Cairngorms National Park is a national park in northeast Scotland, established in 2003. It was the second of two national parks established by the Scottish Parliament, after Loch Lomond and The Trossachs National Park, which was set up in 2002. The park covers the Cairngorms range of mountains, and surrounding hills. Already the largest national park in the United Kingdom, in 2010 it was expanded into Perth and Kinross.

 

Roughly 18,000 people reside within the 4,528 square kilometre national park. The largest communities are Aviemore, Ballater, Braemar, Grantown-on-Spey, Kingussie, Newtonmore, and Tomintoul. Tourism makes up about 80% of the economy. In 2018, 1.9 million tourism visits were recorded. The majority of visitors are domestic, with 25 per cent coming from elsewhere in the UK, and 21 per cent being from other countries.

 

The Cairngorms National Park covers an area of 4,528 km2 (1,748 sq mi) in the council areas of Aberdeenshire, Moray, Highland, Angus and Perth and Kinross. The mountain range of the Cairngorms lies at the heart of the national park, but forms only one part of it, alongside other hill ranges such as the Angus Glens and the Monadhliath, and lower areas like Strathspey and upper Deeside. Three major rivers rise in the park: the Spey, the Dee, and the Don. The Spey, which is the second longest river in Scotland, rises in the Monadhliath, whilst the Dee and the Don both rise in the Cairngorms themselves.

 

The Cairngorms themselves are a spectacular landscape, similar in appearance to the Hardangervidda National Park of Norway in having a large area of upland plateau.[citation needed] The range consists of three main plateaux at about 1000–1200 m above sea level, above which domed summits (the eroded stumps of once much higher mountains)[8] rise to around 1300 m. Many of the summits have tors, free-standing rock outcrops that stand on top of the boulder-strewn landscape.[9] The edges of the plateaux are in places steep cliffs of granite and they are excellent for skiing, rock climbing and ice climbing. The Cairngorms form an arctic-alpine mountain environment, with tundra-like characteristics and long-lasting snow patches.

 

The Monadhliath mountains lie to the north of Strathspey, and comprise a bleak, wide plateau rising to between 700 and 950 m.

 

Two major transport routes run through the park, with both the A9 road and the Highland Main Line crossing over the Pass of Drumochter and running along Strathspey, providing links between the western and northern parts of the park and the cities of Perth and Inverness. The Highland Main Line is the only mainline rail route through the park, however there are several other major roads, including the A86, which links Strathspey to Fort William, and the A93, which links the Deeside area of the park to both Perth and Aberdeen.

 

The idea that parts of Scotland of wild or remote character should be designated to protect the environment and encourage public access grew in popularity throughout the nineteenth and early twentieth centuries. In 1931 a commission headed by Christopher Addison proposed the creation of a national park in the Cairngorms, alongside proposals for parks in England and Wales. Following the Second World War ten national parks were established in England and Wales, and a committee was established to consider the issue of national parks in Scotland. The report, published in 1945, proposed national parks in five areas, one of which was the Cairngorms. The government designated these five areas as "National Park Direction Areas", giving powers for planning decisions taken by local authorities to be reviewed by central government, however the areas were not given full national park status. In 1981 the direction areas were replaced by national scenic areas, of which there are now 40. In 1990 the Countryside Commission for Scotland (CCS) produced a report into protection of the landscape of Scotland, which recommended that four areas were under such pressure that they ought to be designated as national parks, each with an independent planning board, in order to retain their heritage value. The four areas identified were similar to those proposed in 1945, and thus again included the Cairngorms.

 

Despite this long history of recommendations that national parks be established in Scotland, no action was taken until the establishment of the Scottish Parliament in 1999. The two current parks were designated as such under the National Parks (Scotland) Act 2000, which was one of the first pieces of legislation to be passed by the Parliament. Before the national park was established in 2003, Scottish Natural Heritage conducted a consultation exercise, considering the boundary and the powers and structure of the new park authority.

 

Following the establishment of the park many groups and local communities felt that a large area of highland Perth and Kinross should form part of the park and carried out a sustained campaign. On 13 March 2008 Michael Russell announced that the national park would be extended to take in Blair Atholl and Spittal of Glenshee, and the park was duly extended on 4 October 2010.

 

In 2015, 53 km (33 mi) of the 132 kV power line in the middle of the park was taken down, while another section along the edge of the park was upgraded to 400 kV.

 

Tourism accounts for much of the economy and 43% of employment within the park area. In 2018, 1.9 million tourism visits were recorded. The park's mandate is sustainable tourism "that builds on, conserves and enhances [its] special qualities". The Cairngorms Business Partnership includes 350 private sector member businesses. In early 2017, the park was voted by Hundredrooms as one of the top seven eco-tourism destinations in Europe and discussed as a "mecca for outdoor enthusiasts". The Visit Scotland web site discusses the amenities and indicates that this park "has more mountains, forest paths, rivers, lochs, wildlife hotspots, friendly villages and distilleries than you can possibly imagine".

 

The park is popular for activities such as walking, cycling, mountain biking, climbing and canoeing: for hillwalkers there are 55 Munros (mountains above 3,000 feet (910 m) in height) in the park.[6] Two of Scotland's Great Trails pass through the park: the Speyside Way and the Cateran Trail.

 

A skiing and winter sports industry is concentrated in the Cairngoms, with three of Scotland's five resorts situated here. They are the Cairn Gorm Ski Centre, Glenshee Ski Centre and The Lecht Ski Centre. There was controversy surrounding the construction of the Cairngorm Mountain Railway at the Cairn Gorm Ski Centre, a scheme supported by the national park authority. Supporters of the scheme claimed that it would bring in valuable tourist income, whilst opponents argued that such a development was unsuitable for a protected area. To reduce erosion, the railway operates a "closed scheme" and only allows skiers (in season) out of the upper Ptarmigan station: other visitors may not access the mountain from the railway unless on a guided walk.

 

The Cairngorm Mountain Railway funicular was closed in October 2018 "due to health and safety concerns", or "structural problems" according to reports in summer 2019. At the time, an investigation was still underway to determine whether modifications would be "achievable and affordable". (The same situation was reported in December 2019.) This railway first opened in 2001 and connects the base station with a restaurant on Cairn Gorm mountain.

 

Aviemore is a busy and popular holiday destination, located close to Glenmore Forest Park and the Cairn Gorm Ski Centre. The Strathspey Railway is preserved railway running steam and heritage diesel services between Aviemore railway station and Broomhill via Boat of Garten, along part of the former Highland Railway.

 

The Highland Wildlife Park also lies within the national park, and the Frank Bruce Sculpture Trail is located near Feshiebridge. This short trail through the woods features a sculptures created by Frank Bruce between 1965 and 2009.

 

In addition to the Cairngorm Brewery, six distilleries are located within the Park area: Dalwhinnie distillery, The Glenlivet distillery, Tomintoul distillery, Royal Lochnagar distillery, Balmenach distillery and The Speyside distillery. Royal Lochnagar, Dalwhinnie, Cairngorm Brewery and Glenlivet are set up to receive visitors on a regular basis. Tomintoul, Balmenach and Speyside can be visited but require an appointment made in advance.

 

The Highlands is a historical region of Scotland. Culturally, the Highlands and the Lowlands diverged from the Late Middle Ages into the modern period, when Lowland Scots language replaced Scottish Gaelic throughout most of the Lowlands. The term is also used for the area north and west of the Highland Boundary Fault, although the exact boundaries are not clearly defined, particularly to the east. The Great Glen divides the Grampian Mountains to the southeast from the Northwest Highlands. The Scottish Gaelic name of A' Ghàidhealtachd literally means "the place of the Gaels" and traditionally, from a Gaelic-speaking point of view, includes both the Western Isles and the Highlands.

 

The area is very sparsely populated, with many mountain ranges dominating the region, and includes the highest mountain in the British Isles, Ben Nevis. During the 18th and early 19th centuries the population of the Highlands rose to around 300,000, but from c. 1841 and for the next 160 years, the natural increase in population was exceeded by emigration (mostly to Canada, the United States, Australia and New Zealand, and migration to the industrial cities of Scotland and England.) and passim  The area is now one of the most sparsely populated in Europe. At 9.1/km2 (24/sq mi) in 2012, the population density in the Highlands and Islands is less than one seventh of Scotland's as a whole.

 

The Highland Council is the administrative body for much of the Highlands, with its administrative centre at Inverness. However, the Highlands also includes parts of the council areas of Aberdeenshire, Angus, Argyll and Bute, Moray, North Ayrshire, Perth and Kinross, Stirling and West Dunbartonshire.

 

The Scottish Highlands is the only area in the British Isles to have the taiga biome as it features concentrated populations of Scots pine forest: see Caledonian Forest. It is the most mountainous part of the United Kingdom.

 

Between the 15th century and the mid-20th century, the area differed from most of the Lowlands in terms of language. In Scottish Gaelic, the region is known as the Gàidhealtachd, because it was traditionally the Gaelic-speaking part of Scotland, although the language is now largely confined to The Hebrides. The terms are sometimes used interchangeably but have different meanings in their respective languages. Scottish English (in its Highland form) is the predominant language of the area today, though Highland English has been influenced by Gaelic speech to a significant extent. Historically, the "Highland line" distinguished the two Scottish cultures. While the Highland line broadly followed the geography of the Grampians in the south, it continued in the north, cutting off the north-eastern areas, that is Eastern Caithness, Orkney and Shetland, from the more Gaelic Highlands and Hebrides.

 

Historically, the major social unit of the Highlands was the clan. Scottish kings, particularly James VI, saw clans as a challenge to their authority; the Highlands was seen by many as a lawless region. The Scots of the Lowlands viewed the Highlanders as backward and more "Irish". The Highlands were seen as the overspill of Gaelic Ireland. They made this distinction by separating Germanic "Scots" English and the Gaelic by renaming it "Erse" a play on Eire. Following the Union of the Crowns, James VI had the military strength to back up any attempts to impose some control. The result was, in 1609, the Statutes of Iona which started the process of integrating clan leaders into Scottish society. The gradual changes continued into the 19th century, as clan chiefs thought of themselves less as patriarchal leaders of their people and more as commercial landlords. The first effect on the clansmen who were their tenants was the change to rents being payable in money rather than in kind. Later, rents were increased as Highland landowners sought to increase their income. This was followed, mostly in the period 1760–1850, by agricultural improvement that often (particularly in the Western Highlands) involved clearance of the population to make way for large scale sheep farms. Displaced tenants were set up in crofting communities in the process. The crofts were intended not to provide all the needs of their occupiers; they were expected to work in other industries such as kelping and fishing. Crofters came to rely substantially on seasonal migrant work, particularly in the Lowlands. This gave impetus to the learning of English, which was seen by many rural Gaelic speakers to be the essential "language of work".

 

Older historiography attributes the collapse of the clan system to the aftermath of the Jacobite risings. This is now thought less influential by historians. Following the Jacobite rising of 1745 the British government enacted a series of laws to try to suppress the clan system, including bans on the bearing of arms and the wearing of tartan, and limitations on the activities of the Scottish Episcopal Church. Most of this legislation was repealed by the end of the 18th century as the Jacobite threat subsided. There was soon a rehabilitation of Highland culture. Tartan was adopted for Highland regiments in the British Army, which poor Highlanders joined in large numbers in the era of the Revolutionary and Napoleonic Wars (1790–1815). Tartan had largely been abandoned by the ordinary people of the region, but in the 1820s, tartan and the kilt were adopted by members of the social elite, not just in Scotland, but across Europe. The international craze for tartan, and for idealising a romanticised Highlands, was set off by the Ossian cycle, and further popularised by the works of Walter Scott. His "staging" of the visit of King George IV to Scotland in 1822 and the king's wearing of tartan resulted in a massive upsurge in demand for kilts and tartans that could not be met by the Scottish woollen industry. Individual clan tartans were largely designated in this period and they became a major symbol of Scottish identity. This "Highlandism", by which all of Scotland was identified with the culture of the Highlands, was cemented by Queen Victoria's interest in the country, her adoption of Balmoral as a major royal retreat, and her interest in "tartenry".

 

Recurrent famine affected the Highlands for much of its history, with significant instances as late as 1817 in the Eastern Highlands and the early 1850s in the West.  Over the 18th century, the region had developed a trade of black cattle into Lowland markets, and this was balanced by imports of meal into the area. There was a critical reliance on this trade to provide sufficient food, and it is seen as an essential prerequisite for the population growth that started in the 18th century. Most of the Highlands, particularly in the North and West was short of the arable land that was essential for the mixed, run rig based, communal farming that existed before agricultural improvement was introduced into the region.[a] Between the 1760s and the 1830s there was a substantial trade in unlicensed whisky that had been distilled in the Highlands. Lowland distillers (who were not able to avoid the heavy taxation of this product) complained that Highland whisky made up more than half the market. The development of the cattle trade is taken as evidence that the pre-improvement Highlands was not an immutable system, but did exploit the economic opportunities that came its way.  The illicit whisky trade demonstrates the entrepreneurial ability of the peasant classes. 

 

Agricultural improvement reached the Highlands mostly over the period 1760 to 1850. Agricultural advisors, factors, land surveyors and others educated in the thinking of Adam Smith were keen to put into practice the new ideas taught in Scottish universities.  Highland landowners, many of whom were burdened with chronic debts, were generally receptive to the advice they offered and keen to increase the income from their land.  In the East and South the resulting change was similar to that in the Lowlands, with the creation of larger farms with single tenants, enclosure of the old run rig fields, introduction of new crops (such as turnips), land drainage and, as a consequence of all this, eviction, as part of the Highland clearances, of many tenants and cottars. Some of those cleared found employment on the new, larger farms, others moved to the accessible towns of the Lowlands.

 

In the West and North, evicted tenants were usually given tenancies in newly created crofting communities, while their former holdings were converted into large sheep farms. Sheep farmers could pay substantially higher rents than the run rig farmers and were much less prone to falling into arrears. Each croft was limited in size so that the tenants would have to find work elsewhere. The major alternatives were fishing and the kelp industry. Landlords took control of the kelp shores, deducting the wages earned by their tenants from the rent due and retaining the large profits that could be earned at the high prices paid for the processed product during the Napoleonic wars.

 

When the Napoleonic wars finished in 1815, the Highland industries were affected by the return to a peacetime economy. The price of black cattle fell, nearly halving between 1810 and the 1830s. Kelp prices had peaked in 1810, but reduced from £9 a ton in 1823 to £3 13s 4d a ton in 1828. Wool prices were also badly affected.  This worsened the financial problems of debt-encumbered landlords. Then, in 1846, potato blight arrived in the Highlands, wiping out the essential subsistence crop for the overcrowded crofting communities. As the famine struck, the government made clear to landlords that it was their responsibility to provide famine relief for their tenants. The result of the economic downturn had been that a large proportion of Highland estates were sold in the first half of the 19th century. T M Devine points out that in the region most affected by the potato famine, by 1846, 70 per cent of the landowners were new purchasers who had not owned Highland property before 1800. More landlords were obliged to sell due to the cost of famine relief. Those who were protected from the worst of the crisis were those with extensive rental income from sheep farms.  Government loans were made available for drainage works, road building and other improvements and many crofters became temporary migrants – taking work in the Lowlands. When the potato famine ceased in 1856, this established a pattern of more extensive working away from the Highlands.

 

The unequal concentration of land ownership remained an emotional and controversial subject, of enormous importance to the Highland economy, and eventually became a cornerstone of liberal radicalism. The poor crofters were politically powerless, and many of them turned to religion. They embraced the popularly oriented, fervently evangelical Presbyterian revival after 1800. Most joined the breakaway "Free Church" after 1843. This evangelical movement was led by lay preachers who themselves came from the lower strata, and whose preaching was implicitly critical of the established order. The religious change energised the crofters and separated them from the landlords; it helped prepare them for their successful and violent challenge to the landlords in the 1880s through the Highland Land League. Violence erupted, starting on the Isle of Skye, when Highland landlords cleared their lands for sheep and deer parks. It was quietened when the government stepped in, passing the Crofters' Holdings (Scotland) Act, 1886 to reduce rents, guarantee fixity of tenure, and break up large estates to provide crofts for the homeless. This contrasted with the Irish Land War underway at the same time, where the Irish were intensely politicised through roots in Irish nationalism, while political dimensions were limited. In 1885 three Independent Crofter candidates were elected to Parliament, which listened to their pleas. The results included explicit security for the Scottish smallholders in the "crofting counties"; the legal right to bequeath tenancies to descendants; and the creation of a Crofting Commission. The Crofters as a political movement faded away by 1892, and the Liberal Party gained their votes.

 

Today, the Highlands are the largest of Scotland's whisky producing regions; the relevant area runs from Orkney to the Isle of Arran in the south and includes the northern isles and much of Inner and Outer Hebrides, Argyll, Stirlingshire, Arran, as well as sections of Perthshire and Aberdeenshire. (Other sources treat The Islands, except Islay, as a separate whisky producing region.) This massive area has over 30 distilleries, or 47 when the Islands sub-region is included in the count. According to one source, the top five are The Macallan, Glenfiddich, Aberlour, Glenfarclas and Balvenie. While Speyside is geographically within the Highlands, that region is specified as distinct in terms of whisky productions. Speyside single malt whiskies are produced by about 50 distilleries.

 

According to Visit Scotland, Highlands whisky is "fruity, sweet, spicy, malty". Another review states that Northern Highlands single malt is "sweet and full-bodied", the Eastern Highlands and Southern Highlands whiskies tend to be "lighter in texture" while the distilleries in the Western Highlands produce single malts with a "much peatier influence".

 

The Scottish Reformation achieved partial success in the Highlands. Roman Catholicism remained strong in some areas, owing to remote locations and the efforts of Franciscan missionaries from Ireland, who regularly came to celebrate Mass. There remain significant Catholic strongholds within the Highlands and Islands such as Moidart and Morar on the mainland and South Uist and Barra in the southern Outer Hebrides. The remoteness of the region and the lack of a Gaelic-speaking clergy undermined the missionary efforts of the established church. The later 18th century saw somewhat greater success, owing to the efforts of the SSPCK missionaries and to the disruption of traditional society after the Battle of Culloden in 1746. In the 19th century, the evangelical Free Churches, which were more accepting of Gaelic language and culture, grew rapidly, appealing much more strongly than did the established church.

 

For the most part, however, the Highlands are considered predominantly Protestant, belonging to the Church of Scotland. In contrast to the Catholic southern islands, the northern Outer Hebrides islands (Lewis, Harris and North Uist) have an exceptionally high proportion of their population belonging to the Protestant Free Church of Scotland or the Free Presbyterian Church of Scotland. The Outer Hebrides have been described as the last bastion of Calvinism in Britain and the Sabbath remains widely observed. Inverness and the surrounding area has a majority Protestant population, with most locals belonging to either The Kirk or the Free Church of Scotland. The church maintains a noticeable presence within the area, with church attendance notably higher than in other parts of Scotland. Religion continues to play an important role in Highland culture, with Sabbath observance still widely practised, particularly in the Hebrides.

 

In traditional Scottish geography, the Highlands refers to that part of Scotland north-west of the Highland Boundary Fault, which crosses mainland Scotland in a near-straight line from Helensburgh to Stonehaven. However the flat coastal lands that occupy parts of the counties of Nairnshire, Morayshire, Banffshire and Aberdeenshire are often excluded as they do not share the distinctive geographical and cultural features of the rest of the Highlands. The north-east of Caithness, as well as Orkney and Shetland, are also often excluded from the Highlands, although the Hebrides are usually included. The Highland area, as so defined, differed from the Lowlands in language and tradition, having preserved Gaelic speech and customs centuries after the anglicisation of the latter; this led to a growing perception of a divide, with the cultural distinction between Highlander and Lowlander first noted towards the end of the 14th century. In Aberdeenshire, the boundary between the Highlands and the Lowlands is not well defined. There is a stone beside the A93 road near the village of Dinnet on Royal Deeside which states 'You are now in the Highlands', although there are areas of Highland character to the east of this point.

 

A much wider definition of the Highlands is that used by the Scotch whisky industry. Highland single malts are produced at distilleries north of an imaginary line between Dundee and Greenock, thus including all of Aberdeenshire and Angus.

 

Inverness is regarded as the Capital of the Highlands, although less so in the Highland parts of Aberdeenshire, Angus, Perthshire and Stirlingshire which look more to Aberdeen, Dundee, Perth, and Stirling as their commercial centres.

 

The Highland Council area, created as one of the local government regions of Scotland, has been a unitary council area since 1996. The council area excludes a large area of the southern and eastern Highlands, and the Western Isles, but includes Caithness. Highlands is sometimes used, however, as a name for the council area, as in the former Highlands and Islands Fire and Rescue Service. Northern is also used to refer to the area, as in the former Northern Constabulary. These former bodies both covered the Highland council area and the island council areas of Orkney, Shetland and the Western Isles.

 

Much of the Highlands area overlaps the Highlands and Islands area. An electoral region called Highlands and Islands is used in elections to the Scottish Parliament: this area includes Orkney and Shetland, as well as the Highland Council local government area, the Western Isles and most of the Argyll and Bute and Moray local government areas. Highlands and Islands has, however, different meanings in different contexts. It means Highland (the local government area), Orkney, Shetland, and the Western Isles in Highlands and Islands Fire and Rescue Service. Northern, as in Northern Constabulary, refers to the same area as that covered by the fire and rescue service.

 

There have been trackways from the Lowlands to the Highlands since prehistoric times. Many traverse the Mounth, a spur of mountainous land that extends from the higher inland range to the North Sea slightly north of Stonehaven. The most well-known and historically important trackways are the Causey Mounth, Elsick Mounth, Cryne Corse Mounth and Cairnamounth.

 

Although most of the Highlands is geographically on the British mainland, it is somewhat less accessible than the rest of Britain; thus most UK couriers categorise it separately, alongside Northern Ireland, the Isle of Man, and other offshore islands. They thus charge additional fees for delivery to the Highlands, or exclude the area entirely. While the physical remoteness from the largest population centres inevitably leads to higher transit cost, there is confusion and consternation over the scale of the fees charged and the effectiveness of their communication, and the use of the word Mainland in their justification. Since the charges are often based on postcode areas, many far less remote areas, including some which are traditionally considered part of the lowlands, are also subject to these charges. Royal Mail is the only delivery network bound by a Universal Service Obligation to charge a uniform tariff across the UK. This, however, applies only to mail items and not larger packages which are dealt with by its Parcelforce division.

 

The Highlands lie to the north and west of the Highland Boundary Fault, which runs from Arran to Stonehaven. This part of Scotland is largely composed of ancient rocks from the Cambrian and Precambrian periods which were uplifted during the later Caledonian Orogeny. Smaller formations of Lewisian gneiss in the northwest are up to 3 billion years old. The overlying rocks of the Torridon Sandstone form mountains in the Torridon Hills such as Liathach and Beinn Eighe in Wester Ross.

 

These foundations are interspersed with many igneous intrusions of a more recent age, the remnants of which have formed mountain massifs such as the Cairngorms and the Cuillin of Skye. A significant exception to the above are the fossil-bearing beds of Old Red Sandstone found principally along the Moray Firth coast and partially down the Highland Boundary Fault. The Jurassic beds found in isolated locations on Skye and Applecross reflect the complex underlying geology. They are the original source of much North Sea oil. The Great Glen is formed along a transform fault which divides the Grampian Mountains to the southeast from the Northwest Highlands.

 

The entire region was covered by ice sheets during the Pleistocene ice ages, save perhaps for a few nunataks. The complex geomorphology includes incised valleys and lochs carved by the action of mountain streams and ice, and a topography of irregularly distributed mountains whose summits have similar heights above sea-level, but whose bases depend upon the amount of denudation to which the plateau has been subjected in various places.

Climate

 

The region is much warmer than other areas at similar latitudes (such as Kamchatka in Russia, or Labrador in Canada) because of the Gulf Stream making it cool, damp and temperate. The Köppen climate classification is "Cfb" at low altitudes, then becoming "Cfc", "Dfc" and "ET" at higher altitudes.

 

Places of interest

An Teallach

Aonach Mòr (Nevis Range ski centre)

Arrochar Alps

Balmoral Castle

Balquhidder

Battlefield of Culloden

Beinn Alligin

Beinn Eighe

Ben Cruachan hydro-electric power station

Ben Lomond

Ben Macdui (second highest mountain in Scotland and UK)

Ben Nevis (highest mountain in Scotland and UK)

Cairngorms National Park

Cairngorm Ski centre near Aviemore

Cairngorm Mountains

Caledonian Canal

Cape Wrath

Carrick Castle

Castle Stalker

Castle Tioram

Chanonry Point

Conic Hill

Culloden Moor

Dunadd

Duart Castle

Durness

Eilean Donan

Fingal's Cave (Staffa)

Fort George

Glen Coe

Glen Etive

Glen Kinglas

Glen Lyon

Glen Orchy

Glenshee Ski Centre

Glen Shiel

Glen Spean

Glenfinnan (and its railway station and viaduct)

Grampian Mountains

Hebrides

Highland Folk Museum – The first open-air museum in the UK.

Highland Wildlife Park

Inveraray Castle

Inveraray Jail

Inverness Castle

Inverewe Garden

Iona Abbey

Isle of Staffa

Kilchurn Castle

Kilmartin Glen

Liathach

Lecht Ski Centre

Loch Alsh

Loch Ard

Loch Awe

Loch Assynt

Loch Earn

Loch Etive

Loch Fyne

Loch Goil

Loch Katrine

Loch Leven

Loch Linnhe

Loch Lochy

Loch Lomond

Loch Lomond and the Trossachs National Park

Loch Lubnaig

Loch Maree

Loch Morar

Loch Morlich

Loch Ness

Loch Nevis

Loch Rannoch

Loch Tay

Lochranza

Luss

Meall a' Bhuiridh (Glencoe Ski Centre)

Scottish Sea Life Sanctuary at Loch Creran

Rannoch Moor

Red Cuillin

Rest and Be Thankful stretch of A83

River Carron, Wester Ross

River Spey

River Tay

Ross and Cromarty

Smoo Cave

Stob Coire a' Chàirn

Stac Polly

Strathspey Railway

Sutherland

Tor Castle

Torridon Hills

Urquhart Castle

West Highland Line (scenic railway)

West Highland Way (Long-distance footpath)

Wester Ross

No tourists, just local people amazed to see a foreign guy wandering in the streets, and calling you to be on the pictures. Somaliland is far from what you imagine!

Formerly a British colony, Somaliland briefly reached its independence in 1960. It is one of the three Territories, with Puntland and former Italian Somalia that compose the current State of Somalia.

Somaliland proclaimed its independence in 1991, adopting its own currency, a fully independent government, working institutions and police. The authorities organized a referendum in 2001, advocating once again for full independence. However, to date, it is not internationally recognized.

Ethiopian Prime minister Meles Zenawi is the only one to speak about a Somalilander president, recognizing implicitly the existence of an independent State. Indeed the economy of neighboring Ethiopia dramatically depends on Somaliland stability, since the landlocked country’s main trade route passes through the Somalilander port of Berbera… And vice-versa, the economy of Somaliland largely depends on the taxes and duties it charges Ethiopia. Besides that, the principal economic activity of Somaliland is livestock exportation to the Arabian Peninsula. Most people are Sunni Muslims and speak Arabic, as well as some Somali dialect and many of them, English.Lastely, the East African demography being based on clan alliances, it is no surprise that the frontiers drawn by the colonists don’t match the ethnic divisions of territory, leading to open clashes. More broadly, this problem is recurrent across the African continent.

