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Joined by President and CEO Dean Garfield of The Information Technology Industry Council, King & Spalding Partner J.C. Boggs, National Security Council Cybersecurity Director Ari Schwartz, and U.S. Department of Commerce General Counsel Kelly Welsh, as well as leading government and industry experts and policymakers, Governor Markell spoke at the 2014 Cybersecurity Summit: Risks & Benefits in an Interconnected Economy. This event kicked off National Cybersecurity Awareness Month with a discourse on cybersecurity risks and benefits in an interconnected economy.
Photo courtesy of Gregory Johns Photography.
Image title: Incredibly interconnected
Description: This photograph illustrates the interconnection of the human brain which enables motor learning and, thus, is a basis for physiotherapy to function. Here, the researcher is presenting a novel walking rehabilitation approach, a combination of motor imagery and rhythmic music. Motor imagery involves a person imagining movements. During motor imagery about walking, similar brain networks are activated as when walking is executed. Actual walking can be enhanced by using instrumental music at a regular beat. An underlying mechanism for that is synchronisation of the brain’s rhythmic-auditory and motor circuits. On these grounds, this research project aimed at investigating the effects and mechanisms of rhythmic-cued motor imagery on walking in people with a neurologic disorder called multiple sclerosis. We hypothesised that the connections between the brain’s rhythmic-auditory and motor networks would be strengthened by the rhythmic-cued motor imagery practice; moreover, we suggested that to induce walking improvement in participants.
Barbara Seebacher
School of Health Sciences
Internet Society Global INET 2012, Geneva, Switzerland. Photo by Dan Anderson, Imagining the Internet Center, School of Communications, Elon University, Elon, North Carolina, USA...Copyright Elon University. CC BY-ND. This Creative Commons license allows for redistribution, commercial and non-commercial, as long as it is passed along unchanged and in whole, with credit to Elon University.
Three paintings in Harvey Taylor's show from his Interconnected series - all works are 152cms X 122 cms - oil on canvas
Smart Home, i.e. a house that contains appliances that are interconnected and can be assessed and controlled remotely, is not a recent ambition. In fact, the creation of the first home automation device took place in 1966. It comprised of four large cabinets (6’ x 2’ x 6’), that controlled temperature and appliances, and could save shopping lists, recipes, and other family memos.
Fast forward to 2020 and many of us still have similar ambitions for Smart Homes. However, technologies such as Machine Learning can enable not only simple automation, but intelligent automation. That means that in addition to controlling devices remotely, when the experience is well designed the users can enjoy personalised automation and delegate some of the low-risk decision making to the applications (apps) controlling those devices.
My research focuses on developing methodologies to simplify and enable a wider use of Machine Learning in the design those apps that will be controlling most appliances in a Smart Home, and by doing so, augmenting the user experience with a more intelligent version of automation and ultimately freeing the users from the burden of some mundane tasks.
Artlab Gallery
November 25 - December 9, 2021
I left parts of myself everywhere* transforms the gallery into a moving image environment. The interconnected installations speak to the experience of dislocation and fractured relationship to body, language, and place. They trace the deep yet precarious connections that emerge between human and nonhuman bodies and ecosystems; connections that are constantly both found and severed. The exhibition maps an experiential space that is both permeated with vitality and haunted by personal and ecological loss.
Eeva Siivonen’s experimental moving image practice engages with strategies of documentary, essay, and found footage film practices. She employs these strategies to construct affective and immersive moving image installations and single-channel works. Her practice describes subjective experience in ways that resist separation between self and other, interior and exterior, human and nonhuman, and living and nonliving. The ethos of her practice is to create space for empathy by embracing the impossibility of gaining knowledge of ourselves and others, and our place in the world.
Eeva Siivonen is originally from Helsinki, Finland. She has received MFA degrees in Video Art from Syracuse University and Documentary Film from Aalto University in Helsinki. She exhibits her work internationally at film festivals and gallery exhibitions. Most recently, her work has been screened at San Francisco Cinematheque’s Crossroads festival, DOBRA International Festival of Experimental Cinema in Rio de Janeiro, and Transient Visions Festival of Moving Image in Johnson City, NY. She has also received multiple international residency fellowships and recently spent two months in the Sangre de Cristo Mountains as an artist-in-residence at the Helene Wurlitzer Foundation in Taos, New Mexico.
