với thành phố. Đồng thời đây cũng là dịp nhiều nhà đầu tư trong nước và nước ngoài chung tay phát triển hoa Đà Lạt trở thành thương hiệu và hình thành các trung tâm sản xuất, xuất khẩu hoa của cả nước và khu vực Đông Nam Á.
THƯỞNG THỨC NHỮNG ĐẶC SẢN HẤP DẪN XỨ CAO NGUYÊN
Bên cạnh những địa danh du lịch, Đà Lạt còn thu hút du khách bởi có vô số đặc sản hấp dẫn, độc đáo mà không nơi nào có được.
Đà Lạt có vô số trái cây miền ôn đới ngon nổi tiếng như: đào lông, dâu tây, dâu tằm, hồng, bơ,…Những loại trái cây này không chỉ đặc sản được nhiều du khách ưu chuộng mà còn là những nguyên liệu chế biến ra những món mứt vô cùng thơm ngon như: mứt hồng, mứt đào, mứt dâu tằm, …và vô số các loại rau củ sấy khô độc đáo khác.
Bên cạnh đó, rượu vang Đà Lạt cũng là thức uống được nhiều người ưu chuộng bởi vị ngọt thơm từ những trái cây của xứ sở sương mù này như: nho, đào,… Ngoài ra, Đà Lạt còn có đặc sản rượu cần của dân tộc bản địa ở đây. Rượu cần được ủ lên men tự nhiên bằng lá cây rừng, ngon không kém một loại rượu nổi tiếng nào.
Trà cũng là một đặc sản rất hấp dẫn ở Đà Lạt. Nổi tiếng nhất là trà hoa Atiso, tại Đà Lạt, loại trà này ngày càng được ưa chuộng vì công dụng tuyệt vời của nó.
Du lịch Đà Lạt bạn cũng đừng quên mua những món quà xinh xắn, những chiếc áo len,mũ len ấm áp, những lãng hoa bất tử về làm quà cho bạn bè và những người thân yêu.
Đà Lạt hấp dẫn du khách bởi cảnh thiên nhiên đẹp, thơ mộng có rất nhiều loại đặc sản hấp dẫn và điều thú vị và bí ẩn đang chờ bạn khám phá. Hãy khám phá Đà Lạt bằng hành trình của riêng bạn hoặc đòng hành cùng Du lịch Bến Nghé. Mọi chi tiết, vui lòng liên hệ: Công ty Cổ phần Du lịch Bến Nghé, 117/39 Nguyễn Hữu Cảnh, P.22, Bình Thạnh. ĐT: (08) 35144 132 – 0919 100 864.
Come play with us at wendyrago.typepad.com/project52 - mixed media challenge, due November 21, 2009
Title "Artsy Scrappy Mama" by Julie Ann Shahin
I decided my self-portrait would be a paper mache art doll because I didn't want to buy something, although I did look in a few stores. I wanted to actually make something and get my hands dirty, yet actually I wore "kitchen gloves" for the messy part! The wire mesh for the dress is no accident, I want you to see through it, to see the body has vintage sewing pattern tissue paper on it. I also wanted to attach items to the dress so this wire worked great, it is called "WireForm by Paragon" or "WireMesh by Paragon" depending on whether you want copper, brass, or aluminum diamond. Pam asked me what her name is, and I decided to name her "Artsy Scrappy Mama" because I wanted to show you a self-portrait of me in my studio, which is painted yellow, where I am happy and thriving.
The items on her dress include a cupcake charm (!!!), a handmade rose (tutorial coming soon), a deer brad because I see deer in my neighborhood all the time, a heart brad, an imagine charm for creativity and a nod to John Lennon, and a pin I saved from a trip to Toronto.
My technique: I wanted to use things that were on hand for paper mache. Make note of everything I recycled!
* The doll body was constructed from a toilet paper roll for the torso,
* and a wad of newspaper rolled into a ball for the head,
* taped together with masking tape.
* I used straws for the arms and legs,
* I punched a hole into the body for the legs and arms with my Crop-a-Dile
* Instead of using newspaper for paper mache, I used vintage music paper, vintage sewing patterns, and vintage book pages
* I made a 1-part flour to 1-part water mixture for the paper mache glue, and let each layer dry overnight
* The eyes and mouth were made on Claudine Hellmuth’s Sticky Back Canvas, cut out and applied
* The background behind her is also paper mache, made on a cardboard mailer. The newspaper article is about me, written several years ago, an interview I gave on hybrid scrapbooking when I was Creative Editor of Scrapbook Dimensions Magazine
* For her hair, I took 10 thin strips of fabric, tied a smaller strip of fabric around them at the top, then adhered one end at the crown of her head. I repeated this about 15 times. Then I tied various floral charms and beads to her hair.
Supplies: toilet paper roll, newspaper, masking tape, straws, vintage music paper (PERSONALITY), vintage sewing pattern(PERSONALITY), vintage book pages (FOUND at antique store), Claudine Hellmuth Sticky Back Canvas Paper, Hambly Transparency, pop dots, various fabric strips for hair, Prima flowers, fake eyelashes (FOUND in my cabinet), wire mesh (FOUND), ArtGirlz cupcake/imagine/feet charms (PERSONALITY); Art Matters Pin I saved from Toronto Museum (FOUND & PERSONALITY); chandelier crystal from flea market (FOUND); feather; brads; twist-ties (FOUND); Hard Rock Cafe stir stick (broke stick off) (PERSONALITY), binder clip (FOUND), chair, misc charms and beads, newspaper article (PERSONALITY)
Tools used: Martha Stewart Butterfly Punch; GlimmerMist by Tattered Angels Mist and Screens; Punchella; Acrylic Paints; Stickles glitter glue; Copic marker; oil pastels; water, flour, gloves Please see the forum for further tutorials on my paper mache art doll!
ktpillar's brother, Chad, was in town this past week and we decided to go to the Museum of Fine Arts and the Rothko Chapel. I had been before to both, but never equipped with my camera.
You're not allowed to take photos in the chapel but I was able to sneak one. Chad mentioned that it would be a good place to get married. I think he is right when I make an honest woman out of Katie.
*
Gathering of the Tribes :
Moontribe-Party
Mojave Desert - 2001
Photo-Report:
www.flickr.com/photos/sterneck/sets/72157626608944632
Gathering of the Tribes
Moontribe
- * -
Wolfgang Sterneck:
The Gathering of the Tribes
www.sterneck.net/stern/gathering-california
- * -
Wolfgang Sterneck:
In the Cracks of the World *
Photo-Reports: www.flickr.com/sterneck/sets
Articles and Visions: www.sterneck.net
- * -
THE GATHERING OF THE TRIBES
”Wir brauchen solche Treffen, um das Vertrauen wieder aufzubauen, das uns in der Kindheit genommen wurde...” - Es ist Sobey aus Vancouver, der mit diesen Worten die Atmosphäre des ”Gathering of the Tribes” in Los Angeles zusammenfasst. VertreterInnen von rund 50 Projekten setzen sich dort fünf Tage lang mit Wegen der persönlichen Entwicklung und der gesellschaftlichen Veränderung auseinander.
Das Verständnis von Tribe bzw. Stamm ist relativ weit gefächert und bewusst im Vorfeld nicht fest definiert. So er-streckt sich der Begriff auf lokale Projekte genauso wie auf die TeilnehmerInnen alternativer Festivals, auf grenzüber-schreitende Aktionsgruppen genauso wie auf kommuneartige Gemeinschaften. Vertreten sind unter anderem Leute vom Rainbow-Gathering, Burning Man und Earthdance, Angehörige der Farm-Kommune und anderer Eco-Village-Projekte, Mitglieder von Reclaim the Streets, Free our Forests, Multidisciplinary Association for Psychedelic Studies, Subversive Sounds, Moontribe, Alice-Project und Dream Theatre.
Inhaltlich reicht das Spektrum von Gruppen aus dem radikalen politischen und ökologischen Spektrum über Initiativen, die sich aufklärend gegen die bestehende Drogenpolitik stellen, bis zu Personen die beispielsweise über Trance-Tänze oder meditative Musik zu einer heilenden Veränderung beitragen wollen. Die Vielfalt der verschiedenen Aus-richtungen führt dabei keineswegs zu einer Beliebigkeit, vielmehr befruchten und ergänzen sich die Positionen trotz einzelner Differenzen an vielen Punkten gegenseitig. Das verbindende Element liegt neben der durchgängig idealisti-schen Ausrichtung zum einem im Bezug zum Dance Movement, also zur Techno-Kultur in unterschiedlichen Ausfor-mungen, sowie im zweifellos oftmals vagen, aber immer ernsthaften Bestreben ”to make the world a better place”.