 

© Eric Lafforgue

www.ericlafforgue.com

 

Court of Customs and Patent Appeals Reports (Patent Cases) in a large DC law library.

 

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dcist.com/2012/01/toughest_provisions_of_ethics_bill.php

aprettybook.com/2011/11/30/the-law-in-books/

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www.marilynstowe.co.uk/2012/09/24/for-the-public-good/

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Mirit Ben Nun: Pintar fuera de los cánones

La pintura de Mirit Ben Nun escapa a las definiciones comunes. Por un lado, la observación objetiva la definiría como arte pictórico contemporáneo, creado actualmente por una artista joven y efervescente. Por otro lado, están ausentes en su arte las características "contemporáneas", que reflejan el espíritu de este tiempo y este lugar. Esta es una pintura que "habla" en un idioma extranjero que pertenece, aparentemente, a otro tiempo y a otro lugar; pero al tratar de señalar cuáles son ese tiempo y ese lugar, nos encontramos navegando en las dimensiones de tiempo y espacio, sin encontrar puntos de apoyo referenciales. Las pinturas de Ben Nun se nos brindan con fuerte sensualidad y colorido. Tienen características de inocencia naive y arquetípica que recuerda el arte folclórico; las diferencias de tamaño de las distintas figuras, dentro de un mismo cuadro, no son fieles a la realidad, y las proporciones se presentan como "erróneas", similares a la pintura tribal y aborigen de África, Oceanía y Australia.

 

Las superficies son trabajadas con laboriosidad, y los motivos se multiplican repetitivamente, como en las técnicas del tejido de alfombras. Asimismo, en muchas de sus pinturas pueden encontrarse motivos del Pop-Art occidental, y esta combinación de motivos de magia primitiva con arte moderno occidental cargan la pintura de Ben Nun con una tensión histórica y cultural, entre un "pasado" y un "presente", entre "allá" y "acá". Desde el punto de vista formal, su pintura se divide, por lo general, entre formas esquemáticas y zonas de color, sin pasajes intermedios. Líneas divisorias claras separan los distintos segmentos, y en cada zona se da un suceso distinto, que completa o contraría a su vecino. Así, por ejemplo, formas circulares confrontan con formas geométricas angulosas, o figuras humanas con figuras de fauna y flora. A menudo, la pintura contiene, en sus bordes, un "marco" que une y encierra a todas sus partes, como un ventana dentro de otra ventana. Como resultado, se crea una composición poco usual, que quiebra la consabida fórmula o canon "unidad de tema, forma y color". Esta ruptura de las reglas convencionales fortalece la cualidad de salvajismo "no civiilzado" de estas pinturas.

 

En el centro de la obra de Ben Nun se encuentran la imagen de la mujer y la mutua relación entre los sexos. Las mujeres son presentadas como seductoras, acentuando sus formas redondeadas, con frecuencia en movimientos danzantes. La danza funciona como metáfora de cortejo y seducción; los labios gruesos y rojos, muchas veces en forma de corazón, simbolizan deseo pasional y amor. Cuando parece que la tentación implícita no es suficiente, la imagen femenina es dibujada de frente con las piernas abiertas, en una composición que recuerda la letra W, pero cuando se encuentran juntas la imagen femenina y la masculina, la unificación es completa; los personajes se fusionan el uno con el otro, los perfiles se superponen. Cuando están en posición sentada, la forma de la letra W y la forma de la letra M se intercambian una con otra, con una táctica que acentúa que son opuestos que se complementan.

 

Los protagonistas – mujer y hombre – son acompañados por personajes secundarios: Imágenes simbólicas, principalmente peces, manos (con forma de "Hamsa") y ojos. Estos símbolos son prevalentes en las culturas del Medio Oriente, y representan fertilidad, fortuna y defensa contra el "mal de ojo". Su presencia, al lado de los amantes, sugiere que el tema aquí no trata de una erótica estéril y deseo carnal, sino del amor verdadero, que aspira a vivir bajo un mismo techo, crear una familia, y tener descendencia.

Sobre todo, estas imágenes proporcionan al espectador el punto de apoyo referente deseado, ya que resumen la totalidad de la obra, que a primera vista parecía estar moviéndose entre mundos históricos y culturales diferentes, y la ubica en nuestro lugar, aquí y ahora.

 

Mirit Ben Nun es una flor silvestre que no creció en la avenida principal del arte israelí, sino a ambos lados del camino. Ella tiene su propio camino lateral, desde el cual desafía al mundo del arte institucional establecido. Al igual que Cupido, con una sonrisa pícara ella dispara flechas de amor, y cuando las flechas dan en el blanco, en un transeúnte u otro, el enamoramiento es instantáneo. Sus pinturas están llenas de magia y humor. Su exotismo tiene una atracción inexplicable, tal como el encanto que ejerce el "noble salvaje" sobre las personas de cultura occidental.

Del mar de sonidos que nos envuelven, placenteros en mayor o menor medida, se eleva la voz de Mirit Ben Nun desde las profundidades; una voz pura, enigmática y especial, que vaga por el mundo y reclama su propio lugar: "La flauta eleva su voz. / ¿Cuáles son sus temas? / Canta al amor, al compañerismo y a la amistad. / Canta al bien y a las cosas buenas. / ¿Sobre qué no canta? Canta sobre todo y sobre todos, sobre todo asunto y tema, en toda su totalidad". (Natán Alterman, "Fiesta de verano").

 

Ilan Wizgan

 

Being in time and space is not a notion that can be quantified either

directly of implicitly. An artist’s life and work bears the memory of

the cultural space where he lived. My perspective upon this topic,

being in time and space, by an artistic project, Sacrifice is due to

these traditions, which marked my artistic creativity.

 

This personal approach may constitute an appropriate correlation to the generous syntagm of the Biennale. The presentation of the

topic, now elaborated in a final form, does not have the initial

protean character, but is closer to my sensibility, it is oriented by

the coordinates of my spirituality and it is an anchor to a historic

fact: the beheading of the Romanian Christian ruler Constantin Brancoveanu together with his four sons and his close counselor, in Istanbul, in 1714.

 

The sculptures through which I transmit the message were carefully selected and conceived with elements that enhance the symbolic value of my meanings. I started from six ovoid shapes made of wood, representing the martyrs’ heads, covered with thousands of

glass and metal nails, symbols of their suffering; gold is the only

colour I used, for its symbolic value, with some of the heads. These

heads are laid in polished bronze recipients—with a similar golden

shade,—and the contrast between the glass and the rusty metal

nails enhances the effect, the idea of Sacrifice, interpreted in the

key of a spiritual conversion, as a process of suffering or being.

Lastly, it is about conditio humana, about the relationship between

being (life), passage (death) and becoming. The lack of spirituality

saddens me, in a time dominated by the quantitative and the material, and I try to send a message of spiritual regeneration of the society, invoking my experience that triggered this presentation, which has a symbolic value for me.

 

Formerly a British colony, Somaliland briefly reached its independence in 1960. It is one of the three Territories, with Puntland and former Italian Somalia that compose the current State of Somalia.

Somaliland proclaimed its independence in 1991, adopting its own currency, a fully independent government, working institutions and police. The authorities organized a referendum in 2001, advocating once again for full independence. However, to date, it is not internationally recognized.

Ethiopian Prime minister Meles Zenawi is the only one to speak about a Somalilander president, recognizing implicitly the existence of an independent State. Indeed the economy of neighboring Ethiopia dramatically depends on Somaliland stability, since the landlocked country’s main trade route passes through the Somalilander port of Berbera… And vice-versa, the economy of Somaliland largely depends on the taxes and duties it charges Ethiopia. Besides that, the principal economic activity of Somaliland is livestock exportation to the Arabian Peninsula. Most people are Sunni Muslims and speak Arabic, as well as some Somali dialect and many of them, English.Lastely, the East African demography being based on clan alliances, it is no surprise that the frontiers drawn by the colonists don’t match the ethnic divisions of territory, leading to open clashes. More broadly, this problem is recurrent across the African continent.

 

© Eric Lafforgue

www.ericlafforgue.com

 

This text is spread over three Gobate II images, and is a complement to the 'Peña Hueca' text (see below, for those reading from a computer). The texts look at issues relating to a potential local architectural response to amber deposits. I propose that these early architectures have the potential to be early human examples of building structures outside of functions such as habitat or issues such as ancestors and the dead. They would sit in a chronology aside a second early speciality late Neolithic structure I call the 'Boat Haven' and indeed in keeping, I name this class of Upper Ebro troglodytic structures 'Amber Havens'.

 

A scattered line of sites can be seen from the north east within the Basque region's piedmont, through the amber deposits aside Las Yurdinas 2, the Peñacerrada and other Urizaharra deposits, and down to the feathered edges of the great River Ebro's valley. The distance between Gobate and the Chalcolithic villages associated with the physical extraction of the amber mineral deposits is as low as five straight kilometres. Gobat is at an altitude of 650m and a sharp rise to around 1000m provides a qualitative ridge for the amber deposits to hide behind. Whilst the ridge climbs just 300m, it is steep enough to take the zest from hasty gaits - a natural pause for thought.

 

Along this scattered 'line', and towards its southern end, are the close-by Gobate and La Llana sites in addition to occasional dolmen and necropolis of monolithic sarcophagi in a range of styles including of those witnessed in and around the Gobate and La Llana sites. [I will later argue that these sarcophagi can be reappropriated, and that their origins need to be stretched back in chronology].

 

Carved stone spaces are cleaned and swept and the archaeological record may not be as laminated as it is for non-ritual family fed rock abris. Ploughing has also occurred up to the edges of many sites.

 

This diagonal of artificial caves runs out from the plane of the upper Ebro and is a potential subset of the Upper Ebro group of troglodytic ritual sites. Understanding this subset is a task that will require hypothesis, and the hypothesis I use for Gobate and La Llana is one that develops from ideas I presented for Peña Hueca up on the plateau and equally buffered on the other side of the amber deposits.

 

Before looking at the line of artificial caves and late prehistoric sites, it is important to see that there are striking similarities between the La Llana sites and the potentially slightly older Gobate sites. Each loci may consist of two separated elements, the first element a 'hubub' around at least three different 'warm water forms' and the second, a 'quiet' site with little space for more than a handful of people. For each site, the 'warm water form' clusters are within shouting distance (drum distance) but not within sight (111m and 250m apart respectively). Were it not for the artificial cave under the 'warm water forms' of the 'Gobate I' site, the similar 'footprint' of the adjacent sites would be blatant and indubitable. Accepting that the La Llana sight is slightly younger, It may seem that La Llana was either an improved and newer version of an aged Gobate cluster, or that La Llana was a second example of a function, i.e. there was an activity that required a combination of 'quietness' and 'hubub' that was locally successful, and thus could sustain a second example (a town with one big biscuit factory attracts a second...). For either scenario, it is worth trying to imagine what sort of activity could thrive and sustain over time from a duality between calm and hubub.

 

Exposed rock surfaces melt away with weathering and any forms added by man are today shrunk by the constant tick of ablation's clock. If Gobate was the first version, then its carved 'warm water forms' should be less edgy and worn out, and indeed this is the case.

 

Happenstance can cause the most wonderful links, but here we have two sites between the River Ebro 'highway' and a low mountain zone rich in amber and I think that before the face of happenstance is called upon to reply, an attempt should be made to see how the exact configuration might have helped man key into landscape from an optic of 5000 years before present.

 

'Warm water forms' might be used for many procedures from detanning acorns to softening fibres before weave, and from vegetal dying and cleaning to perfume production. A group of visitors who arrive from the River Ebro highway - keen to trade for stones of amber - might be taken to the 'warm water forms' to relax and chat in friendly states of semi nudity. Each 'warm water form' would have had a deeper shallow pool, and stretching out in a warm 'paddling pool' of perfumed water would occupy, as would plunging into the deeper 'collection pool'. It is safe to say that a visiting trade party from between 12 people and 24 people might here be soothed after days of walking, welcomed by the 'warm water form' facilities of La Llana and Gobate. All tools that might double for weapons have thus been pacified by this memorable moment and even rite. Once an ambience of mutual trust and common heath is assured, then a 'bigman' might ask the visiting group's 'leader/negotiator' to come aside for 'talks' and barters over amber. Walking 1 or 2 hundred metres to the smaller artificial cave, be it La Llana or Gobat I, and the pacified party has been 'diffused' as a potential threat to amber resources via Epicurian pleasure, goodwill and trust. Implicit with this visualisation is the cultural detail that the water in the 'warm water forms' must have been kept to a standard of cleanliness for it to keep its status and allure. If the water is a perfume of, lets imagine, local lavender and rosemary, then giving the water a symbolic status, and asking that people leave for a change of perfumed waters, would be a cultural detail and imply roles for specific individuals. The implication of location specific protocols and roles associated with a category of monument being a potentially interesting aside.

 

Amber as a mineral was highly desired and traded throughout the Neolithic and Chalcolithic. Here our group leader must leave behind his travelling companions - and we will imagine a self contained group with selected people from crofts and villages associated with a far-off valley cluster. Our visiting negotiator is 300m below a protective ridge that hides the actual deposits, and is told that were his group to venture to try to see the actual quarries, the worst would be guaranteed !(and indeed skeletons with arrow damage from the Chalcolithic period have been discovered in this upper amber quarry zone). Here the amber quarries are sites protected by cultural design.

 

Any transformed or raw amber held down in La Llana or Gobat II, on its approximative level with the Ebro plane, is also relatively secure and disassociated from the dynamic potential power of the visiting group. Tucked onto their 'warm water forms' and inside the rare musky fragrances, the rest of the visiting group cannot see the place or even direction of the place of negotiation and exchange. They are in a perfect hubub.

 

One representative man steps inside a small man-made cave on a cusp of a slight ridge, sits down on a stone chair (above left?) in a corner shade, and waits to see the mythical amber stones they have all travelled so far to acquire. The different sizes of stone will be taken to him and an exchange will be negotiated. He is alone fixed to a stone or carved chair, and representatives from the La Llana site or the Gobat site are slipping in and out of the low doorway. Stones of amber appear in hands and leather wraps as if from nowhere.

 

The goods the group carried to be exchanged are with the main party aside the 'warm water forms' - perhaps pots of grain, textiles, early metal tools, bags of nuts, wooden tools and other ways that might help the local region escape some elements of the domesticated Neolithic revolution. The goods are held in the artificial cave of the 'Gobate II' site, or in a temporary building long gone that was central in a waiting space in the 'warm water form' cluster of La Llana.

 

Today the 'warm water forms' of La Llana are disassociated from the La Llana 'amber haven' by a small road. The impact of modern roads on prehistoric landscapes can deeply effect the reading and 'living' of a vista, and I think that hiding roads in tunnels may seem expensive or even destructive, but is a vital way to return man's deeper appreciations to landscape. The La Llana road is quiet with infrequent traffic, and landscaping and ochre coloured surfacing and even a short section of cobble strip may be enough - elsewhere, where traffic noise, colour and pollution is ever present, deeper tunnels must be welcomed and 'pseudo' pseudo-druids challenged.

 

On the above image it is possible to see examples of modern petroglyphs next to a space apt for taking a negotiator to wait between amber stone samples.

 

As with the Gobate I site, the monolithic sarcophagi do not systematically respect E/W orientations common with dolmen openings and early Christian burial.

 

AJM 28.01.21

Mirit Ben Nun: Pintar fuera de los cánones

La pintura de Mirit Ben Nun escapa a las definiciones comunes. Por un lado, la observación objetiva la definiría como arte pictórico contemporáneo, creado actualmente por una artista joven y efervescente. Por otro lado, están ausentes en su arte las características "contemporáneas", que reflejan el espíritu de este tiempo y este lugar. Esta es una pintura que "habla" en un idioma extranjero que pertenece, aparentemente, a otro tiempo y a otro lugar; pero al tratar de señalar cuáles son ese tiempo y ese lugar, nos encontramos navegando en las dimensiones de tiempo y espacio, sin encontrar puntos de apoyo referenciales. Las pinturas de Ben Nun se nos brindan con fuerte sensualidad y colorido. Tienen características de inocencia naive y arquetípica que recuerda el arte folclórico; las diferencias de tamaño de las distintas figuras, dentro de un mismo cuadro, no son fieles a la realidad, y las proporciones se presentan como "erróneas", similares a la pintura tribal y aborigen de África, Oceanía y Australia.

 

Las superficies son trabajadas con laboriosidad, y los motivos se multiplican repetitivamente, como en las técnicas del tejido de alfombras. Asimismo, en muchas de sus pinturas pueden encontrarse motivos del Pop-Art occidental, y esta combinación de motivos de magia primitiva con arte moderno occidental cargan la pintura de Ben Nun con una tensión histórica y cultural, entre un "pasado" y un "presente", entre "allá" y "acá". Desde el punto de vista formal, su pintura se divide, por lo general, entre formas esquemáticas y zonas de color, sin pasajes intermedios. Líneas divisorias claras separan los distintos segmentos, y en cada zona se da un suceso distinto, que completa o contraría a su vecino. Así, por ejemplo, formas circulares confrontan con formas geométricas angulosas, o figuras humanas con figuras de fauna y flora. A menudo, la pintura contiene, en sus bordes, un "marco" que une y encierra a todas sus partes, como un ventana dentro de otra ventana. Como resultado, se crea una composición poco usual, que quiebra la consabida fórmula o canon "unidad de tema, forma y color". Esta ruptura de las reglas convencionales fortalece la cualidad de salvajismo "no civiilzado" de estas pinturas.

 

En el centro de la obra de Ben Nun se encuentran la imagen de la mujer y la mutua relación entre los sexos. Las mujeres son presentadas como seductoras, acentuando sus formas redondeadas, con frecuencia en movimientos danzantes. La danza funciona como metáfora de cortejo y seducción; los labios gruesos y rojos, muchas veces en forma de corazón, simbolizan deseo pasional y amor. Cuando parece que la tentación implícita no es suficiente, la imagen femenina es dibujada de frente con las piernas abiertas, en una composición que recuerda la letra W, pero cuando se encuentran juntas la imagen femenina y la masculina, la unificación es completa; los personajes se fusionan el uno con el otro, los perfiles se superponen. Cuando están en posición sentada, la forma de la letra W y la forma de la letra M se intercambian una con otra, con una táctica que acentúa que son opuestos que se complementan.

 

Los protagonistas – mujer y hombre – son acompañados por personajes secundarios: Imágenes simbólicas, principalmente peces, manos (con forma de "Hamsa") y ojos. Estos símbolos son prevalentes en las culturas del Medio Oriente, y representan fertilidad, fortuna y defensa contra el "mal de ojo". Su presencia, al lado de los amantes, sugiere que el tema aquí no trata de una erótica estéril y deseo carnal, sino del amor verdadero, que aspira a vivir bajo un mismo techo, crear una familia, y tener descendencia.

Sobre todo, estas imágenes proporcionan al espectador el punto de apoyo referente deseado, ya que resumen la totalidad de la obra, que a primera vista parecía estar moviéndose entre mundos históricos y culturales diferentes, y la ubica en nuestro lugar, aquí y ahora.

 

Mirit Ben Nun es una flor silvestre que no creció en la avenida principal del arte israelí, sino a ambos lados del camino. Ella tiene su propio camino lateral, desde el cual desafía al mundo del arte institucional establecido. Al igual que Cupido, con una sonrisa pícara ella dispara flechas de amor, y cuando las flechas dan en el blanco, en un transeúnte u otro, el enamoramiento es instantáneo. Sus pinturas están llenas de magia y humor. Su exotismo tiene una atracción inexplicable, tal como el encanto que ejerce el "noble salvaje" sobre las personas de cultura occidental.

Del mar de sonidos que nos envuelven, placenteros en mayor o menor medida, se eleva la voz de Mirit Ben Nun desde las profundidades; una voz pura, enigmática y especial, que vaga por el mundo y reclama su propio lugar: "La flauta eleva su voz. / ¿Cuáles son sus temas? / Canta al amor, al compañerismo y a la amistad. / Canta al bien y a las cosas buenas. / ¿Sobre qué no canta? Canta sobre todo y sobre todos, sobre todo asunto y tema, en toda su totalidad". (Natán Alterman, "Fiesta de verano").

 

Ilan Wizgan

  

Le Jambon

Oeuvre de Paul Gauguin (1848-1903)

1889

Huile sur toile

The Phillips Collection, Washington,

 

La force de la composition de The Ham dépend d'une tension générée entre la planéité décorative et l'espace implicite. Les courbes répétées de la composition - dans les oignons, les croissants du dessin en forme de chaîne en arrière-plan, le balayage ovale du jambon, le plateau et les pieds ondulants de la table - contrastent avec les rayures verticales alternées de l'arrière-plan... Extrait de la notice

(catalogue de la collection)

The Phillips Collection, Washington,

www.phillipscollection.org/collection/ham

 

Oeuvre présentée dans l'exposition " Les Choses. Une histoire de la Nature morte" au musée du Louvre, Paris

 

Conçue par Laurence Bertrand Dorléac, « Les Choses » est une exposition d’auteur proposant une vision nouvelle d’un genre longtemps considéré comme mineur et dont l’intitulé en français n’est pas sans poser question : la nature morte... Extrait du site de l'exposition

www.louvre.fr/en-ce-moment/expositions/les-choses

 

The conclusion for this series is associated with 7:8

 

The relevance of these diverse images to the potential narrative of the verraco will become apparent...

 

A general recap of the left-hand images.

I put forward the idea for 'Transport Dragons' as a way that helped clans of Homo Sapiens survived difficult conditions from their ages of prehistory, including ice, desert and even stretches of water (when a suitably well stretched frame is inverted). With the 'Transport Dragon', bulk weights of camp equipment (including leather and fur) are held tight using a peg and butterfly-knot based cord-leverage tool (currently uncategorized as 'Perforated baton') which I described in past posts and termed the 'tension lever'. Carried aloft aside the compressed camp goods would be pregnant, injured, young or old members of the clan i.e. the vulnerable and the precious. The 'Transport Dragon' frame offered both a redistribution of weight and a protection from the elements including cold winds, high heat and driving rain. These ideas were posted on Flickr from between February and March 2017.

 

Top left. A model of a horizontal Venus figurine representing a fertile woman carried during a journey on a simple frame. Pre hominid ancestors made and changed nest-like beds and refining those skills to help to keep a clan together when travelling in difficult conditions may have resulted in a simple platform held over the shoulder by four members of the clan - the birth of an idea that could help to define a species.

 

Lower left. I projected that the first real 'Transport Dragon' developed as a refinement and expansion of the basic frame: enlarged for multiple carriers to retain lifestyle essentials whilst protecting carriers from the bleak elements via leather pelts dropped down from a structural frame.

 

At this point it can be seen that a link to the principles of the 'managing the wild hypothesis of veraccos' exists. Long before the age of the verraco, and within the great ice ages, a clan, so visible on a vista as a line shadowed by footprints and smells, can - as a combined 'transport dragon', invert their relationship with predators. The apparent prey can attack, for whilst walking to salmon or reindeer rendezvous, the clan was vulnerable to attack from cave lions, hyenas, sabretooths and more. Sheltered within a transport dragon, the individuals can operate as a guise - a mythical animal attracting predators: looking out in secret, and replying to attack with pre-emptive preparation - in effect the core principles of a verraco. Man's mind grew up with this psychology, and principles could pass via long lost stories, stubborn residual examples, and from the collective consciousness of prehistory.

 

One essential that could also be carried within a 'Transport Dragon' was fire, held within the head of the mythical 'animal' in, for example, a basked weave covered in clay - a figure head quietly smoking, like breath on a cold day, ready to raw in the event of an attack. If attacked, the Transport Dragon could ignite real fire from managed embers, it could also defend as a combined crouch inside the thick leather housing, it could spear through slots, and 'the transport dragon' could also ultimately feed off predators, in between locations, without adding to archaeological settlement records or bone middens (an important detail regarding calculations of population levels). This social mentality of inverting issues of predator and prey may remind us of the "managing the wild theory of verracos" proposed in the adjacent post: 'Concluding prehistory. Function. 7:8'.

 

In another early post of this numbered series; "Concluding prehistory. The 'keys' of reality. 5:8" it was remarked that there seemed to be a potential influence on the verraco craftsmen of armature fed examples (weave and stretch) that may have existed outside of granite. I believe that 'Transport dragons' helped take modern man through extreme conditions, and the age of large predators, with ideas of God then held close with each clans chosen mythical or animal form. Here, God was plural for a real reason and man's sense of a globally important omnipotent 'being' a real world experience. As man removed the large predators, and the climate improved, the justification for this guised method of clan life will have faded, and examples of 'Transport Dragons' must have phase changed into rarer residues for festival and for remaining peripheral key clans: residuals, traders, holders of verbal data and quite literally living gods locked into spiritual pasts and futures. Each of these late transport dragons will have diversified according to the specific clan's idiosyncratic history: some with gargoyle-esque 'dragon heads', some with structures lined with 'ancient' pelts of multiple lion heads, some with just one eye, and others structured as half-man, half-animal: all as mythical creatures - all free to find logic from their rich and elaborated verbal pasts and fantasies. Here, the Sphinx might be understood as a regionally well-known example of an important ornamental manifestation of a late 'Transport Dragon' that was eventually stopped in a landscape and memorised as a mountain in stone. The long front legs simply a reflection of the ornate bars. The bronze age wheel as round as a full stop. By contrast to these fantastic and ornamental manifestations, as the miracle of domestication changed wild beasts into living associates, some late residual 'transport dragons' may have been shaped to elevate and worship these new pastoral real-world visions. Here, new ultra functional/descriptive animal varieties of the late 'Transport dragon' would celebrate the then terribly modern feats of man's very spirit of the time, and with clean lines and true empirical description they would have afforded distance from then more phantasmagorical ancient mythical examples. Sculptural and neo-realist late 'Transport dragons' celebrating the new domesticated 'cows', 'horses', 'pigs' and trained 'bears'. In their active age, there will have been 'Transport dragons' with aurock and bear heads smoking their slow fiery breath, and the then new Neolithic package must have asked for cleaner lines to mark contrast with the new spirit of mankind's domesticated wild. Here 'mythology's' Trojan horse was an ultra large and devious late pastoral transport dragon afforded bronze age wheels, and in the greater post Neolithic countryside, just such a weave and stretch animal was from a theme that was easily seen, and maybe some communities of craftsmen of these stitch-and-frame animals (lifted to float for assembled farming, crafting and trading publics) went on to carve in stone as the iron tools proved their presence and promise?

 

As people moved increasingly into scrublands, maybe the art of drawing-in danger was talked back into focus via stories associated with the last ceremonial 'transport dragons' bridging almost 9000 years with stubborn residuals and occasional local reapplications (strength and variety in meme). Here, the verraco concluded a long line of adaptations and expressions that had carried diversities of modern man past dangers from elements and sheer power, and around the planet earth. The 'conversations' between man and landscape, and man and other strong species moving from respectful out-witting competition, to distanced methodology and written protocols, in effect concluding prehistory.

 

The central image is from the Aboussouan collection, and was originally from Syria circa 4000ybp - so a mid bronze age. The wheel and carts arrived in the bronze age, and this early representation shows a concave lower interior level that makes little sense as a cart, but may retain a memory of the form of a late 'Transport Dragon', with head space and shoulder runs: no different here from the way that first cars 'remembered' earlier carts and carriages.