*The exhibition title is borrowed from the poem “St. Thomas Aquinas” by Serbian American poet Charles Simic.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2021; Department of Visual Arts; Western University
Seamlessly Looping Background Animation Of Interconnected Particle Streams. Checkout GlobalArchive.com, contact ChrisDortch@gmail.com, and connect to www.linkedin.com/in/chrisdortch
The Kerala Backwaters are a network of interconnected canals, rivers, lakes and inlets, a labyrinthine system formed by more than 900 km of waterways, and sometimes compared to the American Bayou. In the midst of this landscape there are a number of towns and cities, which serve as the starting and end points of backwater cruises. National Waterway No. 3 from Kollam to Kottapuram, covers a distance of 205 km and runs almost parallel to the coast line of southern Kerala facilitating both cargo movement and backwater tourism.
The backwaters have a unique ecosystem - freshwater from the rivers meets the seawater from the Arabian Sea. In certain areas, such as the Vembanad Kayal, where a barrage has been built near Kumarakom, salt water from the sea is prevented from entering the deep inside, keeping the fresh water intact. Such fresh water is extensively used for irrigation purposes.
Many unique species of aquatic life including crabs, frogs and mudskippers, water birds such as terns, kingfishers, darters and cormorants, and animals such as otters and turtles live in and alongside the backwaters. Palm trees, pandanus shrubs, various leafy plants and bushes grow alongside the backwaters, providing a green hue to the surrounding landscape.
Vembanad Kayal is the largest of the lakes, covering an area of 200 km², and bordered by Alappuzha (Alleppey), Kottayam, and Ernakulam districts. The port of Kochi (Cochin) is located at the lake's outlet to the Arabian Sea. Alleppey, "Venice of the East", has a large network of canals that meander through the town. Vembanad is India’s longest lake.
HOUSE BOATS
The kettuvallams (Kerala houseboats) in the backwaters are one of the prominent tourist attractions in Kerala. More than 2000 kettuvallams ply the backwaters, 120 of them in Alappuzha. Kerala government has classified the tourist houseboats as Platinum, Gold and silver.
The kettuvallams were traditionally used as grain barges, to transport the rice harvested in the fertile fields alongside the backwaters. Thatched roof covers over wooden hulls, 30 m in length, provided protection from the elements. At some point in time the boats were used as living quarters by the royalty. Converted to accommodate tourists, the houseboats have become floating cottages having a sleeping area, with western-style toilets, a dining area and a sit out on the deck. Most tourists spend the night on a house boat. Food is cooked on board by the accompanying staff – mostly having a flavour of Kerala. The houseboats are of various patterns and can be hired as per the size of the family or visiting group. The living-dining room is usually open on at least three sides providing a grand view of the surroundings, including other boats, throughout the day when it is on the move. It is brought to a standstill at times of taking food and at night. After sunset, the boat crew provide burning coils to drive away mosquitoes. Ketuvallams are motorised but generally proceed at a slow speed for smooth travel. All ketuvallams have a generator and most bedrooms are air-conditioned. At times, as per demand of customers, electricity is switched off and lanterns are provided to create a rural setting.
While many ketuvalloms take tourists from a particular point and bring them back to around the same point next morning there are some specific cruises mostly in the Alappuzha area, such as the one night cruise from Alappuzha to Thotapally via Punnamada Lake two nights cruise from Alappuzha to Alumkavadi,[8] one night cruise from Alappuzha to Kidangara, and one night cruise from Alappuzha to Mankotta. There are numerous such cruises.
Beypore, located 10 km south of Kozhikode at the mouth of the Chaliyar River, is a famous fishing harbour, port and boat building centre. Beypore has a 1,500 year-tradition of boatbuilding. The skill of the local shipwrights and boat builders are widely sought after. There is a houseboat-building yard at Alumkadavu, in Ashtamudi Kayal near Kollam.
FERRY SERVICES
Regular ferry services connect most locations on both banks of the backwaters. The Kerala State Water Transport Department operates ferries for passengers as well as tourists. It is the cheapest mode of transport through the backwaters.