TRANCE AND POLITICS
Den inhaltlichen Teil der Konferenz leite ich mit einem Vortrag ein, der von einem übergreifenden Ansatz ausgeht. ”Viele glauben, dass die Party-Kultur eine Insel sei, doch die meisten vergessen dabei, dass jede Insel von einem Meer umgeben wird...” Es geht mir dabei um eine Auseinandersetzung mit der selbstherrlichen Zufriedenheit in der sich viele aus den verschiedenen Szenen oftmals zurücklehnen, solange sie ”geile Musik, gute Drogen und viel Spa-aaß” haben und den eigenen Alltag einigermaßen regeln können. Alles andere scheint egal, doch spätestens wenn der Drogenfahnder vor der Tür steht oder Partys verboten werden wird klar, dass diese scheinbare Insel-Idylle eine Illusion ist. Dann ist es jedoch schon viel zu spät.
Prügelnde Polizisten auf politischen Party-Demos machen den symbolhaften Einfluss des Meeres auf die Inseln ge-nauso augenscheinlich deutlich, wie beispielsweise die Ego-Trips von DJs, die sich im Zuge der Kommerzialisierung wie Rockstars verhalten, oder die Parties in ”3. Welt”-Ländern, bei denen die eingeflogenen Party-Freaks vor lauter Verpeilung einfach ignorieren, dass einige Kilometer weiter entfernt Menschen hungern. Die Auflistung lässt sich beliebig fortsetzen, letztlich geht es um die aktive Anerkennung einer Verantwortung, die weit über die Party hinaus-geht: ”Manche Leute denken, dass Techno eine Insel sei - und sie öffnen die Augen und sie beginnen zu tanzen, nicht nur auf dem Dancefloor, sondern auch überall in den Straßen, in den Klassenzimmern, in den Büroräumen, in den Supermärkten, auf den Treffen der Weltbanken. Und Tanzen steht dabei für Veränderung, radikale Veränderung...”
Beispielhaft für die Ausrichtung des Gatherings bildet der anschließende Beitrag von Cinnamon Twist einen inhaltli-chen Gegenpol, der sich mit der Frage ”Kann Trance-Tanz den Planeten retten?” beschäftigt. Im Rahmen seiner Antwort beschreibt Cinnamon eine ”gemeinschaftliche psychedelische Trance als eine direktes Gegengewicht zur zerstörenden Selbstgefälligkeit der westlichen, technisch-industriellen Mega-Maschine, die wahnhaft alles tut, um den Planeten Erde zu zerstören.” Cinnamon bezieht sich dabei auf positive Energien, die durch den Tanz freigesetzt wer-den. ”Obwohl sie von unterschiedlichen Begriffen ausgehen, glauben viele Stammeskulturen, dass sie mit ihren rituel-len Tänzen etwas bewegen können. Sie sind notwendig, um die natürliche Balance aufrecht zu erhalten, um Regen herbeizurufen, um Krankheiten zu heilen, um die Dinge in Bewegung zu halten. Deshalb sind diese Tänze für sie heilige Tänze. Und im Grunde ist nicht nur die Form des Tanzes bzw. das, was die TänzerInnen damit verbinden, heilig. Heilig ist vor allem das, was sie damit erzeugen: eine kollektive Energie.”
Diese Energien lassen sich Cinnamons Verständnis zufolge auch in der heutigen Zeit nutzen: ”Zweifellos haben wir keine Tradition derartiger heiliger Tänze mehr. Wir haben keine Tänze, die von einer derartigen Intention oder einem vergleichbaren gemeinschaftlichen Gefühl getragen sind. Was wir haben bzw. wonach wir letztlich streben, ist eine grundlegende Einstellung, die alles durchzieht, wenn wir für unsere Feiern zusammenkommen: Frieden - Liebe - Ge-meinschaft - Respekt. Und das ist nicht wenig für einen Anfang, auch wenn es leicht missbraucht werden kann. Es liegt an uns, ob gelingt, kollektive Energien freizusetzen, die zur Heilung der Erde beitragen ...”
DER KRIEG GEGEN TERROR, DROGEN UND PARTYS
Mehrere Vorträge und Workshops auf dem Gathering setzen sich mit dem ”War on Drugs” auseinander, der inzwi-schen auch zu einem Feldzug gegen das Dance-Movement wurde. Der ”Krieg gegen Drogen”, den die us-amerikanische Regierung ganz offiziell unter dieser treffenden wie auch entlarvenden Bezeichnung führt, hat eine lange Geschichte. In den westlichen Kulturen wurden und werden beständig bestimmte Substanzen als Drogen ver-boten, wobei der Umstand, dass darunter in einigen Regionen zeitweise auch einmal Alkohol, Tabak und Koffein fielen, eine gewisse Beliebigkeit schnell deutlich macht. Die Verbote der Substanzen bzw. die Verfolgung der Produ-zentInnen und der KonsumentInnen hängt dabei keineswegs nur mit einer vermeintlichen oder tatsächlichen schädli-chen Wirkung zusammen, sondern war schon immer mit wirtschaftlichen und machtpolitischen Interessen verknüpft. Letztlich lenkt die Überbetonung der Drogenproblematik von den eigentlichen inneren gesellschaftlichen Problemen ab, die wechselwirkend wiederum auch entscheidend zum zerstörenden Gebrauch von Drogen beitragen. Sie wird zudem genutzt, um die politische und auch militärische Einflussnahme auf andere Länder, sowie die Repression un-angepasster Minderheiten im Innern, zu rechtfertigen.
Die Größenordnung des ”War on Drugs” machen einige Statistiken schnell deutlich. Die Vereinigten Staaten haben als vermeintliches Land der Freiheit im Verhältnis zur Bevölkerungszahl weltweit die höchste Zahl an Gefängnissinsas-sen, wobei ein Großteil im Zusammenhang mit Drogen verurteilt wurde. So kommt es jährlich zu rund 5 Millionen Verhaftungen auf Grund von Drogendelikten, wobei über 2 Millionen Menschen in Folge wegen Verstößen gegen Drogengesetze verurteilt und inhaftiert werden. Besonders betroffen ist dabei die afroamerikanischen Bevölkerung, was die noch immer in weiten Teilen rassistische Ausrichtung der Rechtsprechung deutlich macht. 1969 flossen von Seiten der damaligen Nixon-Regierung rund 65 Millionen Dollar in den Krieg gegen Drogen, 1999 unter Clinton war es die kaum vorstellbar hohe Summe von 17,7 Milliarden Dollar, die unter Bush weiter gesteigert wurde.
Die Terroranschläge des 11. September 2001 werden gezielt genutzt, um den ”War on Terror” mit dem ”War on Drugs” zu verknüpfen. Medienwirksam setzt inzwischen US-Präsident George Bush Drogenkonsum mit einer Unter-stützung des Terrors gleich. ”Ich werde ständig von Jugendlichen gefragt, welchen Beitrag sie zum Krieg gegen den Terror leisten können. Nun, wichtig ist, sich gegen illegale Drogen zustellen. Wenn Du in den USA Drogen kaufst, dann ist das so, als würdest Du direkt eine Terror-Organisation unterstützen.”
Die entsprechende Politik richtet sich auch direkt gegen das Dance-Movement. So kam es zu einer von Teilen der Medien und einflussreichen PolitikerInnen getragenen Kampagne, die Techno mit Drogenkonsum gleichsetzt. Regie-rungsbehörden organisierten in diesem Sinne vorgeblich wissenschaftliche Konferenzen bei denen Techno-Partys mit den sogenannten Crack-Houses gleichgesetzt wurden, in denen Crackabhängige bzw. Crack-Dealer leben. Dieser Definition zufolge sind Partys und Raves Veranstaltungen, die vorrangig dazu dienen mit Drogen zu handeln bzw. diese zu konsumieren. Inzwischen wurden in einzelnen Bundesstaaten Gesetze verabschiedet, die VeranstalterInnen für den Konsum von Drogen auf ihren Partys direkt verantwortlich zu machen. Zu Teil macht man sich schon als nichtkonsumierender Party-Gast strafbar, wenn auf der Veranstaltung illegale Drogen gebraucht werden. Auf diesem Wege soll eine auch in den USA stark angewachsene Jugendkultur, die nicht den puritanischen Wertvorstellungen entspricht, unter Kontrolle gebracht werden.