 

The last image is a verraco from the Medieval centre of Bragança in today's Portugal. It has no pedestal, and early medieval authorities seem to have wanted to put a stop to its sense of movement by skewering it with a definitive pillar. Implicit with the idea of verracos is that man had the strength and will to move them to help him attain protection from the wild. Stopping a verraco from moving was perhaps an attempt to stop their aura and pagan meaning from influencing early medieval rural communities.

 

Today, if we scan modern culture we may notice the scarecrow faintly asking pigeons and crows to go away like fay nemesis dilutions in threadbare. We can also see the pantomime-horse designed to play with an idea of a domesticated animal: to be ritually kicked in its behind for the pleasure of a clapping audience.

 

AJM 24.11.21

   

MADRID RIO

 

Madrid Río es un parque de la ciudad española de Madrid, consistente en una zona peatonal y de recreo construida entre los años 2006 a 2012 en los dos márgenes del río Manzanares, en buena parte sobre el trazado soterrado de la vía de circunvalación M-30,1​ desde el nudo Sur hasta el enlace con la A-5. En 2016, el proyecto se hizo con el galardón Veronica Rudge Green Prize in Urban Design de la Universidad de Harvard por su diseño e impacto social y cultural en la transformación del río

Entre 2003 y 2007 se llevó a cabo la obra de soterramiento del arco oeste de la M-30 en el ámbito del río, obra que hizo posible la eliminación del tráfico en superficie y la consiguiente liberación de más de cincuenta hectáreas de terreno ocupado anteriormente por las calzadas. A esta superficie se sumaron otras casi cien hectáreas correspondientes a los diferentes suelos infrautilizados adyacentes a la autopista.

 

Tras la construcción de los túneles afloró una herida vacía formada por un rosario de espacios desocupados, que atesoraban la potencia latente de convertirse en nexo de unión de un corredor ambiental de casi tres mil hectáreas dentro del término municipal, que se extiende desde El Pardo hasta Getafe y que enlaza importantísimas áreas verdes de la ciudad como la Casa de Campo, el Parque de la Arganzuela o el Parque del Manzanares Sur.

 

Por tanto, los beneficios obtenidos al enterrar la antigua autopista, obviamente, no han quedado reducidos a la mejora de ciertos aspectos de la movilidad urbana, ni siquiera a la rehabilitación local de los barrios, sino que pueden adquirir en un futuro próximo, una dimensión de gran escala que necesariamente deberá repercutir en las relaciones entre la ciudad y el territorio, entendidas en su mayor alcance. La enorme trascendencia para la ciudad de los espacios liberados como consecuencia del soterramiento de la M-30, llevó al Ayuntamiento de Madrid a convocar un Concurso Internacional de Ideas para concebir y proyectar los nuevos espacios libres en el entorno del río. El concurso lo ganó el equipo de arquitectos dirigido por Ginés Garrido y formado por Burgos & Garrido Arquitectos, Porras & La Casta y Rubio & Álvarez-Sala y West8, con la solución para la construcción de un parque urbano de más de ciento veinte hectáreas, que ocupa la superficie liberada por el soterramiento de la autopista. Los inicios del proyecto pasaron por el intento de comprender en su totalidad las cualidades geográficas de la cuenca fluvial. Las características del territorio y la diversidad de sus elementos naturales constituyen un conjunto de claves que han sustentado muchas de las ideas contenidas en el proyecto.

 

Sumariamente, la estrategia del éste se basa en la convicción de que, a través del río es posible conectar la ciudad, expresión máxima de la acción artificial, con los territorios del norte y el sur de Madrid, en los que aún perviven los elementos naturales propios de la cuenca fluvial. El río se convierte en puerta o enlace entre interior urbano y exterior territorial y, a través de sus márgenes, se establece la continuidad y la permeabilidad, hasta hoy aniquiladas por los sucesivos anillos concéntricos, hollados por los cinturones viarios, M-30, M-40, M-45, M-50 …, que fueron el resultado de aplicar a la red circulatoria los modelos de movilidad propios de mediados del siglo XX.

 

El proyecto se ha concebido en sucesivas aproximaciones o escalas a partir de las que se ha aplicado la reflexión sobre el campo de juego, obteniendo respuestas o soluciones diversas, desde el ámbito territorial o estratégico al local o específico.

 

En la escala territorial se han establecido los parámetros de partida para que, en el medio plazo, sea posible la regeneración de las márgenes del río en toda su longitud, como verdaderas áreas de integración entre el paisaje y la actividad humana, bajo un entendimiento contemporáneo capaz de superar el antagonismo implícito en el binomio urbano-rural.

 

En la escala metropolitana, a través del proyecto y de su concepción como gran infraestructura, se lleva a cabo la incorporación del corredor que se extiende sobre los bordes fluviales a su paso por la ciudad como parte del GR 124 (Gran Recorrido de la Red de Senderos Europeos) que ya, en 2011 se podrá transitar en toda su extensión, desde Manzanares el Real hasta Aranjuez.

 

En la escala urbana, el proyecto incorpora el río como doble línea de fachada inédita y configura un conjunto enlazado de espacios verdes que se infiltra en la ciudad; establece en la superficie un nuevo sistema de movilidad y accesibilidad; incrementa la integración y calidad urbana de los barrios limítrofes al río; protege y revaloriza el patrimonio histórico y detecta áreas de oportunidad que, sobre este ámbito de nueva centralidad, serán capaces de generar un cambio potencial del conjunto de la ciudad en el largo plazo.

 

En la escala local, la propuesta se ejecuta como una operación radicalmente artificial, materializada sin embargo con instrumentos eminentemente naturales. No se debe olvidar que se actúa mayoritariamente sobre una infraestructura bajo tierra. El proyecto se implanta sobre un túnel o, más bien, sobre la cubierta de un conjunto complejísimo de instalaciones al servicio del viario enterrado. Un edificio de hormigón de más de seis kilómetros de longitud, con enormes y determinantes servidumbres y con una topografía cuya lógica obedece exclusivamente a la construcción de la infraestructura, que emerge inopinadamente sobre el suelo y con la que ha sido necesario negociar. Sobre esta edificación subterránea, la solución adoptada se ha basado en el uso de la vegetación como principal material de construcción. El proyecto establece como estrategia general la idea de implantar una densa capa vegetal, de carácter casi forestal, allá donde sea posible, es decir, fabricar un paisaje con materia viva, sobre un sustrato subterráneo inerte, modificado y excavado para el automóvil, sobre una construcción que expresa por sí misma el artificio máximo.

 

Las familias, formas y asociaciones de especies vegetales seleccionadas provienen de la extrapolación del estudio de la cuenca del río y su adaptación, en cada caso, al medio urbano específico. La ordenación de los distintos entornos y su caracterización como lugares de uso público se ha producido teniendo en cuenta, por un lado, las funciones requeridas y las necesidades detectadas en cada distrito y por otro, la capacidad de conformar espacios habitables, inherente a los conjuntos organizados de vegetación de distinto porte.

La solución se concreta en tres unidades de paisaje principales. Primero, el Salón de Pinos, o corredor verde que discurre por la margen derecha del río. Es la estructura que permite la continuidad de los recorridos y reacciona en su encuentro con los puentes existentes dando lugar a distintos tipos de jardines de ribera (Jardines bajos de Puente de Segovia, Jardines del Puente de San Isidro, Jardines del Puente de Toledo y Jardines del Puente de Praga). Segundo, el enlace definitivo del centro histórico (representado por la imagen imponente del Palacio Real y la cornisa elevada de la ciudad), con la Casa de Campo, parque de más de mil setecientas hectáreas. En este entorno se incluyen la Avenida de Portugal, la Huerta de la Partida, la Explanada del Rey y los Jardines de la Virgen del Puerto. Tercero, la ancha franja sobre la ribera izquierda donde se sitúa el conjunto del Parque de la Arganzuela que incluye el centro de creación de arte contemporáneo de Matadero, y que representa la mayor superficie de espacio verde unitario de la propuesta.

 

Además de estas tres grandes operaciones paisajísticas coherentes entre sí, el proyecto propone ciento cincuenta intervenciones de diferente carácter, entre las que destaca el sistema puentes que dotan de un inédito grado de permeabilidad al cauce. Se han desarrollado soluciones sobre más de veinte puentes o pasarelas sobre el río, rehabilitando las siete presas, reciclando algunos puentes existentes y creando nuevos pasos, unas veces con un lenguaje silencioso y otras, intencionadamente expresivo. Como en una acción microquirúrgica el proyecto incorpora, eslabón por eslabón, una cadena de fórmulas de integración del río en la ciudad y de la ciudad en el río. Son elementos que garantizarán el contagio de los nuevos valores de las orillas regeneradas sobre los ámbitos y barrios cercanos. Con este efecto de resonancia, se prevé una sucesión de operaciones que aseguren una renovación de gran alcance. Desde ahora y de manera irreversible, se está fraguando una radical metamorfosis, sin precedentes para la ciudad de Madrid.

La superestructura lineal del Salón de Pinos es el elemento que organiza la continuidad de recorridos a lo largo de la ribera derecha del río. Está construida sobre los túneles en su práctica totalidad y tiene un ancho medio de treinta metros. Sobre la losa de hormigón que cubre el paso de los automóviles se han plantado más de 9.000 unidades de diferentes especies de pinos, de diversos tamaños, formas y agrupaciones con un marco de plantación forestal. Los ejemplares han sido seleccionados fundamentalmente en campos en los que hubiese posibilidad de extraer plantas con morfologías naturales (troncos no lineales, troncos dobles, troncos inclinados, etc.) De este modo se obtiene una prolongación controlada de los pinares de la sierra situada al norte de Madrid que parecen extenderse hasta el confín de la ciudad. Estos árboles han sido anclados a la losa de los túneles mediante cables de acero y bridas biodegradables, para potenciar su estabilidad y el crecimiento de sus raíces en horizontal sobre el paquete de tierras disponible. No obstante, este paseo se encuentra frecuentemente con estructuras de gran valor urbano o patrimonial.

 

Dos ejemplos simbólicos de esta intersección son los puentes históricos de Segovia (1582) y de Toledo (1732). En estos enclaves el salón reacciona como espacio de estancia, ampliando sus límites y ofreciendo un diseño específico, con árboles de ribera de hoja caduca y alineaciones de setos y bancos de piedra. Las actividades integradas en el salón se incorporan con un lenguaje coherente con su carácter forestal. Un claro ejemplo de este procedimiento lo forma el conjunto de áreas de juegos infantiles, diseñado específicamente como un sistema completo de formas naturales.

 

Jardines del Puente de Segovia

 

El puente de Segovia está declarado Bien de Interés Cultural. Fue construido a finales del siglo XVI por el arquitecto Juan de Herrera, por encargo de Felipe II. El proyecto de ajardinamiento de su entorno conforma una excepción en el ámbito del Salón de Pinos, constituyendo un ensanchamiento de éste y ofreciendo un modo diferente de aproximación al río. Los jardines se ordenan mediante una serie de líneas de traza orgánica que modelan sucesivas terrazas que descienden hacia el río. Estas líneas están construidas con unas piezas de granito de gran formato que sirven también de bancos. Entre ellos se extiende una superficie de hierba de bajo consumo hídrico arbolada con diferentes especies de árboles frondosos de ribera de la familia de los populus. En las inmediaciones de la fábrica almohadillada del puente se han construido dos estanques de agua limpia sobre los cuales, por un lado alza una fuente monumental de 16 chorros con forma de ciprés y por otro se extiende un pequeño jardín de lirios acuáticos. Los estanques son accesibles mediante unas gradas de piedra que se acercan a ellos hasta sumergirse.

 

Jardines del Puente de Toledo

 

Los jardines del Puente de Toledo constituyen una de las áreas más significativas del Proyecto Madrid Río, ya que se están situados en un enclave de excepcional importancia en el que el Salón de Pinos se encuentra con uno de los puentes monumentales de Madrid, el puente de Toledo, construido entre 1718 y 1732. El proyecto aprovecha dicho monumento en un doble sentido: Por un lado se compone un espacio concebido para ser visto desde lo alto del puente que se convierte así en un mirador privilegiado. De este modo los jardines ofrecen una nueva e inédita panorámica de Madrid ya que sus trazados dibujan un enorme tatuaje que se extiende como una alfombra sobre la superficie, reproduciendo un motivo figurativo vegetal. Por otro lado, los jardines incorporan el Puente de Toledo, que es una estructura barroca diseñada por el arquitecto Pedro de Ribera, como un objeto al que admirar, al que tocar y bajo el que pasar. La disposición de los setos está organizada de modo que conforma una serie de líneas que toman como referencia los jardines barrocos de la época borbónica, aunque están trazadas con un lenguaje contemporáneo. Asimismo en este punto se ha construido un graderío que permite la máxima aproximación a la lámina de agua del río, y la mejor contemplación de los arcos del antiguo puente.

 

Segunda unidad de paisaje: La Escena Monumental

 

La vinculación del centro histórico y el barrio de La Latina con la Casa de Campo ha estado vedada a los peatones de forma secular. El nuevo contacto, que ya es posible por la desaparición de los automóviles bajo tierra, ha sido resuelto con diversas intervenciones que asumen el carácter monumental y panorámico de esta zona, en la que el zócalo elevado del Palacio Real (germen primigenio del nacimiento de la ciudad) contacta con el río. Se han propuesto diferentes soluciones afrontando con extremada atención el contexto en el que se sitúan: La “Explanada del Rey”, explanada abierta pavimentada con un gran patrón figurativo y que sirve de gran atrio ante la Casa de Campo. La huerta de la partida, que es un recinto cerrado en el que se han plantado diferentes retículas de árboles frutales (perales, manzanos, moreras, granados, higueras, nogales, avellanos, etc) acoge un extraordinario mirador de la cornisa. La avenida de Portugal, convertida en un bulevar pavimentado por calceteiros portugueses y poblado por cuatro especies de cerezos (Prunus avium, P. avium ‘Plena’, P.yedoensis y P.padus ‘Watereii’ ) permite la contemplación de una espectacular floración que se alarga más de un mes en primavera. Por último, los jardines de La Virgen del Puerto, en la otra margen del río, estructurados mediante la disposición de parterres orientados según los ejes de los principales acontecimientos urbanos del área: el puente de Segovia, el puente del Rey, la avenida de Portugal y la puerta del Rey que ha sido restaurada y resituada según los datos disponibles en la cartografía histórica de Madrid.

 

Plataforma del Rey

 

En el acceso monumental que enlaza el centro histórico de Madrid con la Casa de Campo, antiguo cazadero real, destaca la Explanada o Plataforma del Rey, que es un espacio abierto de una superficie aproximada de 14.000 m2 y un frente paralelo al río de poco menos de 250 m. El destino de este espacio es el de formar un escenario capaz de acoger diferentes manifestaciones cívicas (conciertos, celebraciones oficiales, actividades culturales, etc.) en un entorno de extraordinaria calidad ambiental, que permite contemplar la Cornisa Histórica de la Ciudad. Este lugar está conectado con el Salón de Pinos y forma parte de él, aunque por exigencias de su uso, sea un área casi desprovista de arbolado. En ella el principal elemento organizador es el pavimento que, de forma muy suave, se adapta a una topografía que integra todas las emergencias de los túneles hasta hacerlas imperceptibles. En este pavimento las pequeñas piezas de granito y basalto forman un patrón que desciende desde la Avenida de Portugal y se esparce sobre la superficie del suelo a una escala en aumento progresivo. Dicho patrón vincula la plataforma con el pavimento proyectado en la avenida. De este modo la Plataforma es un elemento que liga de manera natural importantes piezas del escenario monumental que se produce en este punto, como son el Puente del Rey, la Casa de Campo, la Avenida de Portugal y el Salón de Pinos.

 

Huerta de la Partida

  

Se trata de un espacio recuperado que en las pasadas décadas se dedicó a albergar uno de los principales nudos de la autopista. La propuesta de regeneración de este lugar incluye varias operaciones: En primer lugar la construcción de una tapia, a veces opaca, a veces permeable que constituye un cierre que confiere al recinto el carácter de huerto cerrado. En segundo lugar, el modelado artificial del terreno, regularizando su superficie y tallando un único plano inclinado de suave pendiente que se desliza hacia el río. En tercer lugar la plantación de diferentes agrupaciones de árboles frutales (granados, moreras, manzanos, perales, avellanos, almendros, higueras, olivos y nogales) que se incorporan en el entorno describiendo cuadrantes reticulados con sutiles variaciones de orientación. Por último, se ha proyectado una ría húmeda que describe la trayectoria del Arroyo Meaques, actualmente entubado y oculto. Este proyecto ha sido fruto del estudio minucioso de la historia del lugar, ya que en el pasado, cuando Felipe II adquirió esta finca después de establecer la capitalidad de Madrid, en esta posición se plantaron algunas huertas que producían el alimento necesario para los trabajadores de la Casa de Campo.

 

Tercera unidad de paisaje: La Ribera del Agua. Arganzuela y Matadero

 

En la margen izquierda del cauce la ciudad se separa del río. El ejemplo más importante de la propuesta en esta orilla es el nuevo Parque de la Arganzuela, construido sobre antiguas dehesas de pasto de uso comunal. En este entorno se construyó el Matadero Municipal, notable ejemplo de arquitectura posindustrial de la segunda década del siglo XX. Con el soterramiento de la autopista, Madrid dispone ahora en este punto de 33 hectáreas de espacios libres que forman el mayor parque del proyecto. Éste se ha concebido como un gran espacio en el que el río se ha retirado dejando su huella ancestral. Está organizado con diferentes líneas que se entrecruzan, como surcos por los que pasó el agua, dejando entre sí espacios para distintos usos. Estas líneas, de carácter marcadamente longitudinal, son los caminos de distinta especie que recorren el espacio de norte a sur.

 

Paseo junto al matadero

 

Un camino más plano y ancho (el Camino Rápido), otro más sinuoso y de pendiente variable (el Camino Lento) y una franja empedrada de márgenes frondosos (el Arroyo Seco), que vertebra el centro del parque. La construcción del espacio se plantea como una gran arboleda que contiene varios paisajes, algunos más naturales y otros más construidos, configurados por una variación de especies, alturas, densidades y texturas. De este modo el parque, concebido como un retazo de la cuenca del río, incorpora tres áreas botánicas: bosque mediterráneo, bosque atlántico y fronda de ribera. El carácter de estos paisajes interiores está relacionado con los trazados longitudinales del parque, con árboles que siguen los caminos y las sendas, con sotos y bosques que emergen sobre la topografía. La textura boscosa se intercala con las superficies plantadas de aromáticas entre los caminos y el Arroyo Seco. Siguiendo la orilla izquierda del río, se dispone una franja húmeda y verde, con una pradera de césped que se inclina hacia el agua. Una constelación de fuentes ornamentales y un conjunto de tres láminas elípticas de agua pura introducen este elemento como materia narrativa que relaciona las distintas asociaciones de vegetación. Cada fuente presenta un distinto juego sonoro y visual y se rodea de pequeñas laderas plantadas de frutales que remiten a la imagen de los jardines de las leyendas o del Paraíso. Las líneas entrelazadas que estructuran el parque permiten la formación de recintos en los que se han situado importantes instalaciones para el recreo al servicio de los usuarios de todas las edades. En él se incluye un campo de fútbol , dos pistas de patinaje y tres importantes conjuntos de juegos infantiles. El parque así mismo incorpora el conjunto dedicado a la creación de arte contemporáneo de Matadero, como una gran dotación cultural que vive dentro de él. A través de los caminos se accede a las naves del antiguo complejo, cuya rehabilitación está a punto de finalizar. El diseño de los trazados permite entender la relación entre Matadero y el parque como un continuo entre el río y la ciudad.

 

El sistema de puentes sobre el río

 

La implantación de puentes sobre el Manzanares se lleva a cabo como una estrategia global, es decir, como un conjunto en que cada elemento resuelve problemas puntuales detectados en el entorno próximo, pero también forma parte a su vez de un sistema integral de conectividad transversal de acuerdo con la relación entre la ciudad y el río. Las unidades de este conjunto son de diferente carácter: puentes y presas rehabilitados o reciclados, puentes rodados existentes acondicionados al nuevo sistema de tráfico ciclista y peatonal, puentes singulares que constituyen hitos en el recorrido del río, pasarelas funcionales situadas en los nodos de máximo tránsito transversal y puentes de grandes luces que enlazan los recorridos del parque con los territorios exteriores a la ciudad al norte y al sur, haciendo realidad la principal aspiración territorial del proyecto.

 

Entre los puentes existentes destaca la operación llevada a cabo con las siete presas que han sido convertidas en pasarelas peatonales a través de su restauración integral y la incorporación de un tablero de madera accesible. En segundo lugar dentro de esta serie, se debe destacar el reciclaje del puente rodado de la M-30 que cruzaba el río al sur del Puente de Segovia, reconvertido en un puente peatonal y ciclista que incorpora un talud plantado con pinos. Entre los puentes singulares cabe mencionar el puente con forma de Y construido con cajones de perfiles metálicos, que evoca el lenguaje de los puentes ferroviarios del s. XIX colgados sobre los desfiladeros forestales y los puentes gemelos de hormigón que se dan acceso al complejo Matadero, proyectados como elementos de paso capaces también de configurar un espacio al que se ingresa, como pabellones que gravitan sobre el río, pero que verdaderamente pertenecen al parque.

 

Pasarela de Almuñécar

 

Fabricada de una sola pieza con fibra de carbono, para salvar una luz de algo más de 40 metros. Se sitúa sobre el único tramo del cauce que carece de cajero de hormigón. Su diseño final responde a las capacidades del material con que está fabricada, extremadamente ligero y resistente.

 

Restauración de Presas

 

Las siete presas que regulan el río a su paso de la ciudad han sido restauradas y puestas al servicio del nuevo sistema de pasos transversales. Sus mecanismos y exclusas han sido reparados y se les ha incorporado un tablero accesible de madera y una escala de peces para favorecer la continuidad de la fauna subacuática a lo largo del río.

 

Puente Oblicuo

 

Esta estructura viaria coetánea de la M-30 se ha reciclado para incorporarla al Salón de Pinos como un paso privilegiado a través del cual los peatones, los ciclistas y los árboles pasan de una a otra orilla. La losa aligerada que componía el tablero de hormigón postesado se cortó y apeó reforzándose para soportar las cargas debidas a su nuevo uso.

 

Puente del Principado de Andorra

 

Es uno de los nuevos puentes singulares del proyecto. Está construido por jaulas de perfiles abiertos, de expresividad algo arcaica, que toma como referencia las estructuras ferroviarias sobre los desfiladeros boscosos que se construyeron en Europa y Estados Unidos a finales de siglo XIX. Antes conocido como Puente Y, en julio de 2011 se le cambió de nombre al actual de Principado de Andorra, para agradecer al gobierno de Andorra la construcción del Puente de Madrid en Andorra la Vieja.​ Se escogió este puente para nombrarlo como Principado de Andorra porque representa también la geografía de Andorra: el país pirenaico está formado por dos valles, el del Valira del Norte y el del Valira de Oriente, los cuales confluyen en Escaldes-Engordany y se convierten en uno solo, de nombre Gran Valira. Esta disposición de los valles y sus ríos es similar a una Y.

 

Puentes Cáscara

 

Son dos puentes gemelos construidos con una lámina de 15 cm de hormigón autonivelante que forma una superficie con doble curvatura, de la que cuelga el tablero. Se conciben como dos pabellones a los que acceder para cruzar el río. Su bóveda se ha ornamentado con un mosaico creado por el artista Daniel Canogar.

 

Pasarela de la Princesa

 

El canto necesario para el funcionamiento de la pasarela se incorpora en las barandillas que en realidad conforman una pareja de vigas de alma llena y rigidizadores verticales. El lenguaje de la pasarela es intencionadamente sobrio.

 

'Painting Outside the Box' by Ilan Vizgan

The flute raises it's voice / what is it's story? / is it bad news or good ones or what? / It's about everything and all

A poem by

Nathan Alterman/ summer celebration

 

Mirit Ben-Nun’s paintings escape common description. An objective observation might describe it as contemporary art, though created by an upbeat young female artist, it is far from contemporary. This art possesses no “present day” defining elements.

Mirit's paintings speak in a distant dialect seemingly of another era and location. By trying to pinpoint this time and place, we find ourselves wandering about without a solid grasping point.

Her paintings are laced with a fire-like sensuality and striking colors. The naive and archetypal characteristics remind us of folk art. Reality is lost within the ‘erroneous’ size ratio of the numerous imagery, similarly to tribal and native art in Africa, Oceania and Australia.

The surface is laboriously worked and replicated similarly to rug weaving techniques. Motifs of Western Pop can be found in many of the paintings. This combination of Primeval motifs and Western Modern Art creates cultural and historical tensions between here and there, then and now. Formatively speaking the paintings are schematically divided into colorful segments with no intermediate transitions. Strong and clear boundaries outline the different areas, each is populated with a happening, opposing or complementing the one next to it. In this fashion, for example, round shapes are confronted with geometric ones or human images with those of animals and plants. Often the paintings are outlined with a ‘frame' thereby uniting the parts and creating an enclosure, like a window within a window. As a result, unconventional compositions are created and shatter the conventional formula of the "Uniformity of subject, shape & color". The rule breaking strengthens the untamed quality of these ‘uncivilized’ paintings.

 

In the center of Ben-Nun's paintings stands the image of the woman and the relationship between the sexes. Women are displayed as curvaceous, seductive images often in dancing poses. The dance is used as a metaphor for courting and seduction; the thick red lips, at times heart- shaped, symbolize passion and love. When it seems that the implicit allure isn't sufficient, the female image is portrayed in a frontal wide stance, in a composition that reminds us of the letter W. But when the two images meet, the feminine and the masculine, the unification is complete; melding into each other, the images' side view completely overlaps. When in a seated position the whole shape converts into the letter M emphasizing the complimenting opposites.

The protagonists - women and men - are accompanied by secondary characters; symbolic images of especially fish, hands (the Hamsa) and eyes. Those are prevalent in Middle East cultures and represent fertility, luck and protection from the evil eye. Their presence in the paintings, alongside the lovers, implies that the matter at hand is not barren erotica and carnal passion, but genuine love that yearns for a home, family and the raising of offsprings.

Beyond that, those images provide the observer that needed grasping point, for they corral this artistic creation, that seemed at first glance to fluctuate between other cultures and histories, to bring it back into this place, our own place, the here and now.

 

Mirit Ben-Nun is a wild plant who doesn't grow in the main avenue of the Israeli art but off the main road. She has her own path from which she defies the established Israeli art world. Like a Cupid, she sends her love arrows with a mischievous smile; when they hit a passerby the falling in love is instantaneous. Her paintings are filled with magic and humor. The unfamiliarity characterising them has an inexplicable attraction, similarly to the spell the wild has over the Westerner. In a sea of sounds that wraps around us, more pleasing or less, Ben-Nun‘s pure voice is echoed from the depths riddle- filled and unique, yearning for its own place in the world!

Mirit Ben Nun: Pintar fuera de los cánones

La pintura de Mirit Ben Nun escapa a las definiciones comunes. Por un lado, la observación objetiva la definiría como arte pictórico contemporáneo, creado actualmente por una artista joven y efervescente. Por otro lado, están ausentes en su arte las características "contemporáneas", que reflejan el espíritu de este tiempo y este lugar. Esta es una pintura que "habla" en un idioma extranjero que pertenece, aparentemente, a otro tiempo y a otro lugar; pero al tratar de señalar cuáles son ese tiempo y ese lugar, nos encontramos navegando en las dimensiones de tiempo y espacio, sin encontrar puntos de apoyo referenciales. Las pinturas de Ben Nun se nos brindan con fuerte sensualidad y colorido. Tienen características de inocencia naive y arquetípica que recuerda el arte folclórico; las diferencias de tamaño de las distintas figuras, dentro de un mismo cuadro, no son fieles a la realidad, y las proporciones se presentan como "erróneas", similares a la pintura tribal y aborigen de África, Oceanía y Australia.