ECONOMIC SIGNIFICANCE
Connected by artificial canals, the backwaters form an economical means of transport, and a large local trade is carried on by inland navigation. Fishing, along with fish curing is an important industry.
Kerala backwaters have been used for centuries by the local people for transportation, fishing and agriculture. It has supported the efforts of the local people to earn a livelihood. In more recent times, agricultural efforts have been strengthened with reclamation of some backwater lands for rice growing, particularly in the Kuttanad area. Boat making has been a traditional craft, so has been the coir industry.
Kuttanad is crisscrossed with waterways that run alongside extensive paddy fields, as well as fields of cassava, banana and yam. A unique feature of Kuttanad is that many of these fields are below sea level and are surrounded by earthen embankments. The crops are grown on the low-lying ground and irrigated with fresh water from canal and waterways connected to Vembanad lake. The area is similar to the dikes of the Netherlands where land has been reclaimed from the sea and crops are grown.
WIKIPEDIA
"Risograph Reverie" is an enchanting series of risograph graphics by Duncan Rawlinson. This collection engages the viewer with its distinctive blend of form and color, representing a compelling dialogue between the abstract and the photorealistic, the expected and the surprising.
Rawlinson's approach is a testament to the transformative capacity of art, where photography meets artificial intelligence to create something entirely unique. Each piece begins its journey as a photograph, a frozen moment in time, which is then fed into an AI tool that reshapes it into a vibrant dance of neon-colored geometric forms. The light magenta and azure hues act as commanding players on this visual stage, setting the tone for the playful motifs and mismatched patterns to unfold within a uniquely compelling 6:17 aspect ratio.
What's even more mesmerizing about this series is its perfect symmetry, creating a harmonious continuity when placed side by side. Each graphic functions as a tile, seamlessly connecting with its neighbors to form a larger, interconnected canvas that amplifies the visual impact. The result is a dynamic, infinite spectacle where each piece, while powerful as a standalone, is part of a greater, mesmerizing whole.
In "Risograph Reverie," Rawlinson bridges the tactile world of risograph printmaking with the endless possibilities of the digital realm. The collection, tactile and tangible, vibrates with the unique energy of risograph art, while the individual graphics, designed under the algorithmic direction of an AI, add a modern and innovative twist.
Navigating through this series is an invitation to lose oneself in a world where neon-colored geometric forms come to life, where patterns blend flawlessly, and where every piece is an integral part of a captivating, cohesive narrative. This is Rawlinson's celebration of contemporary art - a space where color and form, reality and imagination, and technology and traditional printmaking coexist in a fun and harmonious dance of creativity.
Studio 12 Architecture transformed a small footprint of undeveloped property near Precita Park into two tall, gracefully interconnected single family homes.
Science is the most interconnected of all human activities, they say, and requires a new series of maps to chart the changing scientific landscape.”
Consider this insight from Katy Börner, the Indiana University researcher who is a pioneer in the field.
“Ultimately, I’d like to see a map of science in schools, as common as the political world map. ‘Continents’ would represent the diverse areas of science, and closely related areas would reside on the same continent. Teachers might say, ‘Let’s look at the new research frontier in sector F5.’ Students could say, ‘My mum works over there.’”
Wikipedia:
Masuleh architecture is unique. The buildings have been built into the mountain and are interconnected. Courtyards and roofs both serve as pedestrian areas similar to streets. Masuleh does not allow any motor vehicles to enter, due to its unique layout. It is the only city in Iran with such a prohibition. However, the small streets and many stairs simply wouldn't make it possible for vehicles to enter.
The spectacular architecture of Masuleh is popularly known as "The yard of the building above is the roof of the building below".
Yellow clay coats the exterior of most buildings in Masuleh. This allows for better visibility in the fog.
Source: Masule on Wikipedia. Text above is licensed under CC BY-SA 3.0
Artlab Gallery
November 25 - December 9, 2021
I left parts of myself everywhere* transforms the gallery into a moving image environment. The interconnected installations speak to the experience of dislocation and fractured relationship to body, language, and place. They trace the deep yet precarious connections that emerge between human and nonhuman bodies and ecosystems; connections that are constantly both found and severed. The exhibition maps an experiential space that is both permeated with vitality and haunted by personal and ecological loss.