Welche bizarren Ausformungen die Drogenhysterie annehmen kann, zeigt ein Prozess, in dem die Bürgerrechtsverei-nigung American Civil Liberties Union (ACLU) gegen den Bundesstaat Louisiana klagte. Dieser hatte Rave-VeranstalterInnen angewiesen den Party-Gästen das Tragen von Masken und den Gebrauch von Glühstäben zu untersagen, da diese Utensilien angeblich in einem engen Zusammenhang mit dem Konsum von Ecstasy stehen. Während die meisten VeranstalterInnen den Auflagen nachkamen, formierte sich in der Szene Protest, der in der Forderung ”Fight for right to glow! - We’re gonna glow like we never glowed before!” einen ironischen Ausdruck fand. Der Prozess endete mit einem Erfolg der ACLU, den Bundesbehörden wurde untersagt, ohne rechtliche Grundlage auf lokale Rave-VeranstalterInnen hinsichtlich eines Verbotes von ”dekorativen Utensilien” Druck auszuüben.
Die Diskussion über Wege des Protests und Widerstands gegen die repressiven Entwicklungen ist auf dem Gathering allgegenwärtig. So trägt Scott Ehlers von der Campaign for New Drug Policies einen detaillierten Maßnahmenkatalog vor, der dazu beitragen soll, das Image der Techno-Kultur von einer Reduzierung auf Drogen und Kriminalität zu lö-sen. Das Ziel ist die Vermittlung eines Bildes einer Jugendkultur, die auf Werten wie Gemeinschaft und Gewaltlosig-keit basiert und sich auch über einzelne Projekte für das Wohl der Gesellschaft einsetzt. Das Future-Tribe-Project aus Florida beschreibt seine Kampagne ”I rave and I vote” mit der Jugendliche angeregt werden sollen, sich an den Wah-len zu beteiligen und einen Umschwung zu bewirken. Eine Gegenposition liegt im Ansatz den Underground zu stärken und sich dabei auf Strukturen zu konzentrieren, die von staatlichen Institutionen nicht angegriffen werden können. Ganz praktisch informiert daran anknüpfend ein Anwalt, welche Rechte gegenüber Polizeikontrollen bestehen. Leute vom Rainbow-Gathering berichten zudem über die Möglichkeiten sogenanntes Public-Land zu nutzen, das der Allge-meinheit gehört. Später betonen Mitglieder von DanceSafe und MAPS daneben die Bedeutung einer objektiven Auf-klärung über Drogen innerhalb der Techno-Szene und der Notwendigkeit von übergreifenden Forschungsprojekten.
SOZIALARBEITER, DJ-EGOS UND ZEN-KATZEN
Mehrfach führen einzelne Diskussionen über die Frage nach der Finanzierung alternativer, sozial ausgerichteter Pro-jekte zu einer kritischen Auseinandersetzung mit dem Bereich der Sozialarbeit. Übereinstimmung besteht darin, dass eine Ausweitung sozialer Projekte und die entsprechende Bereitstellung öffentlicher Gelder unbedingt nötig ist. Aufge-zeigt wird aber auch immer wieder der innere Konflikt vieler Projekte, die meist hauptsächlich auf Probleme konzent-riert sind, diese geradezu suchen bzw. sich darüber rechtfertigen müssen, um von öffentlicher Seite Gelder zu erhal-ten. Gleichzeitig werden oftmals nur Symptome angegangen, während die eigentlichen Ursachen von Erscheinungen wie Drogenabhängigkeit oder Obdachlosigkeit, die neben individuellen Faktoren zu einem beträchtlichen Teil in einem vor allem auf Profit und Konkurrenz ausgerichteten Gesellschaftssystem liegen, zumeist nicht aufgezeigt werden. Oftmals setzt die Zensurschere schon im Kopf an, um das Projekt bzw. den eigenen Arbeitsplatz nicht zu gefährden.
In der Diskussion wird der Realität einer notwendigen, allerdings vorrangig problemorientierten Sozialarbeit das Bild des ”positive space” gegenübergestellt. ”Wenn es im weitesten Sinne Räume gibt, in denen sich die Menschen selbstbestimmt und gemeinschaftlich entfalten können, in denen ihnen beigebracht wird, sich auch einmal selbstkri-tisch zu reflektieren,”, so Theo in einer Diskussionsrunde, ”dann werden viele Probleme automatisch wegfallen bzw. sie treten überhaupt nicht mehr auf.”
Ein weiterer Aspekt, der in vielen Diskussionsrunden immer wieder angesprochen wird, ist die Rolle der DJs. Ausge-hend von einer Abkehr vom jeglichem Starkult stand der DJ in seiner Wichtigkeit ursprünglich auf einer Ebene neben den TänzerInnen auf der Dancefloor oder den Leuten aus der Deko-Gruppe. Die Rollen waren sogar austauschbar beziehungsweise sollten bewusst austauschbar sein, denn im Mittelpunkt stand das gemeinsame Feiern als ein Aus-druck eines anderen Lebensweges. Von wenigen Ansätzen abgesehen sind diese Zeiten jedoch auch bei alternativen Partys vorbei. Längst haben die DJs die Rolle eingenommen, die über Jahrzehnte hinweg der Lead-Singer einer Rockband hatte.
Für viele Personen außerhalb der Szenen ist nur schwer nachvollziehbar, dass ein DJ selbst zum Musiker werden kann. Er ist dabei nicht nur für die musikalische Atmosphäre einer Nacht verantwortlich. Im Idealfall entsteht aus zwei oder drei Schallplatten, die ineinander gemixt werden, ein neuer Track. Die Samples, Sounds und Loops werden zu DJ-Tools, zu Werkzeugen und Materialien der DJs, die immer wieder in unterschiedlichen Betonungen und Ge-schwindigkeiten neu zusammengesetzt werden. Dieses Verständnis von Dekonstruktion und Neugestaltung ist jedoch immer seltener anzutreffen, meist begnügen sich die DJs inzwischen auf möglichst fließende Übergänge zwischen den einzelnen Stücken.
Mit der steigenden Popularität einzelner DJs ist in vielen Projekten die Frage der Kommerzialisierung und des Selbst-verständnisses der DJs verbunden. Nachdem es anfangs noch ein Vergnügen und eine Ehre war auf einer Party aufzulegen, sprechen viele DJs dann bald vom ”Arbeiten” oder oftmals auch mit einer gewissen Überheblichkeit de-monstrativ davon, gebucht zu sein. Kritisiert wird vor diesem Hintergrund zudem die scheinbar unkritische Auswahl der Auftrittsorte von Seiten vieler alternativer DJs. Dabei wird jedoch deutlich, dass die DJs keineswegs zwangsläufig ihre ursprünglichen Ideale plötzlich verraten haben und ”kommerziell” geworden sind, vielmehr setzt eine nur schwer steuerbare Eigendynamik ein. Um sich noch mehr auf die Musik konzentrieren zu können, geben viele DJs nach ers-ten Erfolgen ihre alten Jobs auf, geraten dann aber in eine Abhängigkeit von Auftritten, um ihren Lebensunterhalt bestreitenzu können.
Ein anderes Diskussionsthema bildet das ”im Moment sein”. Mishou spricht davon, dass Katzen die wahren buddhis-tischen Zen-Meister sind, indem sie alles ausblenden können und tatsächlich den Moment leben. Während sie in einer sonnigen Ecke behaglich dösen, leben sie Zen ohne eine Vorstellung davon zu haben. ”Wie oft befinden wir uns dagegen in Situationen, die einfach an uns vorbeirauschen, die im Rückblick wie ein Augenblick erscheinen, weil wir uns nicht bewusst auf sie konzentrieren?”
Ein Anhalten im Sinne eines bewusstes Wahrnehmens des Momentes bzw. der entsprechenden Situation wirkt dem entgegen. Ein Ansatz kann bei geschlossenen Augen eine bewusste Konzentration auf die Geräusche sein, die uns umgeben, und davon ausgehend auf das, was gerade passiert. Dies bedeutet keineswegs ein Rückzug in eine esote-rische Innerlichkeit, so die durchgängige Einschätzung der Runde. Vielmehr steht es für ein Bewusst-Sein im eigentli-chen Sinne des Wortes. Dies bildet den Ausgangspunkt für ein Wahrnehmen von dem was uns umgibt und weiterge-hend für ein entsprechendes Handeln, nicht zuletzt auch in einem gesellschaftlichen Sinne.