 

Las superficies son trabajadas con laboriosidad, y los motivos se multiplican repetitivamente, como en las técnicas del tejido de alfombras. Asimismo, en muchas de sus pinturas pueden encontrarse motivos del Pop-Art occidental, y esta combinación de motivos de magia primitiva con arte moderno occidental cargan la pintura de Ben Nun con una tensión histórica y cultural, entre un "pasado" y un "presente", entre "allá" y "acá". Desde el punto de vista formal, su pintura se divide, por lo general, entre formas esquemáticas y zonas de color, sin pasajes intermedios. Líneas divisorias claras separan los distintos segmentos, y en cada zona se da un suceso distinto, que completa o contraría a su vecino. Así, por ejemplo, formas circulares confrontan con formas geométricas angulosas, o figuras humanas con figuras de fauna y flora. A menudo, la pintura contiene, en sus bordes, un "marco" que une y encierra a todas sus partes, como un ventana dentro de otra ventana. Como resultado, se crea una composición poco usual, que quiebra la consabida fórmula o canon "unidad de tema, forma y color". Esta ruptura de las reglas convencionales fortalece la cualidad de salvajismo "no civiilzado" de estas pinturas.

 

En el centro de la obra de Ben Nun se encuentran la imagen de la mujer y la mutua relación entre los sexos. Las mujeres son presentadas como seductoras, acentuando sus formas redondeadas, con frecuencia en movimientos danzantes. La danza funciona como metáfora de cortejo y seducción; los labios gruesos y rojos, muchas veces en forma de corazón, simbolizan deseo pasional y amor. Cuando parece que la tentación implícita no es suficiente, la imagen femenina es dibujada de frente con las piernas abiertas, en una composición que recuerda la letra W, pero cuando se encuentran juntas la imagen femenina y la masculina, la unificación es completa; los personajes se fusionan el uno con el otro, los perfiles se superponen. Cuando están en posición sentada, la forma de la letra W y la forma de la letra M se intercambian una con otra, con una táctica que acentúa que son opuestos que se complementan.

 

Los protagonistas – mujer y hombre – son acompañados por personajes secundarios: Imágenes simbólicas, principalmente peces, manos (con forma de "Hamsa") y ojos. Estos símbolos son prevalentes en las culturas del Medio Oriente, y representan fertilidad, fortuna y defensa contra el "mal de ojo". Su presencia, al lado de los amantes, sugiere que el tema aquí no trata de una erótica estéril y deseo carnal, sino del amor verdadero, que aspira a vivir bajo un mismo techo, crear una familia, y tener descendencia.

Sobre todo, estas imágenes proporcionan al espectador el punto de apoyo referente deseado, ya que resumen la totalidad de la obra, que a primera vista parecía estar moviéndose entre mundos históricos y culturales diferentes, y la ubica en nuestro lugar, aquí y ahora.

 

Mirit Ben Nun es una flor silvestre que no creció en la avenida principal del arte israelí, sino a ambos lados del camino. Ella tiene su propio camino lateral, desde el cual desafía al mundo del arte institucional establecido. Al igual que Cupido, con una sonrisa pícara ella dispara flechas de amor, y cuando las flechas dan en el blanco, en un transeúnte u otro, el enamoramiento es instantáneo. Sus pinturas están llenas de magia y humor. Su exotismo tiene una atracción inexplicable, tal como el encanto que ejerce el "noble salvaje" sobre las personas de cultura occidental.

Del mar de sonidos que nos envuelven, placenteros en mayor o menor medida, se eleva la voz de Mirit Ben Nun desde las profundidades; una voz pura, enigmática y especial, que vaga por el mundo y reclama su propio lugar: "La flauta eleva su voz. / ¿Cuáles son sus temas? / Canta al amor, al compañerismo y a la amistad. / Canta al bien y a las cosas buenas. / ¿Sobre qué no canta? Canta sobre todo y sobre todos, sobre todo asunto y tema, en toda su totalidad". (Natán Alterman, "Fiesta de verano").

 

Ilan Wizgan

  

En lisière de la forêt d’Halatte, en bordure de la rivière l’Aunette qui sert d’exutoire à la pièce d’eau du parc, la seigneurie d’Ognon relevait de celle de Chantilly. Le château d’Ognon est mentionné pour la première fois en 1382. Les rois de France venus chasser en forêt d’Halatte séjournent au château : Louis xii en 1511, François 1er en 1526.

Le château, reconstruit au xixe, et sa tour féodale, tous deux endommagés pendant la seconde guerre mondiale, ont été détruits en 1957. La ferme possède encore deux tours du xviie

siècle.

Le parc conserve le témoignage des aménagements paysagers, des fabriques et de la statuaire dûs aux campagnes d’embellissement successives.

L’aménagement du parc au xviie siècle

Artus de la Fontaine, seigneur d’Ognon à partir de 1540, fut grand maître des cérémonies sous les règnes d’Henri II à Henri III, puis ambassadeur à Constantinople et Vienne. Des revers de fortune de la famille de la Fontaine décidèrent de la vente du domaine au début du xviie siècle.

A partir de 1610-1620 commen cent les travaux d’embelli ssement du domaine commandé vraissemblablement par le nouveau seigneur d’Ognon, Jean Lescuyer, conseiller d’Etat et doyen de la chambre des comptes.

Un mail relie les parterres du château aux gloriettes. Cette grande allée de 520 m, orientée nord-sud, est plantée de hêtres majestueux. Le mail destiné à la pratique du jeu de Paume, fort prisé au xviie siècle, est bordé de petits murets destinés à empêcher la perte de la boule en bois dans les taillis. Plusieurs statues (Apollon, Minerve, Mars) datées du milieu du xviie siècle l’accompagnent. Les gloriettes, érigées à l’extrémité sud du parc, se composent de deux édicules carrés, voûtés en arc de cloître, amortissant le mur de soutènement de l’allée. Ils dominent un double niveau de terrasses. Sur l’escalier, les statues des vertus sont attribuées à l’atelier Guillaume Berthelot, qui travaillait en 1623 au Palais du Luxembourg, sous la direction de Salomon de Brosse, né au village voisin de Verneuil-en-Halatte.

Les transformations entre 1676 et le milieu du xviiie siècle

En 1676, le domaine est acquis par Maximilien Titon (1631-v.1711), filleul de Sully, directeur général des Manufactures et magasins d’armes royaux de France. Maximilien Titon et ses descendants qui conservèrent Ognon jusqu’à la révolution, agrandirent et réalisèrent les magnifiques embellissements du parc.

L’hypothèse d’une intervention de Le Nôtre, qui oeuvrait à Chantilly entre 1666 et 1684, a été envisagée sans pouvoir être étayée par des documents. Le dessin actuel du parc fut réalisé entre 1676 et 1723, tout comme l’aménagement du miroir d’eau bordé de tilleuls, accompagné de statues des quatre parties du monde et de vases, et de l’embarcadère (entre 1702 et 1723), du bosquet des quatre saisons, des allées du bois, du carrefour de Diane et de la salle de verdure

et des parterres à la française agrémentant la façade orientale du château. Ces parterres seront remplacés au xixe

siècle par des vallonnements puis par de nouveaux parterres (intervention du paysagiste Varé).

Un parc mis en valeur

Au cours du xixe siècle, la propriété va connaître de grands déboisements, puis des dommages pendant la seconde guerre mondiale. Aujourd’hui, les maçonneries du miroir d’eau ont été refaites. Le lac, existant au xviie siècle, a été restauré (2004). Trois arboretum ont été créés à la place d’anciennes peupleraies. La percée vers Senlis mentionnée dans le rapport d’origine n’existe plus. Certains éléments de sculptures ont été victimes des intempéries ou de vol. Néanmoins, le parc est aujourd’hui bien entretenu et la volonté de préserver les grands tracés et la statuaire est

manifeste.

La partie ouest du site inscrit d’origine du château et du parc d’Ognon est désormais inclus dans le site classé de la forêt d’Halatte, l’arrêté de site classé abroge implicitement la partie du site inscrit concerné.

(FR) Pour faire suite à la judicieuse remarque de ar3ku, je propose la même image avec un crop à 6x24. La version initialement proposée est à un crop de 6x12.

 

C'est vrai, que cet espace du champ de cannes coupées n'apportait aucun intérêt à l'image. Ceci dit, le ciel n'est pas non plus des plus intéressant. Du coup il fallait choisir ( Ah les compromis en photographie.... ). Ainsi, j'ai entièrement enlevé tout le premier plan disgracieux pour laisser plus de place au ciel. Dès lors, on n'a pas cette impression de compression sur les pitons et remparts qu'apporterait implicitement le format 6x24... Mais je peux me tromper totalement sur mes choix en ce qui concerne le recadrage avec tout ce que cela implique..

 

Bonne soirée, un merci particulier pour ar3ku et son com des plus constructifs, et à vous tous, merci pour votre passage.

 

(En) In response to the judicious remark ar3ku, I propose the same image with a 6x24 frame. The originally is with a 6x12 frame.

 

It's true, that the area of the sugar cane cut provided no interest in the image. That said, the sky is not very interesting too . So I must do to choose between those ( always the tradeoffs in photography ....). So, I completely removed all the unwanted first plan to leave more space for the sky. Therefore, we do not feel this compression on peaks and ramparts that 6x24 frame give implicitly ... But I can deceived.

 

Good evening and thanks a lot to ar3ku for his nice commments and for all of you thank you for your visiting.

Painting Outside the Box' by Ilan Vizgan

 

The flute raises it's voice / what is it's story? / is it bad news or good ones or what? / It's about everything and all A poem by Nathan Alterman/ summer celebration

 

Mirit Ben-Nun’s paintings escape common description. An objective observation might describe it as contemporary art, though created by an upbeat young female artist, it is far from contemporary. This art possesses no “present day” defining elements. Mirit's paintings speak in a distant dialect seemingly of another era and location. By trying to pinpoint this time and place, we find ourselves wandering about without a solid grasping point. Her paintings are laced with a fire-like sensuality and striking colors. The naive and archetypal characteristics remind us of folk art. Reality is lost within the ‘erroneous’ size ratio of the numerous imagery, similarly to tribal and native art in Africa, Oceania and Australia. The surface is laboriously worked and replicated similarly to rug weaving techniques. Motifs of Western Pop can be found in many of the paintings. This combination of Primeval motifs and Western Modern Art creates cultural and historical tensions between here and there, then and now. Formatively speaking the paintings are schematically divided into colorful segments with no intermediate transitions. Strong and clear boundaries outline the different areas, each is populated with a happening, opposing or complementing the one next to it. In this fashion, for example, round shapes are confronted with geometric ones or human images with those of animals and plants. Often the paintings are outlined with a ‘frame' thereby uniting the parts and creating an enclosure, like a window within a window. As a result, unconventional compositions are created and shatter the conventional formula of the "Uniformity of subject, shape & color". The rule breaking strengthens the untamed quality of these ‘uncivilized’ paintings.

 

In the center of Ben-Nun's paintings stands the image of the woman and the relationship between the sexes. Women are displayed as curvaceous, seductive images often in dancing poses. The dance is used as a metaphor for courting and seduction; the thick red lips, at times heart- shaped, symbolize passion and love. When it seems that the implicit allure isn't sufficient, the female image is portrayed in a frontal wide stance, in a composition that reminds us of the letter W. But when the two images meet, the feminine and the masculine, the unification is complete; melding into each other, the images' side view completely overlaps. When in a seated position the whole shape converts into the letter M emphasizing the complimenting opposites. The protagonists - women and men - are accompanied by secondary characters; symbolic images of especially fish, hands (the Hamsa) and eyes. Those are prevalent in Middle East cultures and represent fertility, luck and protection from the evil eye. Their presence in the paintings, alongside the lovers, implies that the matter at hand is not barren erotica and carnal passion, but genuine love that yearns for a home, family and the raising of offsprings.

Painting Outside the Box' by Ilan Vizgan

 

The flute raises it's voice / what is it's story? / is it bad news or good ones or what? / It's about everything and all A poem by Nathan Alterman/ summer celebration

 

Mirit Ben-Nun’s paintings escape common description. An objective observation might describe it as contemporary art, though created by an upbeat young female artist, it is far from contemporary. This art possesses no “present day” defining elements. Mirit's paintings speak in a distant dialect seemingly of another era and location. By trying to pinpoint this time and place, we find ourselves wandering about without a solid grasping point. Her paintings are laced with a fire-like sensuality and striking colors. The naive and archetypal characteristics remind us of folk art. Reality is lost within the ‘erroneous’ size ratio of the numerous imagery, similarly to tribal and native art in Africa, Oceania and Australia. The surface is laboriously worked and replicated similarly to rug weaving techniques. Motifs of Western Pop can be found in many of the paintings. This combination of Primeval motifs and Western Modern Art creates cultural and historical tensions between here and there, then and now. Formatively speaking the paintings are schematically divided into colorful segments with no intermediate transitions. Strong and clear boundaries outline the different areas, each is populated with a happening, opposing or complementing the one next to it. In this fashion, for example, round shapes are confronted with geometric ones or human images with those of animals and plants. Often the paintings are outlined with a ‘frame' thereby uniting the parts and creating an enclosure, like a window within a window. As a result, unconventional compositions are created and shatter the conventional formula of the "Uniformity of subject, shape & color". The rule breaking strengthens the untamed quality of these ‘uncivilized’ paintings.

 

In the center of Ben-Nun's paintings stands the image of the woman and the relationship between the sexes. Women are displayed as curvaceous, seductive images often in dancing poses. The dance is used as a metaphor for courting and seduction; the thick red lips, at times heart- shaped, symbolize passion and love. When it seems that the implicit allure isn't sufficient, the female image is portrayed in a frontal wide stance, in a composition that reminds us of the letter W. But when the two images meet, the feminine and the masculine, the unification is complete; melding into each other, the images' side view completely overlaps. When in a seated position the whole shape converts into the letter M emphasizing the complimenting opposites. The protagonists - women and men - are accompanied by secondary characters; symbolic images of especially fish, hands (the Hamsa) and eyes. Those are prevalent in Middle East cultures and represent fertility, luck and protection from the evil eye. Their presence in the paintings, alongside the lovers, implies that the matter at hand is not barren erotica and carnal passion, but genuine love that yearns for a home, family and the raising of offsprings.

A Stolperstein is a ten-centimetre (3.9 in) concrete cube bearing a brass plate inscribed with the name and life dates of victims of Nazi extermination or persecution. Literally, it means 'stumbling stone' and metaphorically 'stumbling block'.

 

The Stolpersteine project, initiated by the German artist Gunter Demnig in 1992, aims to commemorate individuals at exactly the last place of residency or work before they fell victim to Nazi terror, forced euthanasia, eugenics, deportation to a concentration or extermination camp, or escaped persecution by emigration or suicide. As of June 2023, 100,000 Stolpersteine have been laid, making the Stolpersteine project the world's largest decentralized memorial.

 

Stolpersteine are placed right into the pavement. When Jewish cemeteries were destroyed throughout Nazi Germany, the gravestones were often repurposed as sidewalk paving stones. The desecration of the memory of the dead was implicitly intended, as people had to walk on the gravestones and tread on the inscriptions. The Stolpersteine provocatively hint at this act of desecration, as they lack any kind of defense against new acts of shame. While the art project thus intends to keep alive the memory, implying that improper acts could easily happen again, the intentional lack of defense against potential desecration also created criticism and concern. Some German cities like Munich still do not accept the setting of Stolpersteine, and look for alternative ways of commemoration instead.

 

wikipedia

Buddy was adopted from a shelter in Los Angeles, California by my daughter. He lives with her in Hollywood.....I'm the grandfather!

 

A Faithful Dog Will Play With You

 

And Laugh With You -Or Cry-

 

He'll Gladly Starve To Stay With You

 

Nor Ever Reason Why,

 

And When You're Feeling Out Of Sorts

 

Somehow He'll Understand

 

He'll Watch You With His Shining Eyes

 

And Try To Lick Your Hand.

 

His Blind, Implicit Faith In You

 

Is Matched By His Great Love -

 

The Kind That All Of Us Should Have

 

In The Master, Up Above.

 

When Everything Is Said And Done

 

I Guess This Isn't Odd

 

For When You Spell "Dog" Backwards

 

You Get The Name Of God. (author unknown)

# # #

Buddy went back to California today.....t'was heaven when he was here.

    

As 6000 somalis shillings = 1 dollar, and the biggest note is 500, you spend hours to count, and recount when you pay! The best option id to give the shillings to the shoppers, as they do it like in a casino!! Most of the time, they give you back some notes with a smile, saying that you do not how to count!

Formerly a British colony, Somaliland briefly reached its independence in 1960. It is one of the three Territories, with Puntland and former Italian Somalia that compose the current State of Somalia.

Somaliland proclaimed its independence in 1991, adopting its own currency, a fully independent government, working institutions and police. The authorities organized a referendum in 2001, advocating once again for full independence. However, to date, it is not internationally recognized.

Ethiopian Prime minister Meles Zenawi is the only one to speak about a Somalilander president, recognizing implicitly the existence of an independent State. Indeed the economy of neighboring Ethiopia dramatically depends on Somaliland stability, since the landlocked country’s main trade route passes through the Somalilander port of Berbera… And vice-versa, the economy of Somaliland largely depends on the taxes and duties it charges Ethiopia. Besides that, the principal economic activity of Somaliland is livestock exportation to the Arabian Peninsula. Most people are Sunni Muslims and speak Arabic, as well as some Somali dialect and many of them, English.Lastely, the East African demography being based on clan alliances, it is no surprise that the frontiers drawn by the colonists don’t match the ethnic divisions of territory, leading to open clashes. More broadly, this problem is recurrent across the African continent.

 

© Eric Lafforgue

www.ericlafforgue.com

 

1. The Mind-Body Problem and the History of Dualism

1.1 The Mind-Body Problem

The mind-body problem is the problem: what is the relationship between mind and body? Or alternatively: what is the relationship between mental properties and physical properties?

Humans have (or seem to have) both physical properties and mental properties. People have (or seem to have)the sort of properties attributed in the physical sciences. These physical properties include size, weight, shape, colour, motion through space and time, etc. But they also have (or seem to have) mental properties, which we do not attribute to typical physical objects These properties involve consciousness (including perceptual experience, emotional experience, and much else), intentionality (including beliefs, desires, and much else), and they are possessed by a subject or a self. Physical properties are public, in the sense that they are, in principle, equally observable by anyone. Some physical properties – like those of an electron – are not directly observable at all, but they are equally available to all, to the same degree, with scientific equipment and techniques. The same is not true of mental properties. I may be able to tell that you are in pain by your behaviour, but only you can feel it directly. Similarly, you just know how something looks to you, and I can only surmise. Conscious mental events are private to the subject, who has a privileged access to them of a kind no-one has to the physical. The mind-body problem concerns the relationship between these two sets of properties. The mind-body problem breaks down into a number of components. The ontological question: what are mental states and what are physical states? Is one class a subclass of the other, so that all mental states are physical, or vice versa? Or are mental states and physical states entirely distinct?

The causal question: do physical states influence mental states? Do mental states influence physical states? If so, how?

Different aspects of the mind-body problem arise for different aspects of the mental, such as consciousness, intentionality, the self. The problem of consciousness: what is consciousness? How is it related to the brain and the body? The problem of intentionality: what is intentionality? How is it related to the brain and the body? The problem of the self: what is the self? How is it related to the brain and the body? Other aspects of the mind-body problem arise for aspects of the physical. For example:

 

The problem of embodiment: what is it for the mind to be housed in a body? What is it for a body to belong to a particular subject?

The seemingly intractable nature of these problems have given rise to many different philosophical views.

 

Materialist views say that, despite appearances to the contrary, mental states are just physical states. Behaviourism, functionalism, mind-brain identity theory and the computational theory of mind are examples of how materialists attempt to explain how this can be so. The most common factor in such theories is the attempt to explicate the nature of mind and consciousness in terms of their ability to directly or indirectly modify behaviour, but there are versions of materialism that try to tie the mental to the physical without explicitly explaining the mental in terms of its behaviour-modifying role. The latter are often grouped together under the label ‘non-reductive physicalism’, though this label is itself rendered elusive because of the controversial nature of the term ‘reduction’.

 

Idealist views say that physical states are really mental. This is because the physical world is an empirical world and, as such, it is the intersubjective product of our collective experience.

 

Dualist views (the subject of this entry) say that the mental and the physical are both real and neither can be assimilated to the other. For the various forms that dualism can take and the associated problems, see below.

 

In sum, we can say that there is a mind-body problem because both consciousness and thought, broadly construed, seem very different from anything physical and there is no convincing consensus on how to build a satisfactorily unified picture of creatures possessed of both a mind and a body.

 

Other entries which concern aspects of the mind-body problem include (among many others): behaviorism, consciousness, eliminative materialism, epiphenomenalism, functionalism, identity theory, intentionality, mental causation, neutral monism, and physicalism.

 

1.2 History of dualism

In dualism, ‘mind’ is contrasted with ‘body’, but at different times, different aspects of the mind have been the centre of attention. In the classical and mediaeval periods, it was the intellect that was thought to be most obviously resistant to a materialistic account: from Descartes on, the main stumbling block to materialist monism was supposed to be ‘consciousness’, of which phenomenal consciousness or sensation came to be considered as the paradigm instance.

 

The classical emphasis originates in Plato’s Phaedo. Plato believed that the true substances are not physical bodies, which are ephemeral, but the eternal Forms of which bodies are imperfect copies. These Forms not only make the world possible, they also make it intelligible, because they perform the role of universals, or what Frege called ‘concepts’. It is their connection with intelligibility that is relevant to the philosophy of mind. Because Forms are the grounds of intelligibility, they are what the intellect must grasp in the process of understanding. In Phaedo Plato presents a variety of arguments for the immortality of the soul, but the one that is relevant for our purposes is that the intellect is immaterial because Forms are immaterial and intellect must have an affinity with the Forms it apprehends (78b4–84b8). This affinity is so strong that the soul strives to leave the body in which it is imprisoned and to dwell in the realm of Forms. It may take many reincarnations before this is achieved. Plato’s dualism is not, therefore, simply a doctrine in the philosophy of mind, but an integral part of his whole metaphysics.

 

One problem with Plato’s dualism was that, though he speaks of the soul as imprisoned in the body, there is no clear account of what binds a particular soul to a particular body. Their difference in nature makes the union a mystery.

 

Aristotle did not believe in Platonic Forms, existing independently of their instances. Aristotelian forms (the capital ‘F’ has disappeared with their standing as autonomous entities) are the natures and properties of things and exist embodied in those things. This enabled Aristotle to explain the union of body and soul by saying that the soul is the form of the body. This means that a particular person’s soul is no more than his nature as a human being. Because this seems to make the soul into a property of the body, it led many interpreters, both ancient and modern, to interpret his theory as materialistic. The interpretation of Aristotle’s philosophy of mind – and, indeed, of his whole doctrine of form – remains as live an issue today as it was immediately after his death (Robinson 1983 and 1991; Nussbaum 1984; Rorty and Nussbaum, eds, 1992). Nevertheless, the text makes it clear that Aristotle believed that the intellect, though part of the soul, differs from other faculties in not having a bodily organ. His argument for this constitutes a more tightly argued case than Plato’s for the immateriality of thought and, hence, for a kind of dualism. He argued that the intellect must be immaterial because if it were material it could not receive all forms. Just as the eye, because of its particular physical nature, is sensitive to light but not to sound, and the ear to sound and not to light, so, if the intellect were in a physical organ it could be sensitive only to a restricted range of physical things; but this is not the case, for we can think about any kind of material object (De Anima III,4; 429a10–b9). As it does not have a material organ, its activity must be essentially immaterial.

 

It is common for modern Aristotelians, who otherwise have a high view of Aristotle’s relevance to modern philosophy, to treat this argument as being of purely historical interest, and not essential to Aristotle’s system as a whole. They emphasize that he was not a ‘Cartesian’ dualist, because the intellect is an aspect of the soul and the soul is the form of the body, not a separate substance. Kenny (1989) argues that Aristotle’s theory of mind as form gives him an account similar to Ryle (1949), for it makes the soul equivalent to the dispositions possessed by a living body. This ‘anti-Cartesian’ approach to Aristotle arguably ignores the fact that, for Aristotle, the form is the substance.

 

These issues might seem to be of purely historical interest. But we shall see in below, in section 4.5, that this is not so.

 

The identification of form and substance is a feature of Aristotle’s system that Aquinas effectively exploits in this context, identifying soul, intellect and form, and treating them as a substance. (See, for example, Aquinas (1912), Part I, questions 75 and 76.) But though the form (and, hence, the intellect with which it is identical) are the substance of the human person, they are not the person itself. Aquinas says that when one addresses prayers to a saint – other than the Blessed Virgin Mary, who is believed to retain her body in heaven and is, therefore, always a complete person – one should say, not, for example, ‘Saint Peter pray for us’, but ‘soul of Saint Peter pray for us’. The soul, though an immaterial substance, is the person only when united with its body. Without the body, those aspects of its personal memory that depend on images (which are held to be corporeal) will be lost.(See Aquinas (1912), Part I, question 89.)

 

The more modern versions of dualism have their origin in Descartes’ Meditations, and in the debate that was consequent upon Descartes’ theory. Descartes was a substance dualist. He believed that there were two kinds of substance: matter, of which the essential property is that it is spatially extended; and mind, of which the essential property is that it thinks. Descartes’ conception of the relation between mind and body was quite different from that held in the Aristotelian tradition. For Aristotle, there is no exact science of matter. How matter behaves is essentially affected by the form that is in it. You cannot combine just any matter with any form – you cannot make a knife out of butter, nor a human being out of paper – so the nature of the matter is a necessary condition for the nature of the substance. But the nature of the substance does not follow from the nature of its matter alone: there is no ‘bottom up’ account of substances. Matter is a determinable made determinate by form. This was how Aristotle thought that he was able to explain the connection of soul to body: a particular soul exists as the organizing principle in a particular parcel of matter.

 

The belief in the relative indeterminacy of matter is one reason for Aristotle’s rejection of atomism. If matter is atomic, then it is already a collection of determinate objects in its own right, and it becomes natural to regard the properties of macroscopic substances as mere summations of the natures of the atoms.

 

Although, unlike most of his fashionable contemporaries and immediate successors, Descartes was not an atomist, he was, like the others, a mechanist about the properties of matter. Bodies are machines that work according to their own laws. Except where there are minds interfering with it, matter proceeds deterministically, in its own right. Where there are minds requiring to influence bodies, they must work by ‘pulling levers’ in a piece of machinery that already has its own laws of operation. This raises the question of where those ‘levers’ are in the body. Descartes opted for the pineal gland, mainly because it is not duplicated on both sides of the brain, so it is a candidate for having a unique, unifying function.

 

The main uncertainty that faced Descartes and his contemporaries, however, was not where interaction took place, but how two things so different as thought and extension could interact at all. This would be particularly mysterious if one had an impact view of causal interaction, as would anyone influenced by atomism, for whom the paradigm of causation is like two billiard balls cannoning off one another.