Eeva Siivonen’s experimental moving image practice engages with strategies of documentary, essay, and found footage film practices. She employs these strategies to construct affective and immersive moving image installations and single-channel works. Her practice describes subjective experience in ways that resist separation between self and other, interior and exterior, human and nonhuman, and living and nonliving. The ethos of her practice is to create space for empathy by embracing the impossibility of gaining knowledge of ourselves and others, and our place in the world.
Eeva Siivonen is originally from Helsinki, Finland. She has received MFA degrees in Video Art from Syracuse University and Documentary Film from Aalto University in Helsinki. She exhibits her work internationally at film festivals and gallery exhibitions. Most recently, her work has been screened at San Francisco Cinematheque’s Crossroads festival, DOBRA International Festival of Experimental Cinema in Rio de Janeiro, and Transient Visions Festival of Moving Image in Johnson City, NY. She has also received multiple international residency fellowships and recently spent two months in the Sangre de Cristo Mountains as an artist-in-residence at the Helene Wurlitzer Foundation in Taos, New Mexico.
*The exhibition title is borrowed from the poem “St. Thomas Aquinas” by Serbian American poet Charles Simic.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2021; Department of Visual Arts; Western University
Internet Society Global INET 2012, Geneva, Switzerland. Photo by Dan Anderson, Imagining the Internet Center, School of Communications, Elon University, Elon, North Carolina, USA...Copyright Elon University. CC BY-ND. This Creative Commons license allows for redistribution, commercial and non-commercial, as long as it is passed along unchanged and in whole, with credit to Elon University.
"Risograph Reverie" is an enchanting series of risograph graphics by Duncan Rawlinson. This collection engages the viewer with its distinctive blend of form and color, representing a compelling dialogue between the abstract and the photorealistic, the expected and the surprising.
Rawlinson's approach is a testament to the transformative capacity of art, where photography meets artificial intelligence to create something entirely unique. Each piece begins its journey as a photograph, a frozen moment in time, which is then fed into an AI tool that reshapes it into a vibrant dance of neon-colored geometric forms. The light magenta and azure hues act as commanding players on this visual stage, setting the tone for the playful motifs and mismatched patterns to unfold within a uniquely compelling 6:17 aspect ratio.
What's even more mesmerizing about this series is its perfect symmetry, creating a harmonious continuity when placed side by side. Each graphic functions as a tile, seamlessly connecting with its neighbors to form a larger, interconnected canvas that amplifies the visual impact. The result is a dynamic, infinite spectacle where each piece, while powerful as a standalone, is part of a greater, mesmerizing whole.
In "Risograph Reverie," Rawlinson bridges the tactile world of risograph printmaking with the endless possibilities of the digital realm. The collection, tactile and tangible, vibrates with the unique energy of risograph art, while the individual graphics, designed under the algorithmic direction of an AI, add a modern and innovative twist.
Navigating through this series is an invitation to lose oneself in a world where neon-colored geometric forms come to life, where patterns blend flawlessly, and where every piece is an integral part of a captivating, cohesive narrative. This is Rawlinson's celebration of contemporary art - a space where color and form, reality and imagination, and technology and traditional printmaking coexist in a fun and harmonious dance of creativity.
Internet Society Global INET 2012, Geneva, Switzerland. Photo by Dan Anderson, Imagining the Internet Center, School of Communications, Elon University, Elon, North Carolina, USA...Copyright Elon University. CC BY-ND. This Creative Commons license allows for redistribution, commercial and non-commercial, as long as it is passed along unchanged and in whole, with credit to Elon University.
Studio 12 Architecture transformed a small footprint of undeveloped property near Precita Park into two tall, gracefully interconnected single family homes.
Orange-brown testes of males have numerous interconnected tubules.
Full SPECIES DESCRIPTION at: flic.kr/p/WadzLk
Key id. features: flic.kr/p/WNjbUS
APPENDIX re range advance/retreat: flic.kr/p/2jW74ig
Sets of OTHER SPECIES:
Studio 12 Architecture transformed a small footprint of undeveloped property near Precita Park into two tall, gracefully interconnected single family homes.