GEMEINSCHAFTLICH LEBEN
Der zweite Konferenz-Tag ist der Frage nach den Möglichkeiten gemeinschaftlichen Zusammenlebens gewidmet. An mehreren Punkten tritt dabei die Frage nach dem ”next step”, dem nächsten Schritt, auf. Einige Gruppen, die mit ihren Projekten gewisse Erfolge und eine Kontinuität erreicht haben, berichten von den internen Diskussionen über eine tiefer gehende Weiterführung, die sich stärker auf die Gruppe als Gemeinschaft bezieht. Das Spektrum reicht dabei von Wohngemeinschaften über kommuneartige Projekte bis zu Kulturzentren.
Auf großes Interesse stößt das Projekt einer Gruppe aus Vancouver. In den letzten Jahren organisierte dort das My-corrhiza Collective verschiedene Partys, um mit dem Gewinn ein Landstück in Elaho Valley zu kaufen. Damit soll ein Beitrag zur Rettung des verbliebenen Regenwaldes in Kanada geleistet werden, der weiterhin in weiten Teilen von der Abholzung bedroht ist. Chris Hill von Mycorrhiza erklärt in diesem Zusammenhang die tiefere Bedeutung des Projekt-Namens: ”In den Regenwäldern leben die Bäume in einer symbioten Assoziation mit einer Vielzahl von Bodenpilzen zusammen, die als Mykorrhiza bezeichnet wird. Die Pilze umgeben die Wurzeln der Bäume, sie leben von ihnen und schützen sie gleichzeitig. Dieses Symbolik übertragen wir auf unsere Aktivitäten: Wir wollen ein energetisches Netz-werk im Untergrund aufbauen, das den Wald als Teil eines globalen natürlichen Organismuses stärkt.”
Das Gelände soll zur Basis eines Gemeinschaftsprojektes werden: ”Wir sind gerade dabei ein Camp in Elaho Valley aufzubauen. Es soll zum einen dazu dienen, die Aufmerksamkeit auf die Zerstörung dieses so wichtigen Regenwal-des und die Folgen zu richten. Zum anderen wollen wir von diesem Camp ausgehend ein Öko-Dorf errichten, das langfristig unabhängig bestehen kann und sich über Anbau von Nahrungsmitteln und eine eigene Energieversorgung selbst trägt. Langfristig setzen wir dabei auf Hanf als Rohstoff. Das Camp soll zu einer Anlaufstelle für Menschen werden, die von ähnlichen Ideen geleitet werden und mit uns dieses Projekt als eine Gemeinschaft in Einklang mit der Natur aufbauen wollen. Wir haben damit begonnen, weltweite Kontakte zu Personen und Organisationen zu knüpfen, um aus ihren Erfahrungen zu lernen und mit ihnen zusammenzusarbeiten. Gleichzeitig wollen wir im Sommer eine Reihe von Veranstaltungen und Festivals durchführen. Im Anschluss werden wir als eine Art internationale Karawane, zu der alle Interessierten eingeladen sind, die Pazifik-Küste bis nach Südamerika hinunterziehen, um unsere Ideen weiterzutragen und mit den Menschen gemeinsam zu feiern.”
Im Anschluss spricht Sean Siple über die Erfahrungen der Farm, einer Großkommune in Tennessee, der rund 200 Personen angehören. Im Sinne eines Öko-Dorfes basiert sie auf ökologischen und basisdemokratischen bzw. ge-meinschaftlichen Prinzipien. Die Farm wurde 1971 im Anschluss an die Hippie-Ära gegründet, zu einem Zeitpunkt als ebenfalls die Frage nach dem nächsten Schritt gestellt wurde und teilweise mit dem Aufbau von kommuneartigen Gemeinschaften beantwortet wurde. Die meisten dieser Projekte scheiterten schon nach wenigen Jahren am Druck durch die umgebende Gesellschaft, sowie an ungelösten inneren Widersprüchen und zwischenmenschlichen Proble-men. Klar wurde dabei immer wieder, dass es nicht ausreicht sich in eine vermeintliche Idylle zurückzuziehen.
Notwendig ist dagegen ein Verständnis, das die Wechselbeziehungen zwischen der äußeren Gesellschaft und dem Leben in dem entsprechenden Projekt ausreichend berücksichtigt. Ebenso bedeutsam ist zudem eine ständige Ausei-nandersetzung mit den Prozessen innerhalb des Projektes bzw. mit der eigenen Persönlichkeit, so kräftezerrend es vordergründig sie auch sein mag. Denn genausowenig wie man zu einem völlig anderen Menschen wird, wenn man auf eine idealistische Party geht, auch wenn vielleicht viele Alltagsbelastungen zurücklassen werden, so wenig wan-delt sich eine Person von einem auf den anderen Tag, wenn sie sich einer Kommune anschließt. Das Überwinden von überzogenen egozentrischen Verhaltensstrukturen ist ein ebenso notwendiger, aber auch langer Prozess wie die Auseinandersetzung mit dem Konkurrenzdenken oder sexistischen Einstellungen. Aufbrechen lassen sich diese Strukturen nur, wenn sie ständig hinterfragt und angegangen werden, so beispielsweise in angeleiteten Gesprächs-runden in denen offen über die Entwicklungen der Gruppe bzw. der einzelnen Personen gesprochen wird.
Sean beschreibt die Bedeutung derartiger Prozesse am Beispiel eines Problems innerhalb der Farm, das diese fast zum Scheitern gebracht hätte. Der Gründer der Kommune nahm lange hinweg eine besondere Stellung innerhalb des Projektes ein, die allgemein respektiert wurde. Nach einigen Jahren verselbstständigte sich jedoch diese Position, aus dem Bezug auf eine charismatische Leitfigur war eine hierarchische Struktur geworden, die dem eigentlichen basis-demokratischen Anspruch völlig entgegenstand. Nur im Rahmen eines längeren, zähen Prozesses konnte dieser Zustand inzwischen zugunsten einer Verteilung von Verantwortung überwunden werden.
Der zweite Teil der Ansprache von Sean ist von einem Appell an die TeilnehmerInnen des Gatherings geprägt, sich ihrer Verantwortung für die Zukunft des Planeten Erde bewusst zu sein und diese auch weitergehend auszufüllen: ”Ihr habt eine Aufgabe, eine Mission. Vielleicht seid ihr die letzte Generation, die noch etwas verändern kann, danach mag es schon zu spät sein, um die ökologische Katastrophe aufzuhalten. Ich habe hier auf dem Gathering von beeindru-ckenden Projekten gehört, habe mit wunderbaren Menschen gesprochen. Verbreitet Eure Ideen weiter, lebt sie, teilt Eure Erfahrungen, tragt Eure Liebe weiter, liebt... Es liegt an Euch, doch ich spreche nicht von Euren Recht oder von einer Verpflichtung, es ist Eure Entscheidung, die ihr treffen müsst!”
VERBINDENDE RITUALE
Mehrere gruppendynamische Workshops auf dem Gathering haben zum Ziel ganz praktisch zwischenmenschliche Barrieren abzubauen und Prozesse innerhalb von Gruppen deutlich zum machen. So laufen bei einer Übung alle Anwesenden, zu diesem Zeitpunkt etwa hundert Personen, in Kreis. Nach einem Stop-Zeichen soll jede Person an-halten und der Person, die ihr am nächsten steht in die Augen schauen, und sich zum einen ihre positiven Energien, sowie im Anschluss bei anderen Person deren Ängste und Aggressionen vorstellen. Deutlich wird dabei insbesondere wie schwer es fällt einer andern Person in die Augen zu schauen, nicht wenige schließen zeitweise die Augen oder beginnen nervös zu reagieren. In einigen Fällen entsteht jedoch durch den so tiefen Blickkontakt und die gegenseitige Bereitschaft sich emotional auf den andere Person einzulassen eine zuvor völlig unerwartete gefühlsmäßige Verbin-dung.
Der dritte Tag der Konferenz wird von einem Ritual eingeleitet. In der zuvor meist hell erleuchteten Konferenz-Halle flackert nur eine lange Reihe von Teelichtern. Alle Eintretenden müssen ihre Schuhe ausziehen und die Gespräche beenden. Dann werden die Anweisungen für das Ritual schriftlich zusammengefasst verteilt. Zuerst sind darin ver-schiedene Meditationsübungen beschrieben, später soll sich jede Person auf einen tiefen Wunsch konzentrieren und ihn visualisieren. Die Stärke dieses Rituals liegt in dem atmosphärischen Bruch zu den aufwühlenden und eher nach außen gerichteten Tagen zuvor. Unmittelbar entsteht ein Gefühl innerer und äußerer Ruhe. Insbesondere durch die Meditationen wird es nocheinmal verstärkt möglich sich auf sich selbst zu konzentrieren. Eine anschließende Chakra-Meditation greift diese Atmosphäre auf und ermöglicht ein weiteres Hineingleiten in den eigenen Körper. Inwieweit sich die Teilnehmenden auf diese Übungen und die spirituellen Hintergründe einlassen, bleibt jeder und jedem selbst überlassen. Wesentlich für die Einzelnen wie auch für das Gathering als Ganzes sind vielmehr die Energien, die kon-zentriert bzw. freigesetzt werden.