 

Various of Descartes’ disciples, such as Arnold Geulincx and Nicholas Malebranche, concluded that all mind-body interactions required the direct intervention of God. The appropriate states of mind and body were only the occasions for such intervention, not real causes. Now it would be convenient to think that occasionalists held that all causation was natural except for that between mind and body. In fact they generalized their conclusion and treated all causation as directly dependent on God. Why this was so, we cannot discuss here.

 

Descartes’ conception of a dualism of substances came under attack from the more radical empiricists, who found it difficult to attach sense to the concept of substance at all. Locke, as a moderate empiricist, accepted that there were both material and immaterial substances. Berkeley famously rejected material substance, because he rejected all existence outside the mind. In his early Notebooks, he toyed with the idea of rejecting immaterial substance, because we could have no idea of it, and reducing the self to a collection of the ‘ideas’ that constituted its contents. Finally, he decided that the self, conceived as something over and above the ideas of which it was aware, was essential for an adequate understanding of the human person. Although the self and its acts are not presented to consciousness as objects of awareness, we are obliquely aware of them simply by dint of being active subjects. Hume rejected such claims, and proclaimed the self to be nothing more than a concatenation of its ephemeral contents.

 

In fact, Hume criticised the whole conception of substance for lacking in empirical content: when you search for the owner of the properties that make up a substance, you find nothing but further properties. Consequently, the mind is, he claimed, nothing but a ‘bundle’ or ‘heap’ of impressions and ideas – that is, of particular mental states or events, without an owner. This position has been labelled bundle dualism, and it is a special case of a general bundle theory of substance, according to which objects in general are just organised collections of properties. The problem for the Humean is to explain what binds the elements in the bundle together. This is an issue for any kind of substance, but for material bodies the solution seems fairly straightforward: the unity of a physical bundle is constituted by some form of causal interaction between the elements in the bundle. For the mind, mere causal connection is not enough; some further relation of co-consciousness is required. We shall see in 5.2.1 that it is problematic whether one can treat such a relation as more primitive than the notion of belonging to a subject.

 

One should note the following about Hume’s theory. His bundle theory is a theory about the nature of the unity of the mind. As a theory about this unity, it is not necessarily dualist. Parfit (1970, 1984) and Shoemaker (1984, ch. 2), for example, accept it as physicalists. In general, physicalists will accept it unless they wish to ascribe the unity to the brain or the organism as a whole. Before the bundle theory can be dualist one must accept property dualism, for more about which, see the next section.

 

A crisis in the history of dualism came, however, with the growing popularity of mechanism in science in the nineteenth century. According to the mechanist, the world is, as it would now be expressed, ‘closed under physics’. This means that everything that happens follows from and is in accord with the laws of physics. There is, therefore, no scope for interference in the physical world by the mind in the way that interactionism seems to require. According to the mechanist, the conscious mind is an epiphenomenon (a notion given general currency by T. H. Huxley 1893): that is, it is a by-product of the physical system which has no influence back on it. In this way, the facts of consciousness are acknowledged but the integrity of physical science is preserved. However, many philosophers found it implausible to claim such things as the following; the pain that I have when you hit me, the visual sensations I have when I see the ferocious lion bearing down on me or the conscious sense of understanding I have when I hear your argument – all have nothing directly to do with the way I respond. It is very largely due to the need to avoid this counterintuitiveness that we owe the concern of twentieth century philosophy to devise a plausible form of materialist monism. But, although dualism has been out of fashion in psychology since the advent of behaviourism (Watson 1913) and in philosophy since Ryle (1949), the argument is by no means over. Some distinguished neurologists, such as Sherrington (1940) and Eccles (Popper and Eccles 1977) have continued to defend dualism as the only theory that can preserve the data of consciousness. Amongst mainstream philosophers, discontent with physicalism led to a modest revival of property dualism in the last decade of the twentieth century. At least some of the reasons for this should become clear below.

 

2. Varieties of Dualism: Ontology

There are various ways of dividing up kinds of dualism. One natural way is in terms of what sorts of things one chooses to be dualistic about. The most common categories lighted upon for these purposes are substance and property, giving one substance dualism and property dualism. There is, however, an important third category, namely predicate dualism. As this last is the weakest theory, in the sense that it claims least, I shall begin by characterizing it.

 

2.1 Predicate dualism

Predicate dualism is the theory that psychological or mentalistic predicates are (a) essential for a full description of the world and (b) are not reducible to physicalistic predicates. For a mental predicate to be reducible, there would be bridging laws connecting types of psychological states to types of physical ones in such a way that the use of the mental predicate carried no information that could not be expressed without it. An example of what we believe to be a true type reduction outside psychology is the case of water, where water is always H2O: something is water if and only if it is H2O. If one were to replace the word ‘water’ by ‘H2O’, it is plausible to say that one could convey all the same information. But the terms in many of the special sciences (that is, any science except physics itself) are not reducible in this way. Not every hurricane or every infectious disease, let alone every devaluation of the currency or every coup d’etat has the same constitutive structure. These states are defined more by what they do than by their composition or structure. Their names are classified as functional terms rather than natural kind terms. It goes with this that such kinds of state are multiply realizable; that is, they may be constituted by different kinds of physical structures under different circumstances. Because of this, unlike in the case of water and H2O, one could not replace these terms by some more basic physical description and still convey the same information. There is no particular description, using the language of physics or chemistry, that would do the work of the word ‘hurricane’, in the way that ‘H2O’ would do the work of ‘water’. It is widely agreed that many, if not all, psychological states are similarly irreducible, and so psychological predicates are not reducible to physical descriptions and one has predicate dualism. (The classic source for irreducibility in the special sciences in general is Fodor (1974), and for irreducibility in the philosophy of mind, Davidson (1971).)

 

2.2 Property Dualism

Whereas predicate dualism says that there are two essentially different kinds of predicates in our language, property dualism says that there are two essentially different kinds of property out in the world. Property dualism can be seen as a step stronger than predicate dualism. Although the predicate ‘hurricane’ is not equivalent to any single description using the language of physics, we believe that each individual hurricane is nothing but a collection of physical atoms behaving in a certain way: one need have no more than the physical atoms, with their normal physical properties, following normal physical laws, for there to be a hurricane. One might say that we need more than the language of physics to describe and explain the weather, but we do not need more than its ontology. There is token identity between each individual hurricane and a mass of atoms, even if there is no type identity between hurricanes as kinds and some particular structure of atoms as a kind. Genuine property dualism occurs when, even at the individual level, the ontology of physics is not sufficient to constitute what is there. The irreducible language is not just another way of describing what there is, it requires that there be something more there than was allowed for in the initial ontology. Until the early part of the twentieth century, it was common to think that biological phenomena (‘life’) required property dualism (an irreducible ‘vital force’), but nowadays the special physical sciences other than psychology are generally thought to involve only predicate dualism. In the case of mind, property dualism is defended by those who argue that the qualitative nature of consciousness is not merely another way of categorizing states of the brain or of behaviour, but a genuinely emergent phenomenon.

 

2.3 Substance Dualism

There are two important concepts deployed in this notion. One is that of substance, the other is the dualism of these substances. A substance is characterized by its properties, but, according to those who believe in substances, it is more than the collection of the properties it possesses, it is the thing which possesses them. So the mind is not just a collection of thoughts, but is that which thinks, an immaterial substance over and above its immaterial states. Properties are the properties of objects. If one is a property dualist, one may wonder what kinds of objects possess the irreducible or immaterial properties in which one believes. One can use a neutral expression and attribute them to persons, but, until one has an account of person, this is not explanatory. One might attribute them to human beings qua animals, or to the brains of these animals. Then one will be holding that these immaterial properties are possessed by what is otherwise a purely material thing. But one may also think that not only mental states are immaterial, but that the subject that possesses them must also be immaterial. Then one will be a dualist about that to which mental states and properties belong as well about the properties themselves. Now one might try to think of these subjects as just bundles of the immaterial states. This is Hume’s view. But if one thinks that the owner of these states is something quite over and above the states themselves, and is immaterial, as they are, one will be a substance dualist.

 

Substance dualism is also often dubbed ‘Cartesian dualism’, but some substance dualists are keen to distinguish their theories from Descartes’s. E. J. Lowe, for example, is a substance dualist, in the following sense. He holds that a normal human being involves two substances, one a body and the other a person. The latter is not, however, a purely mental substance that can be defined in terms of thought or consciousness alone, as Descartes claimed. But persons and their bodies have different identity conditions and are both substances, so there are two substances essentially involved in a human being, hence this is a form of substance dualism. Lowe (2006) claims that his theory is close to P. F. Strawson’s (1959), whilst admitting that Strawson would not have called it substance dualism.

 

3. Varieties of Dualism: Interaction

If mind and body are different realms, in the way required by either property or substance dualism, then there arises the question of how they are related. Common sense tells us that they interact: thoughts and feelings are at least sometimes caused by bodily events and at least sometimes themselves give rise to bodily responses. I shall now consider briefly the problems for interactionism, and its main rivals, epiphenomenalism and parallelism.

 

3.1 Interactionism

Interactionism is the view that mind and body – or mental events and physical events – causally influence each other. That this is so is one of our common-sense beliefs, because it appears to be a feature of everyday experience. The physical world influences my experience through my senses, and I often react behaviourally to those experiences. My thinking, too, influences my speech and my actions. There is, therefore, a massive natural prejudice in favour of interactionism. It has been claimed, however, that it faces serious problems (some of which were anticipated in section 1).

 

The simplest objection to interaction is that, in so far as mental properties, states or substances are of radically different kinds from each other, they lack that communality necessary for interaction. It is generally agreed that, in its most naive form, this objection to interactionism rests on a ‘billiard ball’ picture of causation: if all causation is by impact, how can the material and the immaterial impact upon each other? But if causation is either by a more ethereal force or energy or only a matter of constant conjunction, there would appear to be no problem in principle with the idea of interaction of mind and body.

 

Even if there is no objection in principle, there appears to be a conflict between interactionism and some basic principles of physical science. For example, if causal power was flowing in and out of the physical system, energy would not be conserved, and the conservation of energy is a fundamental scientific law. Various responses have been made to this. One suggestion is that it might be possible for mind to influence the distribution of energy, without altering its quantity. (See Averill and Keating 1981). Another response is to challenge the relevance of the conservation principle in this context. The conservation principle states that ‘in a causally isolated system the total amount of energy will remain constant’. Whereas ‘[t]he interactionist denies…that the human body is an isolated system’, so the principle is irrelevant (Larmer (1986), 282: this article presents a good brief survey of the options). This approach has been termed conditionality, namely the view that conservation is conditional on the physical system being closed, that is, that nothing non-physical is interacting or interfering with it, and, of course, the interactionist claims that this condition is, trivially, not met. That conditionality is the best line for the dualist to take, and that other approaches do not work, is defended in Pitts (2019) and Cucu and Pitts (2019). This, they claim, makes the plausibility of interactionism an empirical matter which only close investigation on the fine operation of the brain could hope to settle. Cucu, in a separate article (2018), claims to find critical neuronal events which do not have sufficient physical explanation.This claim clearly needs further investigation.

 

Robins Collins (2011) has claimed that the appeal to conservation by opponents of interactionism is something of a red herring because conservation principles are not ubiquitous in physics. He argues that energy is not conserved in general relativity, in quantum theory, or in the universe taken as a whole. Why then, should we insist on it in mind-brain interaction?

 

Most discussion of interactionism takes place in the context of the assumption that it is incompatible with the world’s being ‘closed under physics’. This is a very natural assumption, but it is not justified if causal overdetermination of behaviour is possible. There could then be a complete physical cause of behaviour, and a mental one. The strongest intuitive objection against overdetermination is clearly stated by Mills (1996: 112), who is himself a defender of overdetermination.

 

For X to be a cause of Y, X must contribute something to Y. The only way a purely mental event could contribute to a purely physical one would be to contribute some feature not already determined by a purely physical event. But if physical closure is true, there is no feature of the purely physical effect that is not contributed by the purely physical cause. Hence interactionism violates physical closure after all.

 

Mills says that this argument is invalid, because a physical event can have features not explained by the event which is its sufficient cause. For example, “the rock’s hitting the window is causally sufficient for the window’s breaking, and the window’s breaking has the feature of being the third window-breaking in the house this year; but the facts about prior window-breakings, rather than the rock’s hitting the window, are what cause this window-breaking to have this feature.”

 

The opponent of overdetermination could perhaps reply that his principle applies, not to every feature of events, but to a subgroup – say, intrinsic features, not merely relational or comparative ones. It is this kind of feature that the mental event would have to cause, but physical closure leaves no room for this. These matters are still controversial.

 

The problem with closure of physics may be radically altered if physical laws are indeterministic, as quantum theory seems to assert. If physical laws are deterministic, then any interference from outside would lead to a breach of those laws. But if they are indeterministic, might not interference produce a result that has a probability greater than zero, and so be consistent with the laws? This way, one might have interaction yet preserve a kind of nomological closure, in the sense that no laws are infringed. Because it involves assessing the significance and consequences of quantum theory, this is a difficult matter for the non-physicist to assess. Some argue that indeterminacy manifests itself only on the subatomic level, being cancelled out by the time one reaches even very tiny macroscopic objects: and human behaviour is a macroscopic phenomenon. Others argue that the structure of the brain is so finely tuned that minute variations could have macroscopic effects, rather in the way that, according to ‘chaos theory’, the flapping of a butterfly’s wings in China might affect the weather in New York. (For discussion of this, see Eccles (1980), (1987), and Popper and Eccles (1977).) Still others argue that quantum indeterminacy manifests itself directly at a high level, when acts of observation collapse the wave function, suggesting that the mind may play a direct role in affecting the state of the world (Hodgson 1988; Stapp 1993).

 

3.2 Epiphenomenalism

If the reality of property dualism is not to be denied, but the problem of how the immaterial is to affect the material is to be avoided, then epiphenomenalism may seem to be the answer. According to this theory, mental events are caused by physical events, but have no causal influence on the physical. I have introduced this theory as if its point were to avoid the problem of how two different categories of thing might interact. In fact, it is, at best, an incomplete solution to this problem. If it is mysterious how the non-physical can have it in its nature to influence the physical, it ought to be equally mysterious how the physical can have it in its nature to produce something non-physical. But that this latter is what occurs is an essential claim of epiphenomenalism. (For development of this point, see Green (2003), 149–51). In fact, epiphenomenalism is more effective as a way of saving the autonomy of the physical (the world as ‘closed under physics’) than as a contribution to avoiding the need for the physical and non-physical to have causal commerce.

 

There are at least three serious problems for epiphenomenalism. First, as I indicated in section 1, it is profoundly counterintuitive. What could be more apparent than that it is the pain that I feel that makes me cry, or the visual experience of the boulder rolling towards me that makes me run away? At least one can say that epiphenomenalism is a fall-back position: it tends to be adopted because other options are held to be unacceptable.

 

The second problem is that, if mental states do nothing, there is no reason why they should have evolved. This objection ties in with the first: the intuition there was that conscious states clearly modify our behaviour in certain ways, such as avoiding danger, and it is plain that they are very useful from an evolutionary perspective.

 

Frank Jackson (1982) replies to this objection by saying that it is the brain state associated with pain that evolves for this reason: the sensation is a by-product. Evolution is full of useless or even harmful by-products. For example, polar bears have evolved thick coats to keep them warm, even though this has the damaging side effect that they are heavy to carry. Jackson’s point is true in general, but does not seem to apply very happily to the case of mind. The heaviness of the polar bear’s coat follows directly from those properties and laws which make it warm: one could not, in any simple way, have one without the other. But with mental states, dualistically conceived, the situation is quite the opposite. The laws of physical nature which, the mechanist says, make brain states cause behaviour, in no way explain why brain states should give rise to conscious ones. The laws linking mind and brain are what Feigl (1958) calls nomological danglers, that is, brute facts added onto the body of integrated physical law. Why there should have been by-products of that kind seems to have no evolutionary explanation.

 

The third problem concerns the rationality of belief in epiphenomenalism, via its effect on the problem of other minds. It is natural to say that I know that I have mental states because I experience them directly. But how can I justify my belief that others have them? The simple version of the ‘argument from analogy’ says that I can extrapolate from my own case. I know that certain of my mental states are correlated with certain pieces of behaviour, and so I infer that similar behaviour in others is also accompanied by similar mental states. Many hold that this is a weak argument because it is induction from one instance, namely, my own. The argument is stronger if it is not a simple induction but an ‘argument to the best explanation’. I seem to know from my own case that mental events can be the explanation of behaviour, and I know of no other candidate explanation for typical human behaviour, so I postulate the same explanation for the behaviour of others. But if epiphenomenalism is true, my mental states do not explain my behaviour and there is a physical explanation for the behaviour of others. It is explanatorily redundant to postulate such states for others. I know, by introspection, that I have them, but is it not just as likely that I alone am subject to this quirk of nature, rather than that everyone is?

 

For more detailed treatment and further reading on this topic, see the entry epiphenomenalism.

3.3 Parallelism

The epiphenomenalist wishes to preserve the integrity of physical science and the physical world, and appends those mental features that he cannot reduce. The parallelist preserves both realms intact, but denies all causal interaction between them. They run in harmony with each other, but not because their mutual influence keeps each other in line. That they should behave as if they were interacting would seem to be a bizarre coincidence. This is why parallelism has tended to be adopted only by those – like Leibniz – who believe in a pre-established harmony, set in place by God. The progression of thought can be seen as follows. Descartes believes in a more or less natural form of interaction between immaterial mind and material body. Malebranche thought that this was impossible naturally, and so required God to intervene specifically on each occasion on which interaction was required. Leibniz decided that God might as well set things up so that they always behaved as if they were interacting, without particular intervention being required. Outside such a theistic framework, the theory is incredible. Even within such a framework, one might well sympathise with Berkeley’s instinct that once genuine interaction is ruled out one is best advised to allow that God creates the physical world directly, within the mental realm itself, as a construct out of experience.

 

4. Arguments for Dualism

4.1 The Knowledge Argument Against Physicalism

One category of arguments for dualism is constituted by the standard objections against physicalism. Prime examples are those based on the existence of qualia, the most important of which is the so-called ‘knowledge argument’. Because this argument has its own entry (see the entry qualia: the knowledge argument), I shall deal relatively briefly with it here. One should bear in mind, however, that all arguments against physicalism are also arguments for the irreducible and hence immaterial nature of the mind and, given the existence of the material world, are thus arguments for dualism.

 

The knowledge argument asks us to imagine a future scientist who has lacked a certain sensory modality from birth, but who has acquired a perfect scientific understanding of how this modality operates in others. This scientist – call him Harpo – may have been born stone deaf, but become the world’s greatest expert on the machinery of hearing: he knows everything that there is to know within the range of the physical and behavioural sciences about hearing. Suppose that Harpo, thanks to developments in neurosurgery, has an operation which finally enables him to hear. It is suggested that he will then learn something he did not know before, which can be expressed as what it is like to hear, or the qualitative or phenomenal nature of sound. These qualitative features of experience are generally referred to as qualia. If Harpo learns something new, he did not know everything before. He knew all the physical facts before. So what he learns on coming to hear – the facts about the nature of experience or the nature of qualia – are non-physical. This establishes at least a state or property dualism. (See Jackson 1982; Robinson 1982.)

 

There are at least two lines of response to this popular but controversial argument. First is the ‘ability’ response. According to this, Harpo does not acquire any new factual knowledge, only ‘knowledge how’, in the form of the ability to respond directly to sounds, which he could not do before. This essentially behaviouristic account is exactly what the intuition behind the argument is meant to overthrow. Putting ourselves in Harpo’s position, it is meant to be obvious that what he acquires is knowledge of what something is like, not just how to do something. Such appeals to intuition are always, of course, open to denial by those who claim not to share the intuition. Some ability theorists seem to blur the distinction between knowing what something is like and knowing how to do something, by saying that the ability Harpo acquires is to imagine or remember the nature of sound. In this case, what he acquires the ability to do involves the representation to himself of what the thing is like. But this conception of representing to oneself, especially in the form of imagination, seems sufficiently close to producing in oneself something very like a sensory experience that it only defers the problem: until one has a physicalist gloss on what constitutes such representations as those involved in conscious memory and imagination, no progress has been made.

 

The other line of response is to argue that, although Harpo’s new knowledge is factual, it is not knowledge of a new fact. Rather, it is new way of grasping something that he already knew. He does not realise this, because the concepts employed to capture experience (such as ‘looks red’ or ‘sounds C-sharp’) are similar to demonstratives, and demonstrative concepts lack the kind of descriptive content that allow one to infer what they express from other pieces of information that one may already possess. A total scientific knowledge of the world would not enable you to say which time was ‘now’ or which place was ‘here’. Demonstrative concepts pick something out without saying anything extra about it. Similarly, the scientific knowledge that Harpo originally possessed did not enable him to anticipate what it would be like to re-express some parts of that knowledge using the demonstrative concepts that only experience can give one. The knowledge, therefore, appears to be genuinely new, whereas only the mode of conceiving it is novel.

 

Proponents of the epistemic argument respond that it is problematic to maintain both that the qualitative nature of experience can be genuinely novel, and that the quality itself be the same as some property already grasped scientifically: does not the experience’s phenomenal nature, which the demonstrative concepts capture, constitute a property in its own right? Another way to put this is to say that phenomenal concepts are not pure demonstratives, like ‘here’ and ‘now’, or ‘this’ and ‘that’, because they do capture a genuine qualitative content. Furthermore, experiencing does not seem to consist simply in exercising a particular kind of concept, demonstrative or not. When Harpo has his new form of experience, he does not simply exercise a new concept; he also grasps something new – the phenomenal quality – with that concept. How decisive these considerations are, remains controversial.

 

4.2 The Argument from Predicate Dualism to Property Dualism

I said above that predicate dualism might seem to have no ontological consequences, because it is concerned only with the different way things can be described within the contexts of the different sciences, not with any real difference in the things themselves. This, however, can be disputed.

 

The argument from predicate to property dualism moves in two steps, both controversial. The first claims that the irreducible special sciences, which are the sources of irreducible predicates, are not wholly objective in the way that physics is, but depend for their subject matter upon interest-relative perspectives on the world. This means that they, and the predicates special to them, depend on the existence of minds and mental states, for only minds have interest-relative perspectives. The second claim is that psychology – the science of the mental – is itself an irreducible special science, and so it, too, presupposes the existence of the mental. Mental predicates therefore presuppose the mentality that creates them: mentality cannot consist simply in the applicability of the predicates themselves.

 

First, let us consider the claim that the special sciences are not fully objective, but are interest-relative.

 

No-one would deny, of course, that the very same subject matter or ‘hunk of reality’ can be described in irreducibly different ways and it still be just that subject matter or piece of reality. A mass of matter could be characterized as a hurricane, or as a collection of chemical elements, or as mass of sub-atomic particles, and there be only the one mass of matter. But such different explanatory frameworks seem to presuppose different perspectives on that subject matter.

 

This is where basic physics, and perhaps those sciences reducible to basic physics, differ from irreducible special sciences. On a realist construal, the completed physics cuts physical reality up at its ultimate joints: any special science which is nomically strictly reducible to physics also, in virtue of this reduction, it could be argued, cuts reality at its joints, but not at its minutest ones. If scientific realism is true, a completed physics will tell one how the world is, independently of any special interest or concern: it is just how the world is. It would seem that, by contrast, a science which is not nomically reducible to physics does not take its legitimation from the underlying reality in this direct way. Rather, such a science is formed from the collaboration between, on the one hand, objective similarities in the world and, on the other, perspectives and interests of those who devise the science. The concept of hurricane is brought to bear from the perspective of creatures concerned about the weather. Creatures totally indifferent to the weather would have no reason to take the real patterns of phenomena that hurricanes share as constituting a single kind of thing. With the irreducible special sciences, there is an issue of salience , which involves a subjective component: a selection of phenomena with a certain teleology in mind is required before their structures or patterns are reified. The entities of metereology or biology are, in this respect, rather like Gestalt phenomena.

 

Even accepting this, why might it be thought that the perspectivality of the special sciences leads to a genuine property dualism in the philosophy of mind? It might seem to do so for the following reason. Having a perspective on the world, perceptual or intellectual, is a psychological state. So the irreducible special sciences presuppose the existence of mind. If one is to avoid an ontological dualism, the mind that has this perspective must be part of the physical reality on which it has its perspective. But psychology, it seems to be almost universally agreed, is one of those special sciences that is not reducible to physics, so if its subject matter is to be physical, it itself presupposes a perspective and, hence, the existence of a mind to see matter as psychological. If this mind is physical and irreducible, it presupposes mind to see it as such. We seem to be in a vicious circle or regress.

 

We can now understand the motivation for full-blown reduction. A true basic physics represents the world as it is in itself, and if the special sciences were reducible, then the existence of their ontologies would make sense as expressions of the physical, not just as ways of seeing or interpreting it. They could be understood ‘from the bottom up’, not from top down. The irreducibility of the special sciences creates no problem for the dualist, who sees the explanatory endeavor of the physical sciences as something carried on from a perspective conceptually outside of the physical world. Nor need this worry a physicalist, if he can reduce psychology, for then he could understand ‘from the bottom up’ the acts (with their internal, intentional contents) which created the irreducible ontologies of the other sciences. But psychology is one of the least likely of sciences to be reduced. If psychology cannot be reduced, this line of reasoning leads to real emergence for mental acts and hence to a real dualism for the properties those acts instantiate (Robinson 2003).

 

4.3 The Modal Argument

There is an argument, which has roots in Descartes (Meditation VI), which is a modal argument for dualism. One might put it as follows:

 

It is imaginable that one’s mind might exist without one’s body.

therefore

 

It is conceivable that one’s mind might exist without one’s body.

therefore

 

It is possible one’s mind might exist without one’s body.

therefore

 

One’s mind is a different entity from one’s body.

The rationale of the argument is a move from imaginability to real possibility. I include (2) because the notion of conceivability has one foot in the psychological camp, like imaginability, and one in the camp of pure logical possibility and therefore helps in the transition from one to the other.

 

This argument should be distinguished from a similar ‘conceivability’ argument, often known as the ‘zombie hypothesis’, which claims the imaginability and possibility of my body (or, in some forms, a body physically just like it) existing without there being any conscious states associated with it. (See, for example, Chalmers (1996), 94–9.) This latter argument, if sound, would show that conscious states were something over and above physical states. It is a different argument because the hypothesis that the unaltered body could exist without the mind is not the same as the suggestion that the mind might continue to exist without the body, nor are they trivially equivalent. The zombie argument establishes only property dualism and a property dualist might think disembodied existence inconceivable – for example, if he thought the identity of a mind through time depended on its relation to a body (e.g., Penelhum 1970).

 

Before Kripke (1972/80), the first challenge to such an argument would have concerned the move from (3) to (4). When philosophers generally believed in contingent identity, that move seemed to them invalid. But nowadays that inference is generally accepted and the issue concerns the relation between imaginability and possibility. No-one would nowadays identify the two (except, perhaps, for certain quasi-realists and anti-realists), but the view that imaginability is a solid test for possibility has been strongly defended. W. D. Hart ((1994), 266), for example, argues that no clear example has been produced such that “one can imagine that p (and tell less imaginative folk a story that enables them to imagine that p) plus a good argument that it is impossible that p. No such counterexamples have been forthcoming…” This claim is at least contentious. There seem to be good arguments that time-travel is incoherent, but every episode of Star-Trek or Doctor Who shows how one can imagine what it might be like were it possible.