This is a modular design for interconnected diagonal cube frames. Each corner is an individual diagonal cube with tetrahedral symmetry. Tutorial for the cube: www.youtube.com/watch?v=Pj0fEmtxXSw&t=17s
The sides of the cube (from which the cube frames stem) can be built to have either counter-clockwise or clockwise polarity, regardless of the adjacent sides' polarity. However for simplicity, I made it so that each cube has the same polarity for all sides.
The shape in total took 4,734 Zen magnets:
12 corner cubes: 171 * 12 = 2052
16 frame sticks: 138 * 16 = 2208
18 connections: 30 * 18 = 540
subtract 66 because some magnets are counted twice
total: 2052 + 2208 + 540 - 66
= 4734 Just short of the 22 sets I own
I also did the math and the completed shape would take a little less than 6,858 magnets (31.75 sets), so if anyone with that many wants to complete the shape, be my guest. ;)
Artlab Gallery
November 25 - December 9, 2021
I left parts of myself everywhere* transforms the gallery into a moving image environment. The interconnected installations speak to the experience of dislocation and fractured relationship to body, language, and place. They trace the deep yet precarious connections that emerge between human and nonhuman bodies and ecosystems; connections that are constantly both found and severed. The exhibition maps an experiential space that is both permeated with vitality and haunted by personal and ecological loss.
Eeva Siivonen’s experimental moving image practice engages with strategies of documentary, essay, and found footage film practices. She employs these strategies to construct affective and immersive moving image installations and single-channel works. Her practice describes subjective experience in ways that resist separation between self and other, interior and exterior, human and nonhuman, and living and nonliving. The ethos of her practice is to create space for empathy by embracing the impossibility of gaining knowledge of ourselves and others, and our place in the world.
Eeva Siivonen is originally from Helsinki, Finland. She has received MFA degrees in Video Art from Syracuse University and Documentary Film from Aalto University in Helsinki. She exhibits her work internationally at film festivals and gallery exhibitions. Most recently, her work has been screened at San Francisco Cinematheque’s Crossroads festival, DOBRA International Festival of Experimental Cinema in Rio de Janeiro, and Transient Visions Festival of Moving Image in Johnson City, NY. She has also received multiple international residency fellowships and recently spent two months in the Sangre de Cristo Mountains as an artist-in-residence at the Helene Wurlitzer Foundation in Taos, New Mexico.
*The exhibition title is borrowed from the poem “St. Thomas Aquinas” by Serbian American poet Charles Simic.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2021; Department of Visual Arts; Western University
Internet Society Global INET 2012, Geneva, Switzerland. Photo by Dan Anderson, Imagining the Internet Center, School of Communications, Elon University, Elon, North Carolina, USA...Copyright Elon University. CC BY-ND. This Creative Commons license allows for redistribution, commercial and non-commercial, as long as it is passed along unchanged and in whole, with credit to Elon University.
Artlab Gallery
November 25 - December 9, 2021
I left parts of myself everywhere* transforms the gallery into a moving image environment. The interconnected installations speak to the experience of dislocation and fractured relationship to body, language, and place. They trace the deep yet precarious connections that emerge between human and nonhuman bodies and ecosystems; connections that are constantly both found and severed. The exhibition maps an experiential space that is both permeated with vitality and haunted by personal and ecological loss.
Eeva Siivonen’s experimental moving image practice engages with strategies of documentary, essay, and found footage film practices. She employs these strategies to construct affective and immersive moving image installations and single-channel works. Her practice describes subjective experience in ways that resist separation between self and other, interior and exterior, human and nonhuman, and living and nonliving. The ethos of her practice is to create space for empathy by embracing the impossibility of gaining knowledge of ourselves and others, and our place in the world.