Einen Höhepunkt des Gatherings bildet dann der Ecstatic-Dance-Workshop, der von Techno-Rhythmen untermalt wird. Die Anweisungen der Workshop-Leiterin hinsichtlich bestimmter Bewegungen und Körperhaltungen werden jedoch von den meisten nur Anfangs befolgt. Schon nach kurzer Zeit tanzen die rund 50 TeilnehmerInnen wild durch den Raum, durcheinander springend, hüpfend, teilweise schreiend. Es entwickelt sich eine Atmosphäre in der alle genau so tanzen können, wie sie es gerade wollen, ohne dass sie deshalb jemand kopfschüttelnd anschaut. Im Ge-genteil, wer sich fallen lassen will, kann dies tun, im sicheren Gefühl von der Gruppe aufgefangen zu werden. Es ist in diesen Momenten regelrecht spürbar wie innere Blockaden und angestaute Energien zumindest für die Zeit des Tan-zes aufgebrochen werden. Am Ende bilden die Beteiligten mit ihren Körpern ein kreisartiges Gebilde. Alle drücken sich aneinander, summen, rufen, schreien ekstatisch, die meisten ausgefüllt von einem Gefühl des Glücks.
Gerade die Verbindung von theoretischen Informationen, leidenschaftlichen Diskussionen und auch körperlich-emotionaler Nähe macht die Stärke des Gatherings aus. Von Anfang an prägt eine Atmosphäre der Offenheit in der es problemlos möglich ist, eine Person anzusprechen und mit ihr über Ideale und Ideen wie auch über persönliche Erfahrungen zu sprechen. Zudem vermittelt die Vielfalt der Tribes und ihrer zum Teil wegweisenden Projekte ein Ge-fühl der Hoffnung in einer ansonsten in Anbetracht der sozialen und ökologischen Entwicklungen meist äußerst de-primierenden Welt. Nicht zuletzt entwickelt sich insbesondere über die gruppendynamischen Übungen und die Rituale eine gefühlsmäßige Nähe, die ansonsten im Alltag kaum einmal erfahren werden kann. Zum Teil geht diese Nähe so tief, dass einzelne Personen anfangen zu weinen oder sich zeitweise zurückziehen, da sie diese Intensität nicht ertra-gen konnten. So nehmen die TeilnehmerInnen über die inhaltliche Ebene hinaus vor allem ein Grundgefühl der Mög-lichkeit und der Notwendigkeit einer grundlegenden Veränderung mit nach Hause.
THE MOON INSIDE
Den Abschluss des Gatherings bildet eine Open-Air-Party, die im wesentlichen von Mitgliedern des Moontribes orga-nisiert wird. Die 1993 gegründete Gruppe genießt inzwischen in der Dance-Community weiter Teile der Vereinigten Staaten geradezu Kultstatus. Bekannt wurde der Moontribe durch seine Full-Moon-Partys in der Wüste der weiteren Umgebung von Los Angeles. Die auf Non-Profit-Basis durchgeführten Partys verzichten meist bewusst auf Werbung, wie auch auf Verkaufsstände aller Art, Dekoration und Beleuchtung. ”Der Mond und die Sterne sind unsere Lightshow” führt Dallas dazu aus, um dann auf das Selbstverständnis Moontribes einzugehen. ”Es gehört zu unseren wichtigsten Zielen unsere Integrität zu wahren und uns kommerziellen Bestrebungen zu verschließen. Wenn Du an einer unserer Partys teilnimmst, wirst Du selbst zu einem Teil des Moontribes, Du hast genauso Verantwortung für den Ablauf der Party, bist genauso verantwortlich für deren Atmosphäre, wie alle anderen.”
Innerhalb des eigentlichen Tribes sind Hierarchien auf ein pragmatisches Minimum reduziert. Die wesentlichen Ent-scheidungen werden von Konsensprinzip ausgehend gemeinsam getroffen. Den Kern bildet das Council, dem meist 13 Personen angehören, um dieses herum hat sich das sogenannte Collective gebildet, das aus Leuten besteht, die sich in irgendeiner Weise einbringen, aber nicht zum Kern gehören wollen. Die Moontribe-Community wird wiederum von denjenigen gebildet, die zu den Full-Moon-Partys kommen.
Die Party-Nacht an sich verläuft in Anbetracht der hohen Erwartungen jedoch lange eher enttäuschend. Rund drei Stunden dauert es, bis man von Los Angeles aus endlich den angestrebten Platz in der Wüste gefunden hat, da die erst am Abend verteilte Wegbeschreibung einige kleine, aber folgenschwere Unklarheiten aufweist. Dort erweist sich die steppenartige Hügellandschaft mit ihrem eisigen Wind sofort als äußerst unwirtlich. Vom Parkplatz aus ist dann noch einmal ein längerer Fußmarsch nötig, um dann endlich ein überdachtes DJ-Pult zu erreichen. Die unverständli-che Reduzierung auf nur zwei Boxentürme verhindert die für das Tanzen so wichtige umschließende Beschallung, so dass sich die meisten direkt von dem DJ zwischen den Boxen eher frierend als tanzend drängelten. Es ist einer dieser Momente, in denen man sich zweifelnd fragt ”Was mache ich hier eigentlich?”.
Am Morgen wandelt sich jedoch die Atmosphäre schlagartig. Mit der Temperatur ändert sich auch die Stimmung und es wird endlich möglich, ein Gefühl für den Raum zu erhalten. Im Laufe des Tages wird dann auch verständlich, dass die Reduzierung einen wesentlichen Teil des so eigenen Charakter der Moontribe-Partys ausmacht. Wüste, Musik bzw. Tanz und Gemeinschaft sind dabei die zentralen Faktoren und nicht etwa ein bekannter DJ oder eine überfrach-tete Dekoration. Insbesondere die Kargheit der Landschaft und die aufsteigende Sonne können dabei ein Gefühl der inneren Klarheit erzeugen.
Die Musik wird von den DJs der am Gathering beteiligten Projekte bestimmt und umfasst ein entsprechend weites Spektrum elektronischer Musik. Daneben entstehen an verschiedenen Stellen immer wieder Trommelsessions, teil-weise die Musik auf der Tanzfläche begleitend, dann in einem angemessenen Abstand einen eigenen Rhythmus findend. Es ist charakteristisch, dass sich einige TänzerInnen völlig ausziehen, ohne dass ihnen in ihrer Nacktheit jemand eine übertriebene Aufmerksamkeit schenkt. Es ist ein genauso selbstverständlicher Teil der Party, dass sich auf dem Dancefloor immer wieder Tanzende an den Händen nehmen und einen Kreis bilden, der sich an einer Stelle öffnet, um spiralförmig ineinander zu gehen und sich danach wieder aufzulösen. Derartige Elemente sind Ausdruck eines Gefühls der Offenheit und der Gemeinschaftlichkeit, das ansonsten in der Party-Szene trotz aller Beschwörun-gen von ”Love and Unity” nur selten zu finden ist. Den Ausklang bilden am späten Nachmittag Golden Buddha, eine psychedelische Rockband, deren scheinbar endlose Improvisationen sich irgendwann im Nichts auflösen und die letzten Anwesenden noch einmal auf eine ganz eigene Reise nehmen.
Schnell deutlich wird für mich jedoch auch, dass bestimmte Rollen und Verhaltensklischees, die ich von vielen Partys in Deutschland und anderen Ländern kenne, auch hier zu finden sind. Eine geradezu globale Erscheinung ist der Freak, der in Gesprächen und in seinem Outfit seinen vorgeblich so tiefen Bezug zu Goa unablässig zur Schau stellt und sich am liebsten mit ”wichtigen” Leuten für alle sichtbar direkt beim DJ unterhält. Ebenso bekannt ist die housige Frau, die so gerne eine Diva wäre, sich in dem Glauben gefällt, sie würde über allem stehen und doch völlig in ihren Eitelkeiten und Unsicherheiten verfangen ist. Dies betrachtend unterhalte ich mich mit Tibo über die Frage inwieweit wir beide selbst Rollen spielen, wo die Grenzen zwischen Authentizität und Übernahme liegen. Ohne diese Fragen abschließend zu beantworten, wenn dies überhaupt möglich ist, lassen wir uns nach einigen Stücken wieder in die Musik fallen.