 

It is worth relating the appeal to possibility in this argument to that involved in the more modest, anti-physicalist, zombie argument. The possibility of this hypothesis is also challenged, but all that is necessary for a zombie to be possible is that all and only the things that the physical sciences say about the body be true of such a creature. As the concepts involved in such sciences – e.g., neuron, cell, muscle – seem to make no reference, explicit or implicit, to their association with consciousness, and are defined in purely physical terms in the relevant science texts, there is a very powerful prima facie case for thinking that something could meet the condition of being just like them and lack any connection with consciousness. There is no parallel clear, uncontroversial and regimented account of mental concepts as a whole that fails to invoke, explicitly or implicitly, physical (e.g., behavioural) states.

 

For an analytical behaviourist the appeal to imaginability made in the argument fails, not because imagination is not a reliable guide to possibility, but because we cannot imagine such a thing, as it is a priori impossible. The impossibility of disembodiment is rather like that of time travel, because it is demonstrable a priori, though only by arguments that are controversial. The argument can only get under way for those philosophers who accept that the issue cannot be settled a priori, so the possibility of the disembodiment that we can imagine is still prima facie open.

 

A major rationale of those who think that imagination is not a safe indication of possibility, even when such possibility is not eliminable a priori, is that we can imagine that a posteriori necessities might be false – for example, that Hesperus might not be identical to Phosphorus. But if Kripke is correct, that is not a real possibility. Another way of putting this point is that there are many epistemic possibilities which are imaginable because they are epistemic possibilities, but which are not real possibilities. Richard Swinburne (1997, New Appendix C), whilst accepting this argument in general, has interesting reasons for thinking that it cannot apply in the mind-body case. He argues that in cases that involve a posteriori necessities, such as those identities that need discovering, it is because we identify those entities only by their ‘stereotypes’ (that is, by their superficial features observable by the layman) that we can be wrong about their essences. In the case of our experience of ourselves this is not true.

 

Now it is true that the essence of Hesperus cannot be discovered by a mere thought experiment. That is because what makes Hesperus Hesperus is not the stereotype, but what underlies it. But it does not follow that no one can ever have access to the essence of a substance, but must always rely for identification on a fallible stereotype. One might think that for the person him or herself, while what makes that person that person underlies what is observable to others, it does not underlie what is experienceable by that person, but is given directly in their own self-awareness.

 

This is a very appealing Cartesian intuition: my identity as the thinking thing that I am is revealed to me in consciousness, it is not something beyond the veil of consciousness. Now it could be replied to this that though I do access myself as a conscious subject, so classifying myself is rather like considering myself qua cyclist. Just as I might never have been a cyclist, I might never have been conscious, if things had gone wrong in my very early life. I am the organism, the animal, which might not have developed to the point of consciousness, and that essence as animal is not revealed to me just by introspection.

 

But there are vital differences between these cases. A cyclist is explicitly presented as a human being (or creature of some other animal species) cycling: there is no temptation to think of a cyclist as a basic kind of thing in its own right. Consciousness is not presented as a property of something, but as the subject itself. Swinburne’s claim that when we refer to ourselves we are referring to something we think we are directly aware of and not to ‘something we know not what’ that underlies our experience seemingly ‘of ourselves’ has powerful intuitive appeal and could only be overthrown by very forceful arguments. Yet, even if we are not referring primarily to a substrate, but to what is revealed in consciousness, could it not still be the case that there is a necessity stronger than causal connecting this consciousness to something physical? To consider this further we must investigate what the limits are of the possible analogy between cases of the water-H2O kind, and the mind-body relation.

 

We start from the analogy between the water stereotype – how water presents itself – and how consciousness is given first-personally to the subject. It is plausible to claim that something like water could exist without being H2O, but hardly that it could exist without some underlying nature. There is, however, no reason to deny that this underlying nature could be homogenous with its manifest nature: that is, it would seem to be possible that there is a world in which the water-like stuff is an element, as the ancients thought, and is water-like all the way down. The claim of the proponents of the dualist argument is that this latter kind of situation can be known to be true a priori in the case of the mind: that is, one can tell by introspection that it is not more-than-causally dependent on something of a radically different nature, such as a brain or body. What grounds might one have for thinking that one could tell that a priori?

 

The only general argument that seem to be available for this would be the principle that, for any two levels of discourse, A and B, they are more-than-causally connected only if one entails the other a priori. And the argument for accepting this principle would be that the relatively uncontroversial cases of a posteriori necessary connections are in fact cases in which one can argue a priori from facts about the microstructure to the manifest facts. In the case of water, for example, it would be claimed that it follows a priori that if there were something with the properties attributed to H2O by chemistry on a micro level, then that thing would possess waterish properties on a macro level. What is established a posteriori is that it is in fact H2O that underlies and explains the waterish properties round here, not something else: the sufficiency of the base – were it to obtain – to explain the phenomena, can be deduced a priori from the supposed nature of the base. This is, in effect, the argument that Chalmers uses to defend the zombie hypothesis. The suggestion is that the whole category of a posteriori more-than-causally necessary connections (often identified as a separate category of metaphysical necessity) comes to no more than this. If we accept that this is the correct account of a posteriori necessities, and also deny the analytically reductionist theories that would be necessary for a priori connections between mind and body, as conceived, for example, by the behaviourist or the functionalist, does it follow that we can tell a priori that consciousness is not more-than-causally dependent on the body?

 

It is helpful in considering this question to employ a distinction like Berkeley’s between ideas and notions. Ideas are the objects of our mental acts, and they capture transparently – ‘by way of image or likeness’ (Principles, sect. 27) – that of which they are the ideas. The self and its faculties are not the objects of our mental acts, but are captured only obliquely in the performance of its acts, and of these Berkeley says we have notions, meaning by this that what we capture of the nature of the dynamic agent does not seem to have the same transparency as what we capture as the normal objects of the agent’s mental acts. It is not necessary to become involved in Berkeley’s metaphysics in general to feel the force of the claim that the contents and internal objects of our mental acts are grasped with a lucidity that exceeds that of our grasp of the agent and the acts per se. Because of this, notions of the self perhaps have a ‘thickness’ and are permanently contestable: there seems always to be room for more dispute as to what is involved in that concept. (Though we shall see later, in 5.2.2, that there is a ‘non-thick’ way of taking the Berkeleyan concept of a notion.)

 

Because ‘thickness’ always leaves room for dispute, this is one of those cases in philosophy in which one is at the mercy of the arguments philosophers happen to think up. The conceivability argument creates a prima facie case for thinking that mind has no more than causal ontological dependence on the body. Let us assume that one rejects analytical (behaviourist or functionalist) accounts of mental predicates. Then the above arguments show that any necessary dependence of mind on body does not follow the model that applies in other scientific cases. This does not show that there may not be other reasons for believing in such dependence, for so many of the concepts in the area are still contested. For example, it might be argued that identity through time requires the kind of spatial existence that only body can give: or that the causal continuity required by a stream of consciousness cannot be a property of mere phenomena. All these might be put forward as ways of filling out those aspects of our understanding of the self that are only obliquely, not transparently, presented in self-awareness. The dualist must respond to any claim as it arises: the conceivability argument does not pre-empt them.......

5.2 The Unity of the Mind

Whether one believes that the mind is a substance or just a bundle of properties, the same challenge arises, which is to explain the nature of the unity of the immaterial mind. For the Cartesian, that means explaining how he understands the notion of immaterial substance. For the Humean, the issue is to explain the nature of the relationship between the different elements in the bundle that binds them into one thing. Neither tradition has been notably successful in this latter task: indeed, Hume, in the appendix to the Treatise, declared himself wholly mystified by the problem, rejecting his own initial solution (though quite why is not clear from the text).

plato.stanford.edu/entries/dualism/

The Phenomenology Woman.

Contradictions views spiritualis imperet that analyze,

et detractiones quae substantialis sansculottism alienated abstract betwuxfæc,

pronouncements enunciare coscienziosità theologus census becomes,

conceptual points αποφάσεις σύνθεσης εξωτερικεύσεις subjected to empiricists notions,

правительственная толковании парадигматическое историю coincidences of deductions feorh,

absurdité ambiguë traduit exhaustive undertaking connotations,

individualistic lækkanir noumenal höfuðstóll intuiting thoughts,

transmuted exemplifications universelle oppgivelse anslag arise,

propositions engaging secundus placitum speculationes powers,

φιλοσοφικές μέσα συμπληρώνονται dialectic justifications practiced,

objective depths consummations sýningin mismunandi freedoms,

conscious immediatio oppositionem certum in communi recognizes habban,

entraver limites de péréquation stubborn confessing όντα της συνέχειας,

dissemblance implicit moralità impulsi così peculiari felicità understands,

absoluteness framkvæmd reikningar indivisible antithesis tilung,

equilibrium erliegt ethische unabhängigkeit transformationen activity andefen,

verdwijnende uitspraken dryhtenbealu ramblings back,

her realization inquietum perturbatio is her essential ways.

Vikomt.d.Hammenggor.

 

...

 

Untitled (Hunger 7), Tim Lowly © 1996, tempera on ceramic bowl, 7" x 7" x 4"

 

This painting is from a series of 21 paintings on the bottom surface of traditional Korean bowls - done for an exhibition I had in Seoul, Korea in 1997. Recently, as I was writing some thoughts on my work to a colleague, it occurred that I had not explained publicly my thinking about and reason for making this work. This seems pretty important given the problematic territory that this work wanders into. What follows is an excerpt from my correspondence:

 

Around 1995 the “special needs” school that our daughter Temma had been attending for 6 years – Lakeview Learning Center – was preparing to close. I was working at the school on a large painting (titled Big Picture) of the classroom for “severely and profoundly disabled” children that Temma was part of. While working on this large painting I was given a collection of miscellaneous photographs documenting the students in their daily life at the school. Also around this time I was offered an exhibition with a gallery in South Korea, the country where I grew up (my parents were medical missionaries). I decided to make work for this show based on the photographs that I had been given of students from Lakeview Learning Center as a way of making present a population that was largely invisible / marginalized in Korea at that time. My goal in making these paintings was to select photographs that (for me) most powerfully expressed the humanity of these children. In making the paintings my intent was to try to represent them as best as I could in accordance to how I perceived them via the photographs: that is, as completely and compellingly human. Despite my ambivalence about using other people’s photographs as sources for paintings, these photographs – apparently taken by the staff of the school - offered a kind of “objective” perspective on the children somewhat fitting for my relative distance from them personally. That said, to the extent that these children were part of a community of which my daughter was a part I felt it was appropriate to make paintings based representing them.

 

This latter point is important in relation to the fundamental intent of this project. While I was attempting to portray the children in all their individuality evident in the photographic sources, I was doing so with the primary goal of presenting them as a community: a community as evidently diverse and complex (in various respects) as any other.

 

There is a well-known (in Korea) poem by the Korean Catholic “Minjung” writer Kim Chi Ha that has an essentially Eucharistic refrain: “God is rice”. In allusion to that poem I decided to do a series of 21 paintings on Korean rice bowls (a very commonly used kind of bowl). More specifically, as an allusion to the marginalization of this population I made the paintings on the bottom / underside (typically unseen) surface of the bowls. In using the rice bowl I not only wanted to draw a connection to Kim Chi Ha’s poem, but further to the movement of Minjung Art that had grown in vitality at the ending period of Korea’s long dictatorship (the early ‘80s). The Minjung Art movement (which, especially in the person of the artist Im Ok Sang, had been very influential for me) made the empowerment of the poor and the marginalized their priority. My hope was to situate the subject of the work I was making – at that time still a largely marginalized community - in the context of the Minjung political imperative.

 

In this work I was attempting to represent these children as faithfully as I could. It might be helpful to unpack my thinking “representation” a bit: Painting, particularly realistic / representational painting is frequently thought of / received in relation to the convention of “mastery”. That is, when one makes a realistic painting it might be understood as an artists’ claim of mastery and, implicitly, as their claim to an authority over the subject represented. I do not have any interest in that way of approaching painting. I am interested in painting that is a kind of conversation with the material used to make it (as opposed to painting as about control or domination of the material). No less importantly, I’m interested in painting as a regarding of the subject in humility: an attempt to represent the subject as honestly, accurately and respectfully as possible. Put another way: painting for me is learning how to make this painting in relation to trying to understand and represent this subject.

 

Taking that word representation a bit further: it is of course a reasonable question to ask whether one has the right to represent (make or take a picture of) another person – particularly someone who is not able to give consent. And it is reasonable to question whether I – even as the parent of a member of that community and trusted by the staff of that community – have the right to represent the students. But no less important is the other side of this question: the right of each person to be represented (both literally, in the sense of being pictured, and - via metaphoric implication - politically). In the case of this particular population and the particular context in which these paintings were being shown my intention was to make and show these representational paintings of these children as a claim to their right (authority) to be represented: Particularly towards the goal of advocating the presence of members of this population as they existed in that country at that time.

Cairngorms National Park is a national park in northeast Scotland, established in 2003. It was the second of two national parks established by the Scottish Parliament, after Loch Lomond and The Trossachs National Park, which was set up in 2002. The park covers the Cairngorms range of mountains, and surrounding hills. Already the largest national park in the United Kingdom, in 2010 it was expanded into Perth and Kinross.

 

Roughly 18,000 people reside within the 4,528 square kilometre national park. The largest communities are Aviemore, Ballater, Braemar, Grantown-on-Spey, Kingussie, Newtonmore, and Tomintoul. Tourism makes up about 80% of the economy. In 2018, 1.9 million tourism visits were recorded. The majority of visitors are domestic, with 25 per cent coming from elsewhere in the UK, and 21 per cent being from other countries.

 

The Cairngorms National Park covers an area of 4,528 km2 (1,748 sq mi) in the council areas of Aberdeenshire, Moray, Highland, Angus and Perth and Kinross. The mountain range of the Cairngorms lies at the heart of the national park, but forms only one part of it, alongside other hill ranges such as the Angus Glens and the Monadhliath, and lower areas like Strathspey and upper Deeside. Three major rivers rise in the park: the Spey, the Dee, and the Don. The Spey, which is the second longest river in Scotland, rises in the Monadhliath, whilst the Dee and the Don both rise in the Cairngorms themselves.

 

The Cairngorms themselves are a spectacular landscape, similar in appearance to the Hardangervidda National Park of Norway in having a large area of upland plateau.[citation needed] The range consists of three main plateaux at about 1000–1200 m above sea level, above which domed summits (the eroded stumps of once much higher mountains)[8] rise to around 1300 m. Many of the summits have tors, free-standing rock outcrops that stand on top of the boulder-strewn landscape.[9] The edges of the plateaux are in places steep cliffs of granite and they are excellent for skiing, rock climbing and ice climbing. The Cairngorms form an arctic-alpine mountain environment, with tundra-like characteristics and long-lasting snow patches.

 

The Monadhliath mountains lie to the north of Strathspey, and comprise a bleak, wide plateau rising to between 700 and 950 m.

 

Two major transport routes run through the park, with both the A9 road and the Highland Main Line crossing over the Pass of Drumochter and running along Strathspey, providing links between the western and northern parts of the park and the cities of Perth and Inverness. The Highland Main Line is the only mainline rail route through the park, however there are several other major roads, including the A86, which links Strathspey to Fort William, and the A93, which links the Deeside area of the park to both Perth and Aberdeen.

 

The idea that parts of Scotland of wild or remote character should be designated to protect the environment and encourage public access grew in popularity throughout the nineteenth and early twentieth centuries. In 1931 a commission headed by Christopher Addison proposed the creation of a national park in the Cairngorms, alongside proposals for parks in England and Wales. Following the Second World War ten national parks were established in England and Wales, and a committee was established to consider the issue of national parks in Scotland. The report, published in 1945, proposed national parks in five areas, one of which was the Cairngorms. The government designated these five areas as "National Park Direction Areas", giving powers for planning decisions taken by local authorities to be reviewed by central government, however the areas were not given full national park status. In 1981 the direction areas were replaced by national scenic areas, of which there are now 40. In 1990 the Countryside Commission for Scotland (CCS) produced a report into protection of the landscape of Scotland, which recommended that four areas were under such pressure that they ought to be designated as national parks, each with an independent planning board, in order to retain their heritage value. The four areas identified were similar to those proposed in 1945, and thus again included the Cairngorms.

 

Despite this long history of recommendations that national parks be established in Scotland, no action was taken until the establishment of the Scottish Parliament in 1999. The two current parks were designated as such under the National Parks (Scotland) Act 2000, which was one of the first pieces of legislation to be passed by the Parliament. Before the national park was established in 2003, Scottish Natural Heritage conducted a consultation exercise, considering the boundary and the powers and structure of the new park authority.

 

Following the establishment of the park many groups and local communities felt that a large area of highland Perth and Kinross should form part of the park and carried out a sustained campaign. On 13 March 2008 Michael Russell announced that the national park would be extended to take in Blair Atholl and Spittal of Glenshee, and the park was duly extended on 4 October 2010.

 

In 2015, 53 km (33 mi) of the 132 kV power line in the middle of the park was taken down, while another section along the edge of the park was upgraded to 400 kV.

 

Tourism accounts for much of the economy and 43% of employment within the park area. In 2018, 1.9 million tourism visits were recorded. The park's mandate is sustainable tourism "that builds on, conserves and enhances [its] special qualities". The Cairngorms Business Partnership includes 350 private sector member businesses. In early 2017, the park was voted by Hundredrooms as one of the top seven eco-tourism destinations in Europe and discussed as a "mecca for outdoor enthusiasts". The Visit Scotland web site discusses the amenities and indicates that this park "has more mountains, forest paths, rivers, lochs, wildlife hotspots, friendly villages and distilleries than you can possibly imagine".

 

The park is popular for activities such as walking, cycling, mountain biking, climbing and canoeing: for hillwalkers there are 55 Munros (mountains above 3,000 feet (910 m) in height) in the park.[6] Two of Scotland's Great Trails pass through the park: the Speyside Way and the Cateran Trail.

 

A skiing and winter sports industry is concentrated in the Cairngoms, with three of Scotland's five resorts situated here. They are the Cairn Gorm Ski Centre, Glenshee Ski Centre and The Lecht Ski Centre. There was controversy surrounding the construction of the Cairngorm Mountain Railway at the Cairn Gorm Ski Centre, a scheme supported by the national park authority. Supporters of the scheme claimed that it would bring in valuable tourist income, whilst opponents argued that such a development was unsuitable for a protected area. To reduce erosion, the railway operates a "closed scheme" and only allows skiers (in season) out of the upper Ptarmigan station: other visitors may not access the mountain from the railway unless on a guided walk.

 

The Cairngorm Mountain Railway funicular was closed in October 2018 "due to health and safety concerns", or "structural problems" according to reports in summer 2019. At the time, an investigation was still underway to determine whether modifications would be "achievable and affordable". (The same situation was reported in December 2019.) This railway first opened in 2001 and connects the base station with a restaurant on Cairn Gorm mountain.

 

Aviemore is a busy and popular holiday destination, located close to Glenmore Forest Park and the Cairn Gorm Ski Centre. The Strathspey Railway is preserved railway running steam and heritage diesel services between Aviemore railway station and Broomhill via Boat of Garten, along part of the former Highland Railway.

 

The Highland Wildlife Park also lies within the national park, and the Frank Bruce Sculpture Trail is located near Feshiebridge. This short trail through the woods features a sculptures created by Frank Bruce between 1965 and 2009.

 

In addition to the Cairngorm Brewery, six distilleries are located within the Park area: Dalwhinnie distillery, The Glenlivet distillery, Tomintoul distillery, Royal Lochnagar distillery, Balmenach distillery and The Speyside distillery. Royal Lochnagar, Dalwhinnie, Cairngorm Brewery and Glenlivet are set up to receive visitors on a regular basis. Tomintoul, Balmenach and Speyside can be visited but require an appointment made in advance.

 

The Highlands is a historical region of Scotland. Culturally, the Highlands and the Lowlands diverged from the Late Middle Ages into the modern period, when Lowland Scots language replaced Scottish Gaelic throughout most of the Lowlands. The term is also used for the area north and west of the Highland Boundary Fault, although the exact boundaries are not clearly defined, particularly to the east. The Great Glen divides the Grampian Mountains to the southeast from the Northwest Highlands. The Scottish Gaelic name of A' Ghàidhealtachd literally means "the place of the Gaels" and traditionally, from a Gaelic-speaking point of view, includes both the Western Isles and the Highlands.

 

The area is very sparsely populated, with many mountain ranges dominating the region, and includes the highest mountain in the British Isles, Ben Nevis. During the 18th and early 19th centuries the population of the Highlands rose to around 300,000, but from c. 1841 and for the next 160 years, the natural increase in population was exceeded by emigration (mostly to Canada, the United States, Australia and New Zealand, and migration to the industrial cities of Scotland and England.) and passim  The area is now one of the most sparsely populated in Europe. At 9.1/km2 (24/sq mi) in 2012, the population density in the Highlands and Islands is less than one seventh of Scotland's as a whole.

 

The Highland Council is the administrative body for much of the Highlands, with its administrative centre at Inverness. However, the Highlands also includes parts of the council areas of Aberdeenshire, Angus, Argyll and Bute, Moray, North Ayrshire, Perth and Kinross, Stirling and West Dunbartonshire.

 

The Scottish Highlands is the only area in the British Isles to have the taiga biome as it features concentrated populations of Scots pine forest: see Caledonian Forest. It is the most mountainous part of the United Kingdom.

 

Between the 15th century and the mid-20th century, the area differed from most of the Lowlands in terms of language. In Scottish Gaelic, the region is known as the Gàidhealtachd, because it was traditionally the Gaelic-speaking part of Scotland, although the language is now largely confined to The Hebrides. The terms are sometimes used interchangeably but have different meanings in their respective languages. Scottish English (in its Highland form) is the predominant language of the area today, though Highland English has been influenced by Gaelic speech to a significant extent. Historically, the "Highland line" distinguished the two Scottish cultures. While the Highland line broadly followed the geography of the Grampians in the south, it continued in the north, cutting off the north-eastern areas, that is Eastern Caithness, Orkney and Shetland, from the more Gaelic Highlands and Hebrides.

 

Historically, the major social unit of the Highlands was the clan. Scottish kings, particularly James VI, saw clans as a challenge to their authority; the Highlands was seen by many as a lawless region. The Scots of the Lowlands viewed the Highlanders as backward and more "Irish". The Highlands were seen as the overspill of Gaelic Ireland. They made this distinction by separating Germanic "Scots" English and the Gaelic by renaming it "Erse" a play on Eire. Following the Union of the Crowns, James VI had the military strength to back up any attempts to impose some control. The result was, in 1609, the Statutes of Iona which started the process of integrating clan leaders into Scottish society. The gradual changes continued into the 19th century, as clan chiefs thought of themselves less as patriarchal leaders of their people and more as commercial landlords. The first effect on the clansmen who were their tenants was the change to rents being payable in money rather than in kind. Later, rents were increased as Highland landowners sought to increase their income. This was followed, mostly in the period 1760–1850, by agricultural improvement that often (particularly in the Western Highlands) involved clearance of the population to make way for large scale sheep farms. Displaced tenants were set up in crofting communities in the process. The crofts were intended not to provide all the needs of their occupiers; they were expected to work in other industries such as kelping and fishing. Crofters came to rely substantially on seasonal migrant work, particularly in the Lowlands. This gave impetus to the learning of English, which was seen by many rural Gaelic speakers to be the essential "language of work".

 

Older historiography attributes the collapse of the clan system to the aftermath of the Jacobite risings. This is now thought less influential by historians. Following the Jacobite rising of 1745 the British government enacted a series of laws to try to suppress the clan system, including bans on the bearing of arms and the wearing of tartan, and limitations on the activities of the Scottish Episcopal Church. Most of this legislation was repealed by the end of the 18th century as the Jacobite threat subsided. There was soon a rehabilitation of Highland culture. Tartan was adopted for Highland regiments in the British Army, which poor Highlanders joined in large numbers in the era of the Revolutionary and Napoleonic Wars (1790–1815). Tartan had largely been abandoned by the ordinary people of the region, but in the 1820s, tartan and the kilt were adopted by members of the social elite, not just in Scotland, but across Europe. The international craze for tartan, and for idealising a romanticised Highlands, was set off by the Ossian cycle, and further popularised by the works of Walter Scott. His "staging" of the visit of King George IV to Scotland in 1822 and the king's wearing of tartan resulted in a massive upsurge in demand for kilts and tartans that could not be met by the Scottish woollen industry. Individual clan tartans were largely designated in this period and they became a major symbol of Scottish identity. This "Highlandism", by which all of Scotland was identified with the culture of the Highlands, was cemented by Queen Victoria's interest in the country, her adoption of Balmoral as a major royal retreat, and her interest in "tartenry".

 

Recurrent famine affected the Highlands for much of its history, with significant instances as late as 1817 in the Eastern Highlands and the early 1850s in the West.  Over the 18th century, the region had developed a trade of black cattle into Lowland markets, and this was balanced by imports of meal into the area. There was a critical reliance on this trade to provide sufficient food, and it is seen as an essential prerequisite for the population growth that started in the 18th century. Most of the Highlands, particularly in the North and West was short of the arable land that was essential for the mixed, run rig based, communal farming that existed before agricultural improvement was introduced into the region.[a] Between the 1760s and the 1830s there was a substantial trade in unlicensed whisky that had been distilled in the Highlands. Lowland distillers (who were not able to avoid the heavy taxation of this product) complained that Highland whisky made up more than half the market. The development of the cattle trade is taken as evidence that the pre-improvement Highlands was not an immutable system, but did exploit the economic opportunities that came its way.  The illicit whisky trade demonstrates the entrepreneurial ability of the peasant classes. 

 

Agricultural improvement reached the Highlands mostly over the period 1760 to 1850. Agricultural advisors, factors, land surveyors and others educated in the thinking of Adam Smith were keen to put into practice the new ideas taught in Scottish universities.  Highland landowners, many of whom were burdened with chronic debts, were generally receptive to the advice they offered and keen to increase the income from their land.  In the East and South the resulting change was similar to that in the Lowlands, with the creation of larger farms with single tenants, enclosure of the old run rig fields, introduction of new crops (such as turnips), land drainage and, as a consequence of all this, eviction, as part of the Highland clearances, of many tenants and cottars. Some of those cleared found employment on the new, larger farms, others moved to the accessible towns of the Lowlands.

 

In the West and North, evicted tenants were usually given tenancies in newly created crofting communities, while their former holdings were converted into large sheep farms. Sheep farmers could pay substantially higher rents than the run rig farmers and were much less prone to falling into arrears. Each croft was limited in size so that the tenants would have to find work elsewhere. The major alternatives were fishing and the kelp industry. Landlords took control of the kelp shores, deducting the wages earned by their tenants from the rent due and retaining the large profits that could be earned at the high prices paid for the processed product during the Napoleonic wars.

 

When the Napoleonic wars finished in 1815, the Highland industries were affected by the return to a peacetime economy. The price of black cattle fell, nearly halving between 1810 and the 1830s. Kelp prices had peaked in 1810, but reduced from £9 a ton in 1823 to £3 13s 4d a ton in 1828. Wool prices were also badly affected.  This worsened the financial problems of debt-encumbered landlords. Then, in 1846, potato blight arrived in the Highlands, wiping out the essential subsistence crop for the overcrowded crofting communities. As the famine struck, the government made clear to landlords that it was their responsibility to provide famine relief for their tenants. The result of the economic downturn had been that a large proportion of Highland estates were sold in the first half of the 19th century. T M Devine points out that in the region most affected by the potato famine, by 1846, 70 per cent of the landowners were new purchasers who had not owned Highland property before 1800. More landlords were obliged to sell due to the cost of famine relief. Those who were protected from the worst of the crisis were those with extensive rental income from sheep farms.  Government loans were made available for drainage works, road building and other improvements and many crofters became temporary migrants – taking work in the Lowlands. When the potato famine ceased in 1856, this established a pattern of more extensive working away from the Highlands.