Eeva Siivonen is originally from Helsinki, Finland. She has received MFA degrees in Video Art from Syracuse University and Documentary Film from Aalto University in Helsinki. She exhibits her work internationally at film festivals and gallery exhibitions. Most recently, her work has been screened at San Francisco Cinematheque’s Crossroads festival, DOBRA International Festival of Experimental Cinema in Rio de Janeiro, and Transient Visions Festival of Moving Image in Johnson City, NY. She has also received multiple international residency fellowships and recently spent two months in the Sangre de Cristo Mountains as an artist-in-residence at the Helene Wurlitzer Foundation in Taos, New Mexico.
*The exhibition title is borrowed from the poem “St. Thomas Aquinas” by Serbian American poet Charles Simic.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2021; Department of Visual Arts; Western University
Studio 12 Architecture transformed a small footprint of undeveloped property near Precita Park into two tall, gracefully interconnected single family homes.
Internet Society Global INET 2012, Geneva, Switzerland. Photo by Dan Anderson, Imagining the Internet Center, School of Communications, Elon University, Elon, North Carolina, USA...Copyright Elon University. CC BY-ND. This Creative Commons license allows for redistribution, commercial and non-commercial, as long as it is passed along unchanged and in whole, with credit to Elon University.
"Build Google": a making methodology workshop at LSE, asking Media postgrads to consider which human value the service fulfills. The results of their making contribute to the serendipity engine project.
Artlab Gallery
November 25 - December 9, 2021
I left parts of myself everywhere* transforms the gallery into a moving image environment. The interconnected installations speak to the experience of dislocation and fractured relationship to body, language, and place. They trace the deep yet precarious connections that emerge between human and nonhuman bodies and ecosystems; connections that are constantly both found and severed. The exhibition maps an experiential space that is both permeated with vitality and haunted by personal and ecological loss.
Eeva Siivonen’s experimental moving image practice engages with strategies of documentary, essay, and found footage film practices. She employs these strategies to construct affective and immersive moving image installations and single-channel works. Her practice describes subjective experience in ways that resist separation between self and other, interior and exterior, human and nonhuman, and living and nonliving. The ethos of her practice is to create space for empathy by embracing the impossibility of gaining knowledge of ourselves and others, and our place in the world.
Eeva Siivonen is originally from Helsinki, Finland. She has received MFA degrees in Video Art from Syracuse University and Documentary Film from Aalto University in Helsinki. She exhibits her work internationally at film festivals and gallery exhibitions. Most recently, her work has been screened at San Francisco Cinematheque’s Crossroads festival, DOBRA International Festival of Experimental Cinema in Rio de Janeiro, and Transient Visions Festival of Moving Image in Johnson City, NY. She has also received multiple international residency fellowships and recently spent two months in the Sangre de Cristo Mountains as an artist-in-residence at the Helene Wurlitzer Foundation in Taos, New Mexico.
*The exhibition title is borrowed from the poem “St. Thomas Aquinas” by Serbian American poet Charles Simic.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2021; Department of Visual Arts; Western University
Artlab Gallery
November 25 - December 9, 2021
I left parts of myself everywhere* transforms the gallery into a moving image environment. The interconnected installations speak to the experience of dislocation and fractured relationship to body, language, and place. They trace the deep yet precarious connections that emerge between human and nonhuman bodies and ecosystems; connections that are constantly both found and severed. The exhibition maps an experiential space that is both permeated with vitality and haunted by personal and ecological loss.
Eeva Siivonen’s experimental moving image practice engages with strategies of documentary, essay, and found footage film practices. She employs these strategies to construct affective and immersive moving image installations and single-channel works. Her practice describes subjective experience in ways that resist separation between self and other, interior and exterior, human and nonhuman, and living and nonliving. The ethos of her practice is to create space for empathy by embracing the impossibility of gaining knowledge of ourselves and others, and our place in the world.
Eeva Siivonen is originally from Helsinki, Finland. She has received MFA degrees in Video Art from Syracuse University and Documentary Film from Aalto University in Helsinki. She exhibits her work internationally at film festivals and gallery exhibitions. Most recently, her work has been screened at San Francisco Cinematheque’s Crossroads festival, DOBRA International Festival of Experimental Cinema in Rio de Janeiro, and Transient Visions Festival of Moving Image in Johnson City, NY. She has also received multiple international residency fellowships and recently spent two months in the Sangre de Cristo Mountains as an artist-in-residence at the Helene Wurlitzer Foundation in Taos, New Mexico.