Zur Mittagszeit erklimme ich dann einen der ”Hills”. Zusammen mit Susie verweile ich dort, betrachte aus der Ferne die Tanzfläche. Wir lassen unsere Gedanken in der Weite dieser beeindruckenden Landschaft schweifen bis sie sich wieder finden. Ich spüre bald, dass ich weitergehen muss, allein weiter hinauf klettern muss. Ein Plateau nach dem anderen lasse ich hinter mir, bis ich irgendwann an einen Platz gelange, an dem ich keinen Menschen mehr sehe, keinen Sound mehr höre. Ich genieße diese Atmosphäre, diese Energie. Schließe die Augen. Und beginne zu hören. Bewusst zu hören. Das Summen vorbeischwirrender Insekten, das Rauschen des Windes, den Klang der Wüste. Langsam steigen Gefühle auf, Befürchtungen und Hoffnungen verdichten sich, werden zu Bildern von dem was mög-lich ist, auch wenn es oft so unerreichbar scheint. Traumhafte, unwirkliche, reale Bilder ausgefüllt von den Energien des Gatherings. Die Sterne sind erreichbar, aber nur wenn wir es wirklich wollen...
Wolfgang Sterneck (2001)
- * -
Trupanea sweyzi female swept from foliage at Puu Mamane Haleakala National Park, Maui, Hawaii.
September 03, 2011
Mike and I arrived at Port Everglades in Fort Lauderdale around 11am. After parking and checking in at Cruise Terminal 4, we boarded the Celebrity Constellation and set off to explore the ship and take in the views. This whimsical sculpture on Deck 11 captured my attention, and I couldn't resist taking a few photos of it.
I found a few details on the work and its sculptor online:
Angus Fairhurst
1966-2008, Great Britain
A Couple of Differences Between Thinking and Feeling
2000
Cast Bronze
The seven-foot bronze sculpture depicts the unlikely but comfortable pairing of a gorilla carrying a huge fish under its right arm. The sculpture's form and stance reference the tradition of civic bronze statuary but turn the traditional sense of pomp and authority on its head. I wanted to make a classical sculpture which has the lightness of a cartoon. The relationship between the gorilla and fish is ambiguous; one represents thinking and the other represents feeling. One begins where the other ends, or they are the same thing. One is there for the other to function, but a protective relationship is also an interdependent one. You can't have the material without the thought, and you can't have a friend without an enemy. A solid object cannot look like it might just disappear if you stopped thinking about it, but a cartoon seems light enough that it might just do that.
It was also photographed earlier on route by Steve Franklin at Reading, by Andrew Shapland approaching Prune Hill crossing, Egham and later on route by adammcmillan97 at Paddock Wood. Class 37 number 706 brought up the rear.
According to Realtime Trains the route and timings were;
Reading [RDG] 7.....................0818...............0818.............................RT
Reading New Junction..........0821...............0821.............................RT
Reading Spur Junction.........0823/0830..N/R/0830 1/2.............RT
Earley [EAR] 1...........................0834..............0837..............................3L
Winnersh Triangle [WTI] 1.....0836..............0838 1/2......................2L
Winnersh [WNS] 1...................0837 1/2........0840............................2L
Wokingham [WKM] 1..............0842/0845..0844 1/2/0847 1/4.....2L
Bracknell [BCE] 1.....................0851 1/2........0855.............................3L
Martins Heron [MAO].............0853..............0858............................5L
Ascot [ACT] 1............................0856/0906..0859 3/4/0908 3/4..2L
Sunningdale [SNG] 1..............0910...............0912 1/2.......................2L
Longcross [LNG] 1..................0913...............0914 1/4........................1L
Virginia Water [VIR] 1.............0916...............0916 1/2.......................RT
Egham [EGH] 1.........................0921 1/2........0921 1/4.......................RT
Staines [SNS] 1.........................0927/0929..0926/0929 1/4..........RT
Ashford (Surrey) [AFS] 1.........0932 1/2.......0932 1/4......................RT
Feltham [FEL] 1........................0937..............0936............................RT
Feltham Junction....................0939..............0938 1/2......................RT
Hounslow Junction................0939 1/2.......0939 1/2......................RT
Hounslow [HOU] 1..................0941/0943....0941 1/4/0942 3/4....RT
Isleworth [ISL] 1........................0945 1/2.......0946............................RT
Syon Lane [SYL] 1...................0946..............0947 1/2.......................1L
Brentford [BFD] 1.....................0947..............0948.............................1L
Old Kew Junction...................0948..............0948 1/2......................RT
Kew Bridge [KWB] 1................0948 1/2.......0949............................RT
New Kew Junction.................0949..............0949 1/2......................RT
Chiswick [CHK] 1.....................0951/0953...0951/0955 1/4...........2L
Barnes Bridge [BNI] 1.............0957..............0957 3/4.....................RT
Barnes [BNS] 1.........................0959..............0958 3/4.....................RT
Putney [PUT] 1.........................1003/1006....1001 1/4/1007 1/4........1L
Wandsworth Town 4.............1009 1/2........1009 3/4......................RT
Clapham Junction [CLJ] 3....1012/1022.....1011 1/2/1024...............2L
Factory Junction.....................1028 1/2........1030..............................1L
Voltaire Road Junction ........1029 1/2........1031...............................1L
Denmark Hill [DMK] 2............1035...............1036..............................1L
Crofton Road Junction..........1036...............1038 3/4......................2L
Peckham Rye [PMR] 4...........1036 1/2.........1039 3/4.......................3L
Nunhead [NHD] 2...................1038...............1041 1/2.........................3L
Bellingham [BGM]...................1043...............1046 1/4........................3L
Shortlands Junction[XOR]....1051................1050.............................RT
Shortlands [SRT].....................1052...............1051 1/2........................RT
Bromley South [BMS] 3.........1056/1059....1054 1/2/1058 3/4.....RT
Bickley Junction[XLY]...........1103................1104 1/4.........................1L
Petts Wood Junction[XPE]...1105 1/2.........1112...............................6L
Orpington [ORP] 3..................1108 1/2..........1115...............................6L
Chelsfield [CLD]......................1110.................1117 1/4..........................7L
Sevenoaks [SEV] 3.................1118.................1124 1/4........................6L
Tonbridge [TON] DF..............1128................1130..............................2L
Paddock Wood [PDW] DM...1136................1135 1/2........................RT
Headcorn [HCN] 2..................1150/1208.....1151/1207......................1E
Ashford International 6.........1225...............1228 1/2........................3L
Canterbury West [CBW] 2....1245...............1245 3/4......................RT
IF YOU LOVE THE FIRST LOOK OF MY CRAFTS
YOU WILL LOVE MOST OFMY COLLECTIONS
FEEL FREE TO EXPLORE MORE ON MY PHOTOSTREAM IN THIS WAY
CRAFT REVOLUTION / MOSAIC APPLICATION IN A PATCHWORK APPROACH, A TRULLY NEW LINE IN A ROW
Doing things like no other before is like walking in another line, why we need to do being different from them, how do we see things in another side? Is this possible to have a new line in a row?
I attend seminars about Quality Control, this seminars tackles the main cause of the real problem is in the organization itself, yes, and is true no need to attend seminar for this, if we know ourselves is our best enemy, but how we need to know more ourselves, our environment dictates us to be being with them, and our mind action accordingly in this way of thinking.
Working in an Export Company for long years as a research and product development officer is not a good job, but paying you a lot sometimes per project, and your Boss saying you always; “our sale will get high after this project out of the market! You can go to vacation after this! Yes vacation after finish the particular project, hmm sound nice, as I said this is not a good job after all. Vacation is also not good in this kind of works. Why I say this. How you can say you are free after your kids out in school and you are watching American idol and praying for the artist you want to be declared as a real winner,
How can we say we are free and in vacation with family and thinking what you can do to be more careful for the kids if all with you, or even if you alone and feel bored and open your pc for something else just to get out of your mind, how?
Being free is acceptance just live with them walk with them and feel with them, my master in this seminar put this thing in our mind , the second things he share to us is everybody need a free space for our self, as a person and different from the other person.