 

The unequal concentration of land ownership remained an emotional and controversial subject, of enormous importance to the Highland economy, and eventually became a cornerstone of liberal radicalism. The poor crofters were politically powerless, and many of them turned to religion. They embraced the popularly oriented, fervently evangelical Presbyterian revival after 1800. Most joined the breakaway "Free Church" after 1843. This evangelical movement was led by lay preachers who themselves came from the lower strata, and whose preaching was implicitly critical of the established order. The religious change energised the crofters and separated them from the landlords; it helped prepare them for their successful and violent challenge to the landlords in the 1880s through the Highland Land League. Violence erupted, starting on the Isle of Skye, when Highland landlords cleared their lands for sheep and deer parks. It was quietened when the government stepped in, passing the Crofters' Holdings (Scotland) Act, 1886 to reduce rents, guarantee fixity of tenure, and break up large estates to provide crofts for the homeless. This contrasted with the Irish Land War underway at the same time, where the Irish were intensely politicised through roots in Irish nationalism, while political dimensions were limited. In 1885 three Independent Crofter candidates were elected to Parliament, which listened to their pleas. The results included explicit security for the Scottish smallholders in the "crofting counties"; the legal right to bequeath tenancies to descendants; and the creation of a Crofting Commission. The Crofters as a political movement faded away by 1892, and the Liberal Party gained their votes.

 

Today, the Highlands are the largest of Scotland's whisky producing regions; the relevant area runs from Orkney to the Isle of Arran in the south and includes the northern isles and much of Inner and Outer Hebrides, Argyll, Stirlingshire, Arran, as well as sections of Perthshire and Aberdeenshire. (Other sources treat The Islands, except Islay, as a separate whisky producing region.) This massive area has over 30 distilleries, or 47 when the Islands sub-region is included in the count. According to one source, the top five are The Macallan, Glenfiddich, Aberlour, Glenfarclas and Balvenie. While Speyside is geographically within the Highlands, that region is specified as distinct in terms of whisky productions. Speyside single malt whiskies are produced by about 50 distilleries.

 

According to Visit Scotland, Highlands whisky is "fruity, sweet, spicy, malty". Another review states that Northern Highlands single malt is "sweet and full-bodied", the Eastern Highlands and Southern Highlands whiskies tend to be "lighter in texture" while the distilleries in the Western Highlands produce single malts with a "much peatier influence".

 

The Scottish Reformation achieved partial success in the Highlands. Roman Catholicism remained strong in some areas, owing to remote locations and the efforts of Franciscan missionaries from Ireland, who regularly came to celebrate Mass. There remain significant Catholic strongholds within the Highlands and Islands such as Moidart and Morar on the mainland and South Uist and Barra in the southern Outer Hebrides. The remoteness of the region and the lack of a Gaelic-speaking clergy undermined the missionary efforts of the established church. The later 18th century saw somewhat greater success, owing to the efforts of the SSPCK missionaries and to the disruption of traditional society after the Battle of Culloden in 1746. In the 19th century, the evangelical Free Churches, which were more accepting of Gaelic language and culture, grew rapidly, appealing much more strongly than did the established church.

 

For the most part, however, the Highlands are considered predominantly Protestant, belonging to the Church of Scotland. In contrast to the Catholic southern islands, the northern Outer Hebrides islands (Lewis, Harris and North Uist) have an exceptionally high proportion of their population belonging to the Protestant Free Church of Scotland or the Free Presbyterian Church of Scotland. The Outer Hebrides have been described as the last bastion of Calvinism in Britain and the Sabbath remains widely observed. Inverness and the surrounding area has a majority Protestant population, with most locals belonging to either The Kirk or the Free Church of Scotland. The church maintains a noticeable presence within the area, with church attendance notably higher than in other parts of Scotland. Religion continues to play an important role in Highland culture, with Sabbath observance still widely practised, particularly in the Hebrides.

 

In traditional Scottish geography, the Highlands refers to that part of Scotland north-west of the Highland Boundary Fault, which crosses mainland Scotland in a near-straight line from Helensburgh to Stonehaven. However the flat coastal lands that occupy parts of the counties of Nairnshire, Morayshire, Banffshire and Aberdeenshire are often excluded as they do not share the distinctive geographical and cultural features of the rest of the Highlands. The north-east of Caithness, as well as Orkney and Shetland, are also often excluded from the Highlands, although the Hebrides are usually included. The Highland area, as so defined, differed from the Lowlands in language and tradition, having preserved Gaelic speech and customs centuries after the anglicisation of the latter; this led to a growing perception of a divide, with the cultural distinction between Highlander and Lowlander first noted towards the end of the 14th century. In Aberdeenshire, the boundary between the Highlands and the Lowlands is not well defined. There is a stone beside the A93 road near the village of Dinnet on Royal Deeside which states 'You are now in the Highlands', although there are areas of Highland character to the east of this point.

 

A much wider definition of the Highlands is that used by the Scotch whisky industry. Highland single malts are produced at distilleries north of an imaginary line between Dundee and Greenock, thus including all of Aberdeenshire and Angus.

 

Inverness is regarded as the Capital of the Highlands, although less so in the Highland parts of Aberdeenshire, Angus, Perthshire and Stirlingshire which look more to Aberdeen, Dundee, Perth, and Stirling as their commercial centres.

 

The Highland Council area, created as one of the local government regions of Scotland, has been a unitary council area since 1996. The council area excludes a large area of the southern and eastern Highlands, and the Western Isles, but includes Caithness. Highlands is sometimes used, however, as a name for the council area, as in the former Highlands and Islands Fire and Rescue Service. Northern is also used to refer to the area, as in the former Northern Constabulary. These former bodies both covered the Highland council area and the island council areas of Orkney, Shetland and the Western Isles.

 

Much of the Highlands area overlaps the Highlands and Islands area. An electoral region called Highlands and Islands is used in elections to the Scottish Parliament: this area includes Orkney and Shetland, as well as the Highland Council local government area, the Western Isles and most of the Argyll and Bute and Moray local government areas. Highlands and Islands has, however, different meanings in different contexts. It means Highland (the local government area), Orkney, Shetland, and the Western Isles in Highlands and Islands Fire and Rescue Service. Northern, as in Northern Constabulary, refers to the same area as that covered by the fire and rescue service.

 

There have been trackways from the Lowlands to the Highlands since prehistoric times. Many traverse the Mounth, a spur of mountainous land that extends from the higher inland range to the North Sea slightly north of Stonehaven. The most well-known and historically important trackways are the Causey Mounth, Elsick Mounth, Cryne Corse Mounth and Cairnamounth.

 

Although most of the Highlands is geographically on the British mainland, it is somewhat less accessible than the rest of Britain; thus most UK couriers categorise it separately, alongside Northern Ireland, the Isle of Man, and other offshore islands. They thus charge additional fees for delivery to the Highlands, or exclude the area entirely. While the physical remoteness from the largest population centres inevitably leads to higher transit cost, there is confusion and consternation over the scale of the fees charged and the effectiveness of their communication, and the use of the word Mainland in their justification. Since the charges are often based on postcode areas, many far less remote areas, including some which are traditionally considered part of the lowlands, are also subject to these charges. Royal Mail is the only delivery network bound by a Universal Service Obligation to charge a uniform tariff across the UK. This, however, applies only to mail items and not larger packages which are dealt with by its Parcelforce division.

 

The Highlands lie to the north and west of the Highland Boundary Fault, which runs from Arran to Stonehaven. This part of Scotland is largely composed of ancient rocks from the Cambrian and Precambrian periods which were uplifted during the later Caledonian Orogeny. Smaller formations of Lewisian gneiss in the northwest are up to 3 billion years old. The overlying rocks of the Torridon Sandstone form mountains in the Torridon Hills such as Liathach and Beinn Eighe in Wester Ross.

 

These foundations are interspersed with many igneous intrusions of a more recent age, the remnants of which have formed mountain massifs such as the Cairngorms and the Cuillin of Skye. A significant exception to the above are the fossil-bearing beds of Old Red Sandstone found principally along the Moray Firth coast and partially down the Highland Boundary Fault. The Jurassic beds found in isolated locations on Skye and Applecross reflect the complex underlying geology. They are the original source of much North Sea oil. The Great Glen is formed along a transform fault which divides the Grampian Mountains to the southeast from the Northwest Highlands.

 

The entire region was covered by ice sheets during the Pleistocene ice ages, save perhaps for a few nunataks. The complex geomorphology includes incised valleys and lochs carved by the action of mountain streams and ice, and a topography of irregularly distributed mountains whose summits have similar heights above sea-level, but whose bases depend upon the amount of denudation to which the plateau has been subjected in various places.

Climate

 

The region is much warmer than other areas at similar latitudes (such as Kamchatka in Russia, or Labrador in Canada) because of the Gulf Stream making it cool, damp and temperate. The Köppen climate classification is "Cfb" at low altitudes, then becoming "Cfc", "Dfc" and "ET" at higher altitudes.

 

Places of interest

An Teallach

Aonach Mòr (Nevis Range ski centre)

Arrochar Alps

Balmoral Castle

Balquhidder

Battlefield of Culloden

Beinn Alligin

Beinn Eighe

Ben Cruachan hydro-electric power station

Ben Lomond

Ben Macdui (second highest mountain in Scotland and UK)

Ben Nevis (highest mountain in Scotland and UK)

Cairngorms National Park

Cairngorm Ski centre near Aviemore

Cairngorm Mountains

Caledonian Canal

Cape Wrath

Carrick Castle

Castle Stalker

Castle Tioram

Chanonry Point

Conic Hill

Culloden Moor

Dunadd

Duart Castle

Durness

Eilean Donan

Fingal's Cave (Staffa)

Fort George

Glen Coe

Glen Etive

Glen Kinglas

Glen Lyon

Glen Orchy

Glenshee Ski Centre

Glen Shiel

Glen Spean

Glenfinnan (and its railway station and viaduct)

Grampian Mountains

Hebrides

Highland Folk Museum – The first open-air museum in the UK.

Highland Wildlife Park

Inveraray Castle

Inveraray Jail

Inverness Castle

Inverewe Garden

Iona Abbey

Isle of Staffa

Kilchurn Castle

Kilmartin Glen

Liathach

Lecht Ski Centre

Loch Alsh

Loch Ard

Loch Awe

Loch Assynt

Loch Earn

Loch Etive

Loch Fyne

Loch Goil

Loch Katrine

Loch Leven

Loch Linnhe

Loch Lochy

Loch Lomond

Loch Lomond and the Trossachs National Park

Loch Lubnaig

Loch Maree

Loch Morar

Loch Morlich

Loch Ness

Loch Nevis

Loch Rannoch

Loch Tay

Lochranza

Luss

Meall a' Bhuiridh (Glencoe Ski Centre)

Scottish Sea Life Sanctuary at Loch Creran

Rannoch Moor

Red Cuillin

Rest and Be Thankful stretch of A83

River Carron, Wester Ross

River Spey

River Tay

Ross and Cromarty

Smoo Cave

Stob Coire a' Chàirn

Stac Polly

Strathspey Railway

Sutherland

Tor Castle

Torridon Hills

Urquhart Castle

West Highland Line (scenic railway)

West Highland Way (Long-distance footpath)

Wester Ross

Livestock farming is the backbone of Somaliland economy. Every year, an estimated 4.2 million heads of sheep, goats, cattle and camel –mainly living animals- are raised and sailed to neighboring Arab States via the port of Berbera. This number has been steadily growing over last years. Although from 1998 to 2009 (roughly), Saudi Arabia, Yemen and Oman’s import of meat coming from the African horn was banned because they suspected it was infected by the Rift Valley fever. This measure deeply affected the economies of Somaliland and Ethiopia.

Nevertheless, the growing popularity of Hajj among Muslim worshipers has increased the demand in meat over the past years. The traditional yearly pilgrimage to Mecca, Saudi Arabia and the rapid growth made the economy of Somaliland pick up again.

And Saudi Arabia announced in early 2011 that it would increase livestock imports by two-fold by the following year. At the same time, Somaliland is pushing forward plans to get a partnership with Malaysia for the exportation of Halal meat.

Indeed, more than a half of the population in Somaliland relies on meat, milk and other livestock products on a daily basis and 70% of job opportunities are related to livestock raising business. Stockbreeding-related activities really are the main source of livelihood for the majority. Besides, the livestock sector represents 50% of Somaliland GDP and nearly the whole export earning.

But nowadays, nomadic stockbreeding is endangered by alternate severe droughts and flash floods combined with overgrazing, which provoke a lack of pasture available for the animals.

 

Formerly a British colony, Somaliland briefly reached its independence in 1960. It is one of the three Territories, with Puntland and former Italian Somalia that compose the current State of Somalia.

Somaliland proclaimed its independence in 1991, adopting its own currency, a fully independent government, working institutions and police. The authorities organized a referendum in 2001, advocating once again for full independence. However, to date, it is not internationally recognized.

Ethiopian Prime minister Meles Zenawi is the only one to speak about a Somalilander president, recognizing implicitly the existence of an independent State. Indeed the economy of neighboring Ethiopia dramatically depends on Somaliland stability, since the landlocked country’s main trade route passes through the Somalilander port of Berbera… And vice-versa, the economy of Somaliland largely depends on the taxes and duties it charges Ethiopia. Besides that, the principal economic activity of Somaliland is livestock exportation to the Arabian Peninsula. Most people are Sunni Muslims and speak Arabic, as well as some Somali dialect and many of them, English.Lastely, the East African demography being based on clan alliances, it is no surprise that the frontiers drawn by the colonists don’t match the ethnic divisions of territory, leading to open clashes. More broadly, this problem is recurrent across the African continent.

 

© Eric Lafforgue

www.ericlafforgue.com

 

How random is nature?

Apparently Albert Einstein was very interested in this question, and it was the issue of randomness implicit in quantum mechanics that kept him from ever accepting quantum mechanics, he is quoted as saying, “God does not play dice.”

 

We now are certain that any new physics that is discovered in the years to come will have to be consistent with quantum mechanics, so the randomness seems to be here to stay.

 

But, if we are certain about randomness at sub-atomic levels, how does it fit into the recently controversial intelligent design?

 

Was randomness part of the design plans?

- "I will just let this part be random"...

 

At first I was rampantly strong against ID because I believe that there is enough scientific evidence to prove the evolution of man.

 

There is even a parody church called:

The Church of the Flying Spaghetti Monster

en.wikipedia.org/wiki/Flying_Spaghetti_Monster

 

That hilarious religion in the end just wants to state that if catholic church's genesis is allowed to be presented as an alternative to evolution; then any other unproven theory with sufficient structure can be as valid.

 

But with more thought to the controversy, I think that even though evolution does have scientific evidence, it still hasn't been proven completely, there are some missing links (subtle if you may); and so as much as we can be "almost" sure that it is a fact. Adhering strictly to the scientific method, then the "theory" of intelligent design will have some room in people's hearts for a few years (until those irrefutable facts are found).

Son especials, espectaculars. Potser la màgia del lloc està implícita en la mirada que es plau en aquesta admiració...

Son especiales, espectaculares. Quizá la magia del lugar está implícita en la mirada que se place en esta admiración ...

They are special, spectacular. Perhaps the magic of the place is implicit in the look that pleases in this admiration ...

Implicit

The present place of worship dates from 1893 and is a fine neo-Gothic building in the village of Portmahomack. The building was designed by Andrew Maitland and Sons, Architects. It was largely restored in 1993-4.

 

Tarbat Free Church is a congregation of the Free Church of Scotland (Continuing). It is reformed, evangelical and presbyterian. The Church is located in the village of Portmahomack, Ross and Cromarty.

 

Portmahomack is a small fishing village in Easter Ross, Scotland. It is situated in the Tarbat Peninsula in the parish of Tarbat. Tarbat Ness Lighthouse is about three miles (five kilometres) from the village at the end of the Tarbat Peninsula. Ballone Castle lies about one mile (1.5 kilometres) from the village.

 

There is evidence of early settlement, and the area seems to have been the site of significant activity during the time of the Picts, early Christianity and the Vikings. The village is situated on a sandy bay and has a small harbour designed by Thomas Telford: it shares with Hunstanton the unusual distinction of being on the east coast but facing west. Portmahomack lies inside the Moray Firth Special Area of Conservation with the associated dolphin and whale watching activity.

 

The village has a primary school, golf course, hotel, a number of places to eat and a shop with a sub-post office. The nearest rail access is at Fearn railway station and the nearest commercial airport is at Inverness Airport. The nearest town with full services is Tain lying approximately 10 miles (16 kilometres) west. Tain also has rail access. The hamlet of Rockfield is nearby and is accessed via the village of Portmahomack.

 

Situated nine miles (fourteen kilometres) east of Tain on the northern coast of the Tarbat Peninsula, Portmahomack has long been known to be on the site of early settlements. The earliest evidence of habitation is provided by shell middens pointing to settlement as early as one or two thousand years BCE.

 

There are the remains of an Iron Age broch a little to the west of the village. Finds of elaborate early Christian carved stones dating to the 8th–9th centuries (including one with an inscription), in and around the churchyard, had long suggested that Portmahomack was the site of an important early church in the sixth-seventh century.

 

In 1822 Rev Grant, minister of Boharn, described "a beautiful square fortification of about 100 paces of a side" near Blàr a' Chath, north of the village. It was tentatively identified as a Roman camp in 1949 by O. G. S. Crawford although he did not visit the site and no trace was found of its existence during a later visit.

 

It had apparently been defaced by 1872 during land reclamation, but in Crawford's opinion there may be some traces of the Roman camp still visible or to be discovered.

 

It has been suggested that the supposed camp was visited by emperor Septimius Severus, based on remarks made by the Roman historian Cassius Dio: "Severus did not desist until he approached the extremity of the island".

 

Portmahomack is the site of the first confirmed Pictish monastery and the subject between 1994 and 2007 of one of the largest archaeological investigations in Scotland directed by Martin Carver (b. 1941). The fields surrounding the redundant St Colman's church were the focus of the 13-year investigation. What the archaeologists uncovered were: an early medieval enclosure ditch, burial ground, remnants of a stone church, and carved stone fragments in the Pictish style.

 

The monastery began around 550 AD and was destroyed by fire in about 800 AD. It had a burial ground with cist and head-support burials, a stone church, at least four monumental stone crosses and workshops making church plate and early Christian books. The making of vellum in an early medieval site was detected for the first time here by Cecily Spall of FAS Ltd.

 

Over two hundred pieces of sculpture have been found, some of it broken up in a layer of burning suggesting that the monastic buildings were violently destroyed, possibly in a Viking raid, about the year 800.

 

The present restored building, adapted to house a museum after lying empty for a number of years, has been shown by archaeological investigation to be itself a monument of great interest, of multi-phase construction, the oldest part (the east wall of the crypt) having been built as early as the 9th century. The museum and visitor centre in the remodeled parish church is managed by the Tarbat Historic Trust.

 

Recent research on the ancient trench around the local monastery found organic samples in the date range from 140 AD to 590 AD. The area enclosed by the ditch may have been a "settlement, craft-working centre and/or hub of a Pictish community", connected to the possible Roman fortification in Port a Chaistell.

 

The Battle of Tarbat Ness was a land battle fought (c 1030–1040) between Thorfinn the Mighty, Earl (Jarl) of Caithness and the King of Scotland.

 

In the Battle of Tarbat in the 1480s, a raiding party from the Clan Mackay of Strathnaver were cornered in the Tarbat church by the Clan Ross, who killed many of them before setting fire to the church.

 

During the 17th century, cod, skate ling, halibut, lobsters and turbot were fished in great quantities until the end of the 18th century. Over 100 ships are reported to have exported grain from the harbor. Herring exports peaked between 1850 and 1890, and brought increased employment and prosperity to the region. At the end of the 19th century, the growing number of steam trawlers in the area led to the decline of the herring industry. The construction of the Balintore harbour, south of Portmahomack, also contributed to reduced shipping activity at Portmahomack. The export of grain from the harbor ended during the 1930s.

 

Today, Portmahomack is a tourist destination with its traditional harbour, swimming beach, golf, dolphin watching, fishing and other watersports. It has a permanent population of between 500 and 600 residents. In the former parish church the Tarbat Discovery Centre, designed by exhibition consultants Higgins Gardner & Partners, houses displays on local history, and many of the finds from several seasons of excavation within the church itself, and in the fields surrounding the churchyard. It also houses the Peter Fraser Archive of memorabilia relating to Peter Fraser, wartime prime minister of New Zealand, who was born and grew up in Hill of Fearn, seven miles (eleven kilometres) distant from Portmahomack.

 

Notable among these are a large collection of fragments of Pictish stone sculpture, many of them superbly carved with figures of ecclesiastics, fantastic and realistic animals, 'Celtic' interlace and key-pattern, and other motifs. The large elaborate late seventeenth- or early eighteenth-century bell-turret on the west gable of the church is an unusual and distinctive feature.

 

Some important Pictish carved stones from Portmahomack are on display in the Museum of Scotland, Edinburgh with replicas in the Tarbat Discovery Centre.

 

Two other important historic buildings in Portmahomack are adjoining 'girnals' (storehouses), built in the late 17th century and 1779, overlooking the harbour (restored as housing). The former is one of the oldest such buildings to survive in Scotland. The village also features a number of attractive 18th/early 19th century houses lining the shore.

 

Portmahomack was a favourite holiday location for Lord Reith (John Reith, 1st Baron Reith), Director-General of the BBC, who holidayed in the Blue House, still aptly painted blue and located on the seafront, near the harbour.

 

The murder-mystery writer Anne Perry lived adjacent to the village for a number of years.

 

John Shepherd-Barron, the inventor of the ATM (Auto-Teller Machine), lived in the nearby community of Geanies until his death in 2010.

 

Professor Thomas Summers West, was a famous son of the Village with an Exhibition held in his name at the Tarbat Discovery Centre in 2011.

 

The Highlands is a historical region of Scotland. Culturally, the Highlands and the Lowlands diverged from the Late Middle Ages into the modern period, when Lowland Scots language replaced Scottish Gaelic throughout most of the Lowlands. The term is also used for the area north and west of the Highland Boundary Fault, although the exact boundaries are not clearly defined, particularly to the east. The Great Glen divides the Grampian Mountains to the southeast from the Northwest Highlands. The Scottish Gaelic name of A' Ghàidhealtachd literally means "the place of the Gaels" and traditionally, from a Gaelic-speaking point of view, includes both the Western Isles and the Highlands.

 

The area is very sparsely populated, with many mountain ranges dominating the region, and includes the highest mountain in the British Isles, Ben Nevis. During the 18th and early 19th centuries the population of the Highlands rose to around 300,000, but from c. 1841 and for the next 160 years, the natural increase in population was exceeded by emigration (mostly to Canada, the United States, Australia and New Zealand, and migration to the industrial cities of Scotland and England.) and passim  The area is now one of the most sparsely populated in Europe. At 9.1/km2 (24/sq mi) in 2012, the population density in the Highlands and Islands is less than one seventh of Scotland's as a whole.

 

The Highland Council is the administrative body for much of the Highlands, with its administrative centre at Inverness. However, the Highlands also includes parts of the council areas of Aberdeenshire, Angus, Argyll and Bute, Moray, North Ayrshire, Perth and Kinross, Stirling and West Dunbartonshire.

 

The Scottish Highlands is the only area in the British Isles to have the taiga biome as it features concentrated populations of Scots pine forest: see Caledonian Forest. It is the most mountainous part of the United Kingdom.

 

Between the 15th century and the mid-20th century, the area differed from most of the Lowlands in terms of language. In Scottish Gaelic, the region is known as the Gàidhealtachd, because it was traditionally the Gaelic-speaking part of Scotland, although the language is now largely confined to The Hebrides. The terms are sometimes used interchangeably but have different meanings in their respective languages. Scottish English (in its Highland form) is the predominant language of the area today, though Highland English has been influenced by Gaelic speech to a significant extent. Historically, the "Highland line" distinguished the two Scottish cultures. While the Highland line broadly followed the geography of the Grampians in the south, it continued in the north, cutting off the north-eastern areas, that is Eastern Caithness, Orkney and Shetland, from the more Gaelic Highlands and Hebrides.

 

Historically, the major social unit of the Highlands was the clan. Scottish kings, particularly James VI, saw clans as a challenge to their authority; the Highlands was seen by many as a lawless region. The Scots of the Lowlands viewed the Highlanders as backward and more "Irish". The Highlands were seen as the overspill of Gaelic Ireland. They made this distinction by separating Germanic "Scots" English and the Gaelic by renaming it "Erse" a play on Eire. Following the Union of the Crowns, James VI had the military strength to back up any attempts to impose some control. The result was, in 1609, the Statutes of Iona which started the process of integrating clan leaders into Scottish society. The gradual changes continued into the 19th century, as clan chiefs thought of themselves less as patriarchal leaders of their people and more as commercial landlords. The first effect on the clansmen who were their tenants was the change to rents being payable in money rather than in kind. Later, rents were increased as Highland landowners sought to increase their income. This was followed, mostly in the period 1760–1850, by agricultural improvement that often (particularly in the Western Highlands) involved clearance of the population to make way for large scale sheep farms. Displaced tenants were set up in crofting communities in the process. The crofts were intended not to provide all the needs of their occupiers; they were expected to work in other industries such as kelping and fishing. Crofters came to rely substantially on seasonal migrant work, particularly in the Lowlands. This gave impetus to the learning of English, which was seen by many rural Gaelic speakers to be the essential "language of work".

 

Older historiography attributes the collapse of the clan system to the aftermath of the Jacobite risings. This is now thought less influential by historians. Following the Jacobite rising of 1745 the British government enacted a series of laws to try to suppress the clan system, including bans on the bearing of arms and the wearing of tartan, and limitations on the activities of the Scottish Episcopal Church. Most of this legislation was repealed by the end of the 18th century as the Jacobite threat subsided. There was soon a rehabilitation of Highland culture. Tartan was adopted for Highland regiments in the British Army, which poor Highlanders joined in large numbers in the era of the Revolutionary and Napoleonic Wars (1790–1815). Tartan had largely been abandoned by the ordinary people of the region, but in the 1820s, tartan and the kilt were adopted by members of the social elite, not just in Scotland, but across Europe. The international craze for tartan, and for idealising a romanticised Highlands, was set off by the Ossian cycle, and further popularised by the works of Walter Scott. His "staging" of the visit of King George IV to Scotland in 1822 and the king's wearing of tartan resulted in a massive upsurge in demand for kilts and tartans that could not be met by the Scottish woollen industry. Individual clan tartans were largely designated in this period and they became a major symbol of Scottish identity. This "Highlandism", by which all of Scotland was identified with the culture of the Highlands, was cemented by Queen Victoria's interest in the country, her adoption of Balmoral as a major royal retreat, and her interest in "tartenry".