*The exhibition title is borrowed from the poem “St. Thomas Aquinas” by Serbian American poet Charles Simic.
Artlab Gallery
JL Visual Arts Centre
Western University
London, Ontario, Canada
© 2021; Department of Visual Arts; Western University
The Beemster Polder, dating from the early 17th century, is is an exceptional example of reclaimed land in the Netherlands. It has preserved intact its well-ordered landscape of fields, roads, canals, dykes and settlements, laid out in accordance with classical and Renaissance planning principles.
The innovative and intellectually imaginative landscape of the Beemster Polder had a profound and lasting impact on reclamation projects in Europe and beyond. The creation of the polder marks a major step forward in the interrelationship between humankind and water at a crucial period of social and economic expansion.
Lagoons and deltas take up the greater part of Dutch land. Over the centuries this land was made habitable by means of land reclamation and protection against the water. Of the 3.4 million hectares that now constitute the Netherlands, a third is below sea level. If no dykes had been constructed and if there were no drainage of excess water, 65% of the country of today would be under water.
The northern coastal area of the Kop van Noord-Holland and along the Wadden Sea was once an interconnected series of mud-flats that extended to south-western Denmark. The earliest habitation was on knolls, which offered protection from the water before sea walls and dykes had been constructed. The need to 'create' new land arose from the damage caused by continual flooding, with the added bonus of obtaining excellent agricultural land. Five factors influenced the process of land reclamation: the availability of capital for investment, stable political and economic relationships, and the availability of technical means, entrepreneurial spirit, and good prices for farmland.
The battle against the water began in the northern part of Noord-Holland, in the area situated above the former open waters of the IJ (Hollands Noorderkwartier), by keeping out the seawater. From the 16th century onwards efforts were geared towards draining lakes and ponds situated further inland. Land reclamation took place by draining the big lakes, particularly in the northern part of Holland. This process was made possible by the drastic improvement in pumping and draining technology using windmills driving waterwheels. From the end of the Middle Ages the entire north of the IJ was enclosed within a ring of dykes; however, considerable areas of water survived within the individual polders and the centre of the region was still occupied by the large Schermer, Purmer, and Beemster lakes.
Wind power was used to drain the polders as early as the 15th century, through the use of wind-driven water-pumping mills. The development of the revolving cap on windmills made it possible to drain the larger lakes. From the beginning of the 17th century onwards it became possible to drain large bodies of water, such as the Beemster, by using networks of three or four windmills. The initiative to drain the water of the Beemster was taken by a number of wealthy regents and merchants from Amsterdam and a number of high-ranking civil servants in The Hague.
In 1608 the dyke section between Purmerend and Neck was subcontracted, as was the drainage canal to the Zuyder Zee. In that same year a start was made on laying out the canals and roads to prepare for the allotment of land. Within the allotments the owners would be allowed to dig as many canals and ditches as they saw fit. The blocks between the roads are divided by canals into four blocks of about 85 ha. It was finally decided to divide the land into five allotments. The allotments were made in 'packages'; the value of each package compared to the others would be the same, as poor soil was compensated by good. Shovels and pickaxes were used in the basic engineering works; the foundations for sluices and windmills were sunk using manual pile-driving installations operated by 30-40 people. Reclamation was effected by means of windmills; reclamation of the Beemster took place with the construction of fifteen windmill networks.
The polder finally became a reality on 19 May 1612, and the plots of land were allotted. The bye-law of 1616 includes conditions on 'plants and trees'. This created an 'ideal' landscape from 1620 onwards with the planting of the lanes with trees. First only the northern and western side of the roads were planted, so that the heat of the sun could dry the roads, which were still waterlogged. After conversion from drainage by wind to steam power in the 1800s, water was discharged into the belt canal by three pumping stations. In the 20th century these were converted to diesel power, and now drainage is carried out by the fully automated electric pumping station.
Source: UNESCO/CLT/WHC
Historical Description
Lagoons and deltas take up the greater part of the Dutch land. Over the centuries this land was made habitable by means of land reclamation and protection against the water. Of the 3.4 million ha which now constitute The Netherlands, a third is below sea level. If no dikes had been constructed and if there were no drainage of excess water, 65% of The Netherlands of today would be under water.