He share to us a line in a bible , I forgot the pages and the verses, but something like this I am not particular in the bible things and thoughts but the messages is clear, you are so special from the other person in your words ,in your thought , in your actions too,
And he shouting to all of us saying hey get out of the box his face look like red and I feel he is angry for what ever reason,
Then he put here things in the bag and walking outside the hall never turn back and go to small coffee table and put some head set on his ear, we all get shock we feel confuse, me I am thinking he get mad to someone , that time the seminar is running up to more hours and this person sitting , look like relax and we are thinking what s wrong , the company paying much for him, and the 2 long hours to wait him , feel more confusing , I see also he snap a bit and his eyes is close for almost 15 minute , and we are so silent , and no body want to talk , hey what’s wrong , I go to the other side of the room and I fall asleep, somebody doing that things and fall asleep too, but the only thing I notice no one get out of the room , we are all waiting for something, boring and everybody no one to talk just the eyes talking that time and our lips add some smile,
Time running and one of the participant decide to talk to all of us and saying we don’t need him in this kind of seminar , he never say anything to us just sip his coffee for long hours and we left nothing to do. and one of my colleagues saying , how can we say it in a nice way, everybody saying something ,suggesting , and one off the participant crumble the papers and want to throw to the master , that moment we are all smile and saying yes do it if you can! But after that no one, want to do that kind of things to his master after all,
Or maybe being polite much better that throwing things as our action for that particular situation and the message is clear , everybody even they have a good actions they don’t want to go out of the box,
New line in a row is a fresh and clear action ,as an artist , as a creator of this particular crafts , I love to share what I have after my long journey , this world is so fast in many particular , technology ,development, high-rise building new phone , everything that we can consider as our home outside our home or a chips on our big pockets , weight less but full of everything what we put inside that chips for our own purposes,
This new craft was born in this particular world of arts but I found out, this craft is out of the line , the material is there , the colors is in there, the meaning is there , the message is there , everything is there , and still I cannot fine the right line for this particular crafts,
I start doing craft on my early age, I still remembering cutting pages of full colored magazine cut in a small piece and paste it, collect all the colored papers and cut and paste it just my start, I love to draw plant animals flowers birds everything about nature, and this track considering of my actions whom I am now, in my own world,
I never finish college, as my root, but I take a fine arts courses in one best school in Philippines (U.S.T. University Of Santo Tomas) Manila the oldest School in Asia the school for Architecture and Fine Arts, that time I feel bless, it because I never dream to get enter in that school, I walk barefooted in my young age, I never dream one day I was in one of the room in there. In my teenage days I was always in a church I am a member of a choir group, but my voice is not good at that time, but I feel important when I am part of this group , our master telling me you are part of this group and your voice is to important to us, I joint also a theater club my master told me , here in our company money is hard to find and the only things I can share to you is how they praise you after the production is done, this group is a community base just for a public information and services, and that’s true I feel different from other person when I joint in this group I have many friends , they all like me as a devil in my characters I always portray , this group give ME more opportunity to explore my space more on the way I never do and think before, or maybe I get out of that box I never notice in this way, or I walk in a new line in a row ,
This group also sent me to college, and I walk out in this group and stop my study up to 2nd years in colleges of course the main reason is money, yes this is my hard times at that moment I need to decide which way I need to walk, to finish or make another way like a new line in a row, I need to force my self to work hard for my daily bread.
New line in a row is a formation of things on how we see and need to act patiently specially in our materials that surround us. Or a CALL on how we make a line in a way we can move perfectly, and this is what I want to share to you,
New line in a row is my greatest achievement, after searching and looking for arts and crafts, i look more books, searching more artist, looking for the master, site in the internet, regarding arts and crafts, and still I never see anything that need to compare on my crafts, but this crafts more on mosaic, patchwork, color pixel in our computer and idea coming from cross stitching, and how it make it different from them,?
Mosaic is a form of arts more on glass and stone or anything that form pattern and pastes it,
Patchwork is a form of arts too start from our old clothes recycled it and form pattern too.
Cross stitching is also form of arts that need to count and have pattern too.
Color pixel normally found in our computer if we want to see or using magnifying glass to see thing clear.
I never research much on this particular meaning (mosaic, patchwork, cross stitching, pixels,) suggestion is always welcome or comment to this particular is will help much,
This kind of words build my composition and remind me, where I start thinking and looking in different way, how can I called my crafts , or where can I place it , I thinking is there a room for me, the answer is YES , I can place it in a galleries of mosaic,
In a patchwork, in pixel room, but not in a wall that hangs cross stitching arts,
But more on more that way, my experiment get more wild and run, colored pixel is always many colors in his single square form, I decide to get out in this category,
I try more research about patchwork , and I see more clear things in this room , the next things I open my mind to the mosaic room and get involved more on more , and I notice a clear picture and help me to categories my craft more in this way.
I draw another line, a new line in a row
After fifteen years searching for the soul of my arts, I try to make room for them, I want to be different from them, I want to be more careful and I want to have a free form from them,
Arts is copying nature I thought, and maybe I think in this way, but copying is like doing things you admire and seeing things that guide us, copying is the only easy way to make us more competitive or maybe more to be exact, new line in a row starting in this way collect the things that have a connection on me make a clear picture and transform in a way I do now,
New line in a row is a form of arts with the relationship to the crafts world,
Arts is different from the crafts, arts is unique form and creation of human no same things have in common with out copying using special tools we have..
Crafts are more on copying have pattern to create more precise and get to perfectly conclusion.
New line in a row is my first step to get out of the box, I never notice for long way before.
New line in a row is a form of CRAFTS after all!
I called this crafts MOSAIC CLOTH IN A PATCHWORK APPROACH
A truly NEW LINE IN A RAW
Only the dead man can make his canvass clear and white
I choice freedom that make my life to be complicated and open for more restriction after all
Oktavdsaint
The author
Established in 1869, the Lady Fergusson Hotel, on the south-west corner of Currie Street and North Street, traded until 1921.
SHANDY FOR BEER
HOW PUBLICAN OBEYED THE LAW
In the Adelaide Police Court yesterday, before Mr. S. J. Mitchell, S.M., and justices, Alfred M. Gibbons, licensee of the Lady Fergusson Hotel, Currie street, pleaded not guilty to a charge of having, on February 23, unlawfully supplied liquor to a person (Elsie Annie Maud Smith) under the age of 21 years. Sub-inspector Beare prosecuted, and Mr. W. A. Rollison appeared for the defendant.
Elsie A. M. Smith said that on February 23 she went to the Lady Fergusson Hotel, Currie street, and called for a butcher of beer. Defendant supplied the liquor. The following day she visited the hotel with Policewoman Ross, and Sergeant Reiley.
Mr. Rollison—Can you tell beer from shandy?
Witness—Yes. I know beer, anyhow.
Can you tell alcoholic beer from non intoxicating beer?
I think so.
Will you let me test you?
Yes, I am prepared to try.
The S.M. declined to allow the test He would not allow Mr. Rollison to break the law.
In reply to further questions the witness said she left home on February 22. Next morning she had five drinks. One was whisky. She did not know what happened after that.
Sergeant Reiley said that on Saturday morning, with the girl Smith and Police woman Ross, he visited the defendant's hotel. When asked whether she had anything to drink at the hotel defendant said he had given her a "shandy gaff."
Constable Annie Ross and Constable Fleet also gave evidence.
The defendant said he thought the girl was under age. She asked for a butcher. He got a bottle of "Just It" and another of soda water and made up a "shandy." He gave that to the girl.
Sub-Inspector-Beare—Do you deceive all your customers by supplying them with cheaper beer?
If I consider if to their benefit, I do.
The S.M. said he was perfectly convinced that the girl was telling the truth. He also believed that the defence was reasonable and that any reasonable man would do what the defendant said he did. The information would be dismissed. A similar charge against Patrick Verne, a barman, in the employ of a licensed victualler was withdrawn.
From the Daily Herald, Friday 2 March 1917, page 2
Visit the State Library of South Australia to view more photos of South Australia.
©2010, FUSINA Dominik
"One instant urban portrait per day" project...
Don't forget to visit and comment my (h)UMAN PORTRAIT photoblog. Thanx.
Publishing date : 17/11/2010
Location : Villefranche (France)
Don't use or publish that photo without my permission.
Alain, commercial.
Après quelques jours d'interruption et non de repos, j'ai décidé de continuer ma série de portraits urbains. j'avais atteint les 100 portraits il y a une dizaine de jours, mais je m'étais promis de compléter la série en m'organisant différemment car je vous avoue que faire chaque jour un nouveau portrait n'est pas très simple. Mais qu'importe. Je vais tenter de garder un rythme soutenu afin de combler la frénésie liée à la découverte de nouveaux personnages par les nombreux internautes qui me suivent. Je tenterai toutefois de varier mon approche et vais changer légèrement la règle... vous comprendrais pourquoi plus tard.