The northern coastal area of the Kop van Noord-Holland and along the Wadden Sea was once a virtually interconnected series of mud-flats that extended to southwestern Denmark. The earliest habitation was on knolls, which offered protection from the water before sea walls and dikes had been constructed. The need to 'create' new land arose from the damage caused by the continual flooding, with the added bonus of obtaining excellent agricultural land.
Five factors influenced on the process of land reclamation: the availability of capital for investment, stable political and economic relationships, and the availability of technical means, entrepreneurial spirit, and good prices for farmland.
The battle against the water began in the northern part of Noord-Holland, in the area situated above the former open waters of the IJ, by keeping out the sea-water. From the 16th century onward efforts were geared toward draining lakes and ponds situated further inland. Land reclamation took place by draining the big lakes, particularly in the northern part of Holland. This process was made possible by the drastic improvement in pumping and draining technology using windmills driving waterwheels. From the end of the Middle Ages the entire north of the IJ (Hollands Noorderkwartier) was enclosed within a ring of dikes; however, considerable areas of water survived within the individual polders and the centre of the region was still occupied by the large Schermer, Purmer, and Beemster lakes. More and more land could be reclaimed when the technique of building dikes with discharging structures (sluices) was developed. These developments are sometimes called the delta-works of the 17th and 18th century.
Wind power was used to drain the polders as early as the 15th century, through the use of wind-driven waterpumping mills. The 16th century development of the revolving cap on windmills made it possible to drain the larger lakes. From the beginning of the 17th century onward it became possible to drain large bodies of water, such as the Beemster, by using networks of three or four windmills. The invention of this process is attributed to Simon Stevin (1548-1620).
The initiative to drain the water of the Beemster was taken by a number of wealthy regents and merchants from Amsterdam and a number of high-ranking civil servants in The Hague. In 1607 a patent was granted by the States of Holland to sixteen people who founded the Beemstercompagnie to provide the requisite capital. The patent speaks of "work such, that it is possible to make Water into Land." In total there were 123 investors, who received a return of 17% on their investment upon completion of the polder in 1612.
As a preliminary to the work, a map of the Beemster and its environs was made by the surveyor Pieter Cornelisz. Cort of Alkmaar, to determine the possible consequences of diking and to establish how to drain the Beemster itself. After Cort's death in 1608, he was succeeded by Lucas Jansz. Sinck, land surveyor in Amsterdam, who laid out the first dike section for the Beemster polder. In 1608 the dike section between Purmerend and Neck was subcontracted, as was the drainage canal to the Zuiderzee.
It was decided in 1611 that Sinck would draw in the roads and canals. In that same year a start was made on laying out the canals and roads to prepare for the allotment of land. Within the allotments the owners would be allowed to dig as many canals and ditches as they saw fit. The blocks between the roads were to have a surface area of 400 morgen, divided by canals into four blocks of 100 morgen (1 morgen = c 0.85ha). It was finally decided to divide the land into five allotments. The allotments were made in "packages"; the value of each package compared to the others would be the same, as poor soil was compensated by good.
Shovels and pickaxes were used in the basic engineering works; the foundations for sluices and windmills were sunk using manual pile-driving installations operated by 30-40 people. Reclamation was effected by means of windmills. The reclamation of the Beemster ultimately took place with the construction of fifteen windmill networks.
The polder finally became a reality on 19 May 1612, and in August 1612 the plots of land were allotted. The byelaw of 1616 includes conditions on "plants and trees." This created an "ideal" landscape from 1620 onward with the planting of the lanes with trees. First only the northern and western side of the roads were planted, so that the sun could dry the roads, which were still waterlogged. After the conversion from drainage by wind to steam power in the late 1800s, the water was discharged into the belt canal by three pumping stations. In the 20th century these were converted to diesel power. De Beemster is now drained by the fully automated electric pumping station Wouter Sluis along the Westdijk (Middensloot) and by the diesel pumping station Jacobus Bouman along the Oostdijk (Oosthuizersloot).
Source: Advisory Body Evaluation
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