Alain inaugure cette nouvelle série. Je l'ai croisé tout à l'heure alors que j'allais m'acheter un bonnet pour protéger mon crâne dénudé.
Il est commercial dans une boutique de "ride" sur Lyon. A quarante pige, il est toujours un adepte de sports de glisse comme le snowboard ou le skate. Passionné, il a commencé à 16 ans et ne s'est jamais arrêté... après avoir écumé quelques compétitions, il a finalement trouvé un job en boutique et partage désormais son expérience avec la nouvelle génération.
dominikfoto's photos on Flickriver
Concept : Portrait done spontaneously in the street (in Villefranche, France).
I stop people and ask them to be my model during two minutes :)
D3s NIKON
Lens : 50mm - f/1.4 NIKKOR
Settings : f/2.2 - 1/125 - ISO 320
Natural light
ENGLISH TRANSLATION :
translate.google.com/translate?hl=fr&sl=fr&tl=en&...
Others photos on 100 strangers...
A return to Foregate Street in Worcester. This time I went into the Worcester City Art Gallery & Museum. The museum is free to enter.
The building is Grade II* listed,
City Museum and Library with Gates, Worcester
WORCESTER
SO8455SE FRIAR STREET
620-1/12/270 (East side)
05/04/71 City Museum and Library
with gates
(Formerly Listed as:
FRIAR STREET
(East side)
City Museum and Library
(Formerly Victoria
Institute))
GV II*
Museum and library with gates. 1896, by JW Simpson and Milner
Allen at a cost of around ,25,000. Red brick in Flemish bond
with moulded terracotta tiles and plain tile roof; brick left
end stack, banded and with cornice; cast-iron gates and
balustrade. Free Renaissance style. Irregular plan. 2- and 3
storeys with attic, 3 bays plus tower: from left are 2 tall
storeys, 2 bays with 3-lower-storey bay at right with attic in
gable set back, then corner octagonal 5-stage tower. Central
gable contains clock in elaborate cartouche. 'Victoria Regina'
on cartouches; 'THE VICTORIA INSTITUTE' to central frieze;
'Library and Museum' over entrance.
FACADE: the central, entrance bay breaks forward and has
quoins to angles; flight of steps to cambered-arched opening
and chamfered jambs with hollow- and roll-moulding to head,
with three-quarter engaged Ionic columns and dentil pediment
broken by elaborate royal arms in high relief. Double entrance
gates have 'VR' motif and crown, 2 levels of bars and scrolled
crest. Within are 2 sets of double, part-glazed and panelled
doors. Windows are leaded lights in metal frame casements
throughout. To either side of entrance are 2-light mullion
windows with moulded, eared surrounds and scroll pediments. To
left bay on ground floor a wide 'Elizabethan' mullion and
transom window in quoined surround with 3:3:3 lights, the
middle lights have semi-circular light over containing scroll
pediment, and with scrolled central apron. Above entrance at
first floor a large 2:4:2 window and to left bay are two large
4-light windows, all with mullions and transoms and
segmental-arched lights and on continuous egg and dart sill
band; quoined surrounds and composite pilasters between
windows embellished with 'VR' motto. Continuous modillion
frieze, and pediment to gabled entrance bay with crown at apex
surmounted by figure of Victory. Arcaded balustrade with urns
at left.
Right bay: plinth with moulded band surmounted to ground floor
by 5-light mullion window with cornice. To first floor are two
2-segmental-arched-light mullion windows in eared surrounds
and with central segment. Second floor: three 2-light mullion
windows in tooled surround with egg and dart sill band
continuing from first floor of left and centre bays; banded
pilasters between windows rise to moulded cornice. Recessed
and gabled attic storey has 3-light mullion window with tooled
surround and central pediment. Tower: on wine-glass stem has
inscription plaques to lower stage (see below) then three
single-light transom windows in scrolled cartouche surrounds;
to third and fourth stages a single light; fourth stage
surmounted by decorative band with swags and cherub heads.
Upper stage has 2-light mullion windows with semi-circular
lights over in pilastered surrounds and with swags over,
three-quarter-engaged Doric columns between and ovolo cornice.
Broached spire with cupola surmounted by cornice and weather
vane. Right return to Taylor's Lane has similar, but less
elaborate treatment. 5 unequal bays, 2 and 3 storeys. First
bay of 2 storeys has to first floor a large, 5-light mullion
and transom window with 2 levels of transoms. Then a gabled
bay breaks forward and has entrance: double 6-panel doors in
quoined surround, the shaped hood acts as a balcony to 2-light
mullion and transom window with stick balustrade and further
2-light window; 2 segmental arches over on pilasters; gable
has 5-light mullion window. Third bay has five 2-light mullion
and transom windows with pilaster strips to upper band. Fourth
bay similar to second bay. Fifth bay with further entrance and
mainly 3-light mullion windows.
Left return: 5 unequal bays, 3 with gables, 2 storeys and
attics to gables. Ground floor has mullion and transom windows
of 2 and 5 lights. First stage has three oculi to first bay,
2:3:2 light mullion and transom window to third bay and two
3-light windows to fourth bay. Second bay is blind; fifth bay
has 2 small 2-light mullion windows. Gables have 2-light
mullion windows, except at right in ornate, broken pedimented
surrounds and with aprons. Open arcaded balustrade and finials
to gables.
INTERIOR: main feature a 2-storey entrance hall with square
pillars and Doric frieze at first floor with balustrade around
square well; Ionic pillars to first floor and
compartmentalised ceiling with dentil frieze and modillion
cornice. Stone cantilevered dogleg staircase at right has
squat, squared balusters and wide, shaped handrail.
Renaissance motifs continue to stairs. Mosaic floor.
HISTORICAL NOTE: datestone to right at base of tower
inscribed, 'The Lady Mary Lygon Mayoress opened this building
October 1 1896 The Rt Hon Earl Beauchamp Mayor.'
During the C18 Foregate Street was known as 'the mall' and
Tymbs' Worcester Guide of 1802 notes, 'the Foregate Street
itself, by being well paved and sufficiently broad to admit a
full circulation of air seems to be generally resorted to as a
fashionable promenade.'
Pevsner: describes this as 'a resourceful and animated,
totally asymmetrical composition in a mixed Tudor and Baroque
style'. Simpson and Allen had, earlier in the decade, won the
competition for the Glasgow Art Gallery and Museum. This is an
outstanding example of late C19 municipal architecture of this
type, in its eclectic use of style redolent of the municipal
libraries of H.T. Hare, such as Wolverhampton (1902).
The Shire Hall, Statue of Queen Victoria, City Museum and
Library, and Nos 15, 19, 22, 23, 24, 28, Nos 33-46
(consecutive) and No.49, Foregate Street (qqv) form a
significant group. The City Museum and Library also forms a
complimentary group with Worcester College, Sansome Walk (qv).
(The Buildings of England: Pevsner: N: Worcestershire:
Harmondsworth: 1968-1985: 324; Worcestershire Historical
Society Occasional Papers: Whitehead D: Urban Renewal and
Suburban Growth: The Shaping of Georgian Worcester: 1989-: 12;
Tymbs: Worcester Guide: Worcester: 1802-: 60).
foundation stone
The Lady Mary Lygon Mayoress opened this building October 1, 1896.
The Rt. Hon. Earl Beauchamp Mayor
www.elastic-city.org/walks/selfies
In fashion, there's armor. Through devices, we locate, shield and shoot. If we toss this stuff, how will we re-find ourselves and each other? Well, let’s start from scratch. And sniff.
Join Todd Shalom & Niegel Smith for a mostly indoor participatory walk. A rite that roots and wrests the canvas of self. Yeah, we’re going there. And we’ll be getting naked. And we know that’s cliché. And that our “we” is different than yours. Oh lord. Come with. Undress. Together. And check yourself.
This walk holds 12 people and is commissioned by The Prelude Festival. All advance tickets are now sold out but there will be tickets available on-site in the lobby once the festival begins.
Artist note:
Asking walk participants to completely disrobe is extremely vulnerable for everyone, us included. Though we are aware that this choice might deter some from attending, our intention is to revel in that vulnerability in order to better investigate our relationships to our bodies and each other. We hope you'll join us!
Special thanks to Selfies creative consultant, Ryan Tracy.
photo: Todd Shalom