 

Recurrent famine affected the Highlands for much of its history, with significant instances as late as 1817 in the Eastern Highlands and the early 1850s in the West.  Over the 18th century, the region had developed a trade of black cattle into Lowland markets, and this was balanced by imports of meal into the area. There was a critical reliance on this trade to provide sufficient food, and it is seen as an essential prerequisite for the population growth that started in the 18th century. Most of the Highlands, particularly in the North and West was short of the arable land that was essential for the mixed, run rig based, communal farming that existed before agricultural improvement was introduced into the region.[a] Between the 1760s and the 1830s there was a substantial trade in unlicensed whisky that had been distilled in the Highlands. Lowland distillers (who were not able to avoid the heavy taxation of this product) complained that Highland whisky made up more than half the market. The development of the cattle trade is taken as evidence that the pre-improvement Highlands was not an immutable system, but did exploit the economic opportunities that came its way.  The illicit whisky trade demonstrates the entrepreneurial ability of the peasant classes. 

 

Agricultural improvement reached the Highlands mostly over the period 1760 to 1850. Agricultural advisors, factors, land surveyors and others educated in the thinking of Adam Smith were keen to put into practice the new ideas taught in Scottish universities.  Highland landowners, many of whom were burdened with chronic debts, were generally receptive to the advice they offered and keen to increase the income from their land.  In the East and South the resulting change was similar to that in the Lowlands, with the creation of larger farms with single tenants, enclosure of the old run rig fields, introduction of new crops (such as turnips), land drainage and, as a consequence of all this, eviction, as part of the Highland clearances, of many tenants and cottars. Some of those cleared found employment on the new, larger farms, others moved to the accessible towns of the Lowlands.

 

In the West and North, evicted tenants were usually given tenancies in newly created crofting communities, while their former holdings were converted into large sheep farms. Sheep farmers could pay substantially higher rents than the run rig farmers and were much less prone to falling into arrears. Each croft was limited in size so that the tenants would have to find work elsewhere. The major alternatives were fishing and the kelp industry. Landlords took control of the kelp shores, deducting the wages earned by their tenants from the rent due and retaining the large profits that could be earned at the high prices paid for the processed product during the Napoleonic wars.

 

When the Napoleonic wars finished in 1815, the Highland industries were affected by the return to a peacetime economy. The price of black cattle fell, nearly halving between 1810 and the 1830s. Kelp prices had peaked in 1810, but reduced from £9 a ton in 1823 to £3 13s 4d a ton in 1828. Wool prices were also badly affected.  This worsened the financial problems of debt-encumbered landlords. Then, in 1846, potato blight arrived in the Highlands, wiping out the essential subsistence crop for the overcrowded crofting communities. As the famine struck, the government made clear to landlords that it was their responsibility to provide famine relief for their tenants. The result of the economic downturn had been that a large proportion of Highland estates were sold in the first half of the 19th century. T M Devine points out that in the region most affected by the potato famine, by 1846, 70 per cent of the landowners were new purchasers who had not owned Highland property before 1800. More landlords were obliged to sell due to the cost of famine relief. Those who were protected from the worst of the crisis were those with extensive rental income from sheep farms.  Government loans were made available for drainage works, road building and other improvements and many crofters became temporary migrants – taking work in the Lowlands. When the potato famine ceased in 1856, this established a pattern of more extensive working away from the Highlands.

 

The unequal concentration of land ownership remained an emotional and controversial subject, of enormous importance to the Highland economy, and eventually became a cornerstone of liberal radicalism. The poor crofters were politically powerless, and many of them turned to religion. They embraced the popularly oriented, fervently evangelical Presbyterian revival after 1800. Most joined the breakaway "Free Church" after 1843. This evangelical movement was led by lay preachers who themselves came from the lower strata, and whose preaching was implicitly critical of the established order. The religious change energised the crofters and separated them from the landlords; it helped prepare them for their successful and violent challenge to the landlords in the 1880s through the Highland Land League. Violence erupted, starting on the Isle of Skye, when Highland landlords cleared their lands for sheep and deer parks. It was quietened when the government stepped in, passing the Crofters' Holdings (Scotland) Act, 1886 to reduce rents, guarantee fixity of tenure, and break up large estates to provide crofts for the homeless. This contrasted with the Irish Land War underway at the same time, where the Irish were intensely politicised through roots in Irish nationalism, while political dimensions were limited. In 1885 three Independent Crofter candidates were elected to Parliament, which listened to their pleas. The results included explicit security for the Scottish smallholders in the "crofting counties"; the legal right to bequeath tenancies to descendants; and the creation of a Crofting Commission. The Crofters as a political movement faded away by 1892, and the Liberal Party gained their votes.

 

Today, the Highlands are the largest of Scotland's whisky producing regions; the relevant area runs from Orkney to the Isle of Arran in the south and includes the northern isles and much of Inner and Outer Hebrides, Argyll, Stirlingshire, Arran, as well as sections of Perthshire and Aberdeenshire. (Other sources treat The Islands, except Islay, as a separate whisky producing region.) This massive area has over 30 distilleries, or 47 when the Islands sub-region is included in the count. According to one source, the top five are The Macallan, Glenfiddich, Aberlour, Glenfarclas and Balvenie. While Speyside is geographically within the Highlands, that region is specified as distinct in terms of whisky productions. Speyside single malt whiskies are produced by about 50 distilleries.

 

According to Visit Scotland, Highlands whisky is "fruity, sweet, spicy, malty". Another review states that Northern Highlands single malt is "sweet and full-bodied", the Eastern Highlands and Southern Highlands whiskies tend to be "lighter in texture" while the distilleries in the Western Highlands produce single malts with a "much peatier influence".

 

The Scottish Reformation achieved partial success in the Highlands. Roman Catholicism remained strong in some areas, owing to remote locations and the efforts of Franciscan missionaries from Ireland, who regularly came to celebrate Mass. There remain significant Catholic strongholds within the Highlands and Islands such as Moidart and Morar on the mainland and South Uist and Barra in the southern Outer Hebrides. The remoteness of the region and the lack of a Gaelic-speaking clergy undermined the missionary efforts of the established church. The later 18th century saw somewhat greater success, owing to the efforts of the SSPCK missionaries and to the disruption of traditional society after the Battle of Culloden in 1746. In the 19th century, the evangelical Free Churches, which were more accepting of Gaelic language and culture, grew rapidly, appealing much more strongly than did the established church.

 

For the most part, however, the Highlands are considered predominantly Protestant, belonging to the Church of Scotland. In contrast to the Catholic southern islands, the northern Outer Hebrides islands (Lewis, Harris and North Uist) have an exceptionally high proportion of their population belonging to the Protestant Free Church of Scotland or the Free Presbyterian Church of Scotland. The Outer Hebrides have been described as the last bastion of Calvinism in Britain and the Sabbath remains widely observed. Inverness and the surrounding area has a majority Protestant population, with most locals belonging to either The Kirk or the Free Church of Scotland. The church maintains a noticeable presence within the area, with church attendance notably higher than in other parts of Scotland. Religion continues to play an important role in Highland culture, with Sabbath observance still widely practised, particularly in the Hebrides.

 

In traditional Scottish geography, the Highlands refers to that part of Scotland north-west of the Highland Boundary Fault, which crosses mainland Scotland in a near-straight line from Helensburgh to Stonehaven. However the flat coastal lands that occupy parts of the counties of Nairnshire, Morayshire, Banffshire and Aberdeenshire are often excluded as they do not share the distinctive geographical and cultural features of the rest of the Highlands. The north-east of Caithness, as well as Orkney and Shetland, are also often excluded from the Highlands, although the Hebrides are usually included. The Highland area, as so defined, differed from the Lowlands in language and tradition, having preserved Gaelic speech and customs centuries after the anglicisation of the latter; this led to a growing perception of a divide, with the cultural distinction between Highlander and Lowlander first noted towards the end of the 14th century. In Aberdeenshire, the boundary between the Highlands and the Lowlands is not well defined. There is a stone beside the A93 road near the village of Dinnet on Royal Deeside which states 'You are now in the Highlands', although there are areas of Highland character to the east of this point.

 

A much wider definition of the Highlands is that used by the Scotch whisky industry. Highland single malts are produced at distilleries north of an imaginary line between Dundee and Greenock, thus including all of Aberdeenshire and Angus.

 

Inverness is regarded as the Capital of the Highlands, although less so in the Highland parts of Aberdeenshire, Angus, Perthshire and Stirlingshire which look more to Aberdeen, Dundee, Perth, and Stirling as their commercial centres.

 

The Highland Council area, created as one of the local government regions of Scotland, has been a unitary council area since 1996. The council area excludes a large area of the southern and eastern Highlands, and the Western Isles, but includes Caithness. Highlands is sometimes used, however, as a name for the council area, as in the former Highlands and Islands Fire and Rescue Service. Northern is also used to refer to the area, as in the former Northern Constabulary. These former bodies both covered the Highland council area and the island council areas of Orkney, Shetland and the Western Isles.

 

Much of the Highlands area overlaps the Highlands and Islands area. An electoral region called Highlands and Islands is used in elections to the Scottish Parliament: this area includes Orkney and Shetland, as well as the Highland Council local government area, the Western Isles and most of the Argyll and Bute and Moray local government areas. Highlands and Islands has, however, different meanings in different contexts. It means Highland (the local government area), Orkney, Shetland, and the Western Isles in Highlands and Islands Fire and Rescue Service. Northern, as in Northern Constabulary, refers to the same area as that covered by the fire and rescue service.

 

There have been trackways from the Lowlands to the Highlands since prehistoric times. Many traverse the Mounth, a spur of mountainous land that extends from the higher inland range to the North Sea slightly north of Stonehaven. The most well-known and historically important trackways are the Causey Mounth, Elsick Mounth, Cryne Corse Mounth and Cairnamounth.

 

Although most of the Highlands is geographically on the British mainland, it is somewhat less accessible than the rest of Britain; thus most UK couriers categorise it separately, alongside Northern Ireland, the Isle of Man, and other offshore islands. They thus charge additional fees for delivery to the Highlands, or exclude the area entirely. While the physical remoteness from the largest population centres inevitably leads to higher transit cost, there is confusion and consternation over the scale of the fees charged and the effectiveness of their communication, and the use of the word Mainland in their justification. Since the charges are often based on postcode areas, many far less remote areas, including some which are traditionally considered part of the lowlands, are also subject to these charges. Royal Mail is the only delivery network bound by a Universal Service Obligation to charge a uniform tariff across the UK. This, however, applies only to mail items and not larger packages which are dealt with by its Parcelforce division.

 

The Highlands lie to the north and west of the Highland Boundary Fault, which runs from Arran to Stonehaven. This part of Scotland is largely composed of ancient rocks from the Cambrian and Precambrian periods which were uplifted during the later Caledonian Orogeny. Smaller formations of Lewisian gneiss in the northwest are up to 3 billion years old. The overlying rocks of the Torridon Sandstone form mountains in the Torridon Hills such as Liathach and Beinn Eighe in Wester Ross.

 

These foundations are interspersed with many igneous intrusions of a more recent age, the remnants of which have formed mountain massifs such as the Cairngorms and the Cuillin of Skye. A significant exception to the above are the fossil-bearing beds of Old Red Sandstone found principally along the Moray Firth coast and partially down the Highland Boundary Fault. The Jurassic beds found in isolated locations on Skye and Applecross reflect the complex underlying geology. They are the original source of much North Sea oil. The Great Glen is formed along a transform fault which divides the Grampian Mountains to the southeast from the Northwest Highlands.

 

The entire region was covered by ice sheets during the Pleistocene ice ages, save perhaps for a few nunataks. The complex geomorphology includes incised valleys and lochs carved by the action of mountain streams and ice, and a topography of irregularly distributed mountains whose summits have similar heights above sea-level, but whose bases depend upon the amount of denudation to which the plateau has been subjected in various places.

Climate

 

The region is much warmer than other areas at similar latitudes (such as Kamchatka in Russia, or Labrador in Canada) because of the Gulf Stream making it cool, damp and temperate. The Köppen climate classification is "Cfb" at low altitudes, then becoming "Cfc", "Dfc" and "ET" at higher altitudes.

 

Places of interest

An Teallach

Aonach Mòr (Nevis Range ski centre)

Arrochar Alps

Balmoral Castle

Balquhidder

Battlefield of Culloden

Beinn Alligin

Beinn Eighe

Ben Cruachan hydro-electric power station

Ben Lomond

Ben Macdui (second highest mountain in Scotland and UK)

Ben Nevis (highest mountain in Scotland and UK)

Cairngorms National Park

Cairngorm Ski centre near Aviemore

Cairngorm Mountains

Caledonian Canal

Cape Wrath

Carrick Castle

Castle Stalker

Castle Tioram

Chanonry Point

Conic Hill

Culloden Moor

Dunadd

Duart Castle

Durness

Eilean Donan

Fingal's Cave (Staffa)

Fort George

Glen Coe

Glen Etive

Glen Kinglas

Glen Lyon

Glen Orchy

Glenshee Ski Centre

Glen Shiel

Glen Spean

Glenfinnan (and its railway station and viaduct)

Grampian Mountains

Hebrides

Highland Folk Museum – The first open-air museum in the UK.

Highland Wildlife Park

Inveraray Castle

Inveraray Jail

Inverness Castle

Inverewe Garden

Iona Abbey

Isle of Staffa

Kilchurn Castle

Kilmartin Glen

Liathach

Lecht Ski Centre

Loch Alsh

Loch Ard

Loch Awe

Loch Assynt

Loch Earn

Loch Etive

Loch Fyne

Loch Goil

Loch Katrine

Loch Leven

Loch Linnhe

Loch Lochy

Loch Lomond

Loch Lomond and the Trossachs National Park

Loch Lubnaig

Loch Maree

Loch Morar

Loch Morlich

Loch Ness

Loch Nevis

Loch Rannoch

Loch Tay

Lochranza

Luss

Meall a' Bhuiridh (Glencoe Ski Centre)

Scottish Sea Life Sanctuary at Loch Creran

Rannoch Moor

Red Cuillin

Rest and Be Thankful stretch of A83

River Carron, Wester Ross

River Spey

River Tay

Ross and Cromarty

Smoo Cave

Stob Coire a' Chàirn

Stac Polly

Strathspey Railway

Sutherland

Tor Castle

Torridon Hills

Urquhart Castle

West Highland Line (scenic railway)

West Highland Way (Long-distance footpath)

Wester Ross

While painting is about communicating the artist inner world, photography could be conceived as a means of communicating the artist's perception of the outer world.

Within this frame of thought, I interpret my photographic activities as an effort to communicate selected visual fragments of my surroundings. In addition, I perceive the act of taking pictures as equivalent to the implicit formulation of an existential statement such as: "I exist, therefore this is the way I see the world".

 

This concept is perhaps not exclusive to photography but also applicable to other forms of art. The artist is implicitly within his/her work (Artifex in Opere). Creating the artwork then becomes an elliptical way of corroborating the artist's own existence, either through his/her own contemplation or fundamentally from the feedback received from other individuals.

 

If we assume that there are few casual elements within a picture and most elements within have been chosen either consciously or unconsciously, there must be another meaning associated with photographs that goes beyond the esthetics of the composition. This underlying hermeneutics adds an occult symbolic layer to the images that transcend the boundaries of individual fragments of work to step into the emotional and spiritual world of the photographer. The overall resulting pattern is clearly greater than the summation of its parts (gestalt).

 

I am very much attached to my cameras, I think that this feeling stems in part from my fascination with their precise mechanics, but nonetheless from the executive role they play in the process of image creation. The camera is an approximation of what the brush is to painting (Photography: from the Greek: φωτός (phōtos), genitive of light and γραφή (graphé) representation by means of lines), literally the photographic camera is the instrument that allows us to draw with light.

 

However, there are some caveats with this analogy, since there is no complete transparency during the process of image creation, the results are always inseparable from the syntax superimposed by the media and the camera. For example, a black and white picture represents the colors of a scene as gradations of grey but because we have the ability to see in color, we would never interpret this as being a literal depiction of reality.

 

Another example of image related syntax can be found on images produced with early photographic processes, in those days emulsions had a low sensitivity to light. A consequence was that most portraits taken during that period had to be done outdoors under harsh sunlight, having the subjects hold static postures for a long time. Understanding this syntax allows us to interpret why people looked so serious or event upset, their solemn appearance deriving from their stiff postures and hard shadows under their facial features.

I do not think it is essential to understand the underlying photographic syntax of an image in order to enjoy viewing a picture, but being acquainted with it could add valuable context to its interpretation.

 

Regardless of which technology is used, a photograph domain will always lay within the space where the artist composition intersects with the mechanical action of the camera, which will capture, without restrictions, everything that exists within its field of view. Including those elements that the artist never perceived, consciously or unconsciously, before pressing the shutter button.

 

Claudio Valdés

   

Prior to the 12th Century construction, here visible as a rain swept ruine on top of the rocky headline, there was either a hill fort or Dun.

 

Looking south to a grueling rain storm.

 

The castle of Dunyvaig continued to develop through the 15th to 17th centuries. Early ideas of Scotland included Northern Ireland under the cultural group known as the Gaels of Dál Riata or Scoti (Scots). Taking-in Scottish Isles, parts of the mainland and northern areas of the Island of Ireland, the people's identities were linked by straits of sea, with many navigation distances either side of 40 miles. Early technical seafaring skills must have been implicit within these early societies.

 

The vivid and high position of Dunavaig Castle will have been an important reference point for navigation, with it marking a top point to a northern navigation of the Irish Sea : a stretch that has the port of Peel on the Isle of Man as its southern opposite (and one might likewise suspect very early history and prehistory to hide aside Peel's ancient castle peninsula). Either side to this channel can be found Portpatrick (to the west of 'Dumfries and Galloway') and Bangor in Northern Ireland. With a complicated coastline, the channel also expands inland to the Isles of Arran, west to Belfast, east to the Kintyre and via Lochs to Glasgow and north almost as far as Loch Lomand. Dunyvaig was also the light that marked a qualitative change in sea conditions and weather, as the relatively protected straits opened out to the Atlantic. Early boatsmen who dared to venture along coasts beyond this point might fair-weather as far as the sheltered bays of Derry and Drongawn Lough on the Island of Ireland with sheltered 'lanes' piercing as far as the Oban Hebredean portal. Whilst not all of these addresses of geography land inside 'today's' boandary of Dál Riata, these would have been fluid and known directions and destinations of conversations to contrast with the stasis of sedentary crofting.

 

Whilst a historical landmark with a memorable key date within the thirteenth century can afford just such a site with a sense of a 'start date', occupation of this peninsula is being currently shown to be from deep into the early British Mesolithic. The white tents in the above montage of three 135mm shots belong to the team of Professor Steven Mithen - Mesolithic specialist and author of 'After the Ice Age', 'The prehistory of Mind' and excellent works detailing his research on the early prehistory of Hebredian Isles. I was encouraged by locals to meet up with the dig, but with the rain storm cancelling one of their days and making my photographic research a challenge (misting, changing lenses and so on) - despite long days, I didn't get further than this passing shot, which is a shame. Word travels fast on an Island, and Lez and Moira fed me with tidbits about finds from the dig that pushed back the Island's early Mesolithic beyond dates anyone could have expected. If it turns out to be confirmed then it would be fantastic, but I will refrain from crossing the line and preempting. The start of the dig made the front page of the local Islay and Jura newspaper and the march to the site of the first trench was accompanied by a piper. The procession mixed locals with persons from both the Highlands and Islands University and Reading University.

 

AJ

FOTOS-EXPOSICIO-PINTURA-RESTAURANT-LAS VEGAS-MANRESA-EXPOSICIONS-BARCELONA-CATALUNYA-QUADRES-INTERIORS-BOTIGUES-BARRI VELL-ARTISTA-PINTOR-ERNEST DESCALS-

 

Conjunto con dos imágenes de la Exposició de Pintura en el Resturant LAS VEGAS de la ciudad de MANRESA, algunos de los cuadros de la Colección que trata de los interiores de las tiendas en el Barri Vell, pura historia social ciudadana en nuestra volátil actualidad, estos establecimientos comerciales que son especiales, quizá mañana ya no tendrán sus puertas abiertas, la sociedad va cambiando con rapidez y este es el momento para pintar estos lugares que llevan implícitos los acentos históricos , antiguas farmacias, estancos y oficios tan tradicionales como el zapatero que repara los zapatos nos muestran un tiempo concreto, he querido mostrar estas pinturas como homenaje a lo que nos va quedando de otras épocas pasadas más sencillas y agradables, hoy aún se pueden visitar, por cuanto tiempo más?. En las dos fotos ya están colocadas las pinturas en en esta sala de exposiciones tan céntrica y concurrida. Exponer físicamente siempre nos acerca a las personas que a menudo no se acuerdan de que los pintores pintamos para documentar nuestro tiempo, y aunque me da cierta pereza, creo que resulta muy importante celebrar estas muestras artísticas que pueden lograr la conexión entre el público en general y el trabajo de los artistas. Fotografías del artista pintor Ernest Descals con sus obras, el Arte de la plástica que se quiere comunicar con el mundo globalizado.

Any ostensibly religious (or anti-religious) overtones implicit in this series, are purely coincidental.

 

(Black-&-white version: www.flickr.com/photos/69765655@N02/49939037786/in/photost...)

How could this genius have quickly died? Like all authentic geniuses, earthly life has no real flavor, the real world seemed too insignificant for an unequal struggle with the astral cares of a body associated with the nourishment of the mind. This explains too well the representation of the digestive systems and a body diminished by its impulses connected with the members of its body, as for example with the members of an elitist circle, these members must pass into a principle of uniqueness: the monad.

 

Basquiat is unfortunately described as a suffering being, the incomprehension of his commentators is sad because it is superficial and without spiritual foundations. The analysis of the tortured artist is only a projection of phantasms without any mystical analysis.

 

"There is a graphomaniac quality to almost all of Basquiat’s work. He liked to scribble, to amend, to footnote, to second-guess and to correct himself. Words jumped out at him, from the back of cereal boxes or subway ads, and he stayed alert to their subversive properties, their double and hidden meaning. His notebooks, recently published in an exquisite facsimile by Princeton, are full of stray phrases, odd combinations. When he began painting, working up to it by way of hand-coloured collaged postcards, it was objects he went for first, drawing and writing on refrigerators, clothes, cabinets and doors, regardless of whether they belonged to him or not…

…A Basquiat alphabet: alchemy, an evil cat, black soap, corpus, cotton, crime, crimée, crown, famous, hotel, king, left paw, liberty, loin, milk, negro, nothing to be gained here, Olympics, Parker, police, PRKR, sangre, soap, sugar, teeth.

These were words he used often, names he returned to turning language into a spell to repel ghosts. The evident use of codes and symbols inspires a sort of interpretation-mania on the part of curators. But surely part of the point of the crossed-out lines and erasing hurricanes of colour is that Basquiat is attesting to the mutability of language, the way it twists and turns according to the power status of the speaker. Crimée is not the same as criminal, negro alters in different mouths, cotton might stand literally for slavery but also for fixed hierarchies of meaning and the way people get caged inside them." At The Guardian, Olivia Laing, the eminently readable author of To the River, The Trip to Echo Spring, and The Lonely City, on artist Jean-Michel Basquiat.

 

Can we find this analysis a little literalistic or superficial? Hughes Songe offers you another reading option:

Basquiat's painting can be seen in Genesis (3:24), when God drives Adam out of Paradise, he establishes two cherubs with a sword leading to the Tree of Life. Revelation I, 16 describes a two-edged sword coming out of the Word's mouth: "He had in his right hand seven stars, and out of his mouth came a two-edged and sharp sword; his face was as bright as the sun in its strength. »

 

We can also pursue Genesis as two knight men who draw a symbolic battle, the one on the left comes from the East, so he is already initiated and probably in connection with the astral as indicated by his crown of christic thorns or as the statue of liberty, his sword is a blade, or a soul, that is to say that he carries the light. The right-wing knight comes from the West and reminds us that the Western Knights Templar were initiated in Jerusalem. The Knight Kadosh is the synthesis of the two men who clash to become immortal. Venerable Master of Ceremonies, invites them to meet on the square in front of a temple and at the Areopagus Gate the Knights of the Sun who are seeking admission to the thirty-third degree. The first recorded representation of the degree "Knight Kadosh" can be linked to the Council of Eastern and Western Emperors in 1758.

 

Here is a possible reading grid to understand this painting by JM Basquiat. Perhaps we need to come up with ethnocentric analyses on voodoo or Amerindian rites or worse on the life of a neurotic, even drugged person, all this is told by the guides to reassure us better to be in the norm.

A genius is necessarily not readable in a grid formatted for art journalists?

 

The numbers on the painting could be understood? Is this just a hypothetical version for those who believe in a higher life?

 

1

It is necessary to be aligned to connect with the astral, blue is its color, a blue square is under the sword to find its verticality. the Sufi's fight is not a horizontal fight against the other, for a material conquest, but an inner vertical fight, for a spiritual quest; which leads to the one of them, for the benefit of the other. In esotericism, some groups use a sword without a point as a symbol of balance. The orange sun of the background illuminates and burns, the light of the Spiritual Principle is the purifying fire materialized by the lightning, archetype of the sword. The flash is lightning... so the Truth lightens the error by cutting through the darkness of ignorance. The Knight Kadosch will understand that this sword can only be for him the sword of the Spirit, this force that will allow him to separate Good from Evil, Justice from injustice and to make sure that the Light of Truth guides all his actions. It is this unifying force, this One that is consubstantial to us and that we finally manage to make shine. Only a complete universe, responsible before our conscience and rich in knowledge and love, will we be able to act and perform our role as soldiers of the universal and the Heavenly.

 

2 The sword of the Western Redhorse is tilted at 33 degrees to indicate his request, he is not in balance and may be wearing a slipper. The sword is the divine word, it is the Word and it is the greatest gift since to have the sword is to have the Word of Life which is the instrument of justice which comes to skin the bottom of the painting. The scythe of death is just above....

 

3 The sword is the symbol of the Logos, the Word, having a double edge, therefore the double power, the knight no longer needs a mouth to express himself because he uses telepathy.

 

4 He has a big mouth that comes to him from the bottom world, his words are too human to access the planes of higher consciousness.

 

5 The corpus of Knight Kadosh is squared as the symbol of the Earth, it is also squared to be perfect. His heart became his soul.

 

6 The Western Knight still has a scale of 7 steps to climb before freeing himself from the slavery of his own inner body.

 

7 he must move on a chessboard or mosaic paving stone to balance his thoughts

 

8 the arrows symbolize the action of Time, they are in

opposition to mean that Real Time no longer exists, we are already in eternity (ether n T)

 

9 a black phallic symbol can indicate a first act of the transmutation work, followed by white, red and finally yellow (4 essential colours of the painting with astral blue)

 

10. The Great Architect of the United to Heaven (Universal) has left his compass and put his square upside down, for the true World lives hidden beneath the Earth. To the Glory of the coronation the Grand Knight Kadosch to his investiture of the duties, charges and dignitaries related to this quality and confers on him the faculty to enjoy all the rights and prerogatives attached to this rank. (He successively strikes the right shoulder and then the left shoulder of each new Knight with the blade of his sword) Knights, rise up and receive, in the name of all the Kadosch Knights, the fraternal embrace. (The standard bearer puts the standard back in its place and the Master of Ceremonies decorates the new Knights with the attributes of their rank. (The Commander takes his place in his throne and then, addressing the new Knights: Knights, you are now armed for your battle. Your weapon is not the dagger of the Sicarius, nor the knife of the executioner, nor the stylus of the calumniator, because the means of your action are located on a higher plane. Your weapon is the flaming sword of Michael Saint, the inflexible spear of George Saint, the Caduceus of Mercury. What you touch with its tip must be ennobled and placed at your side in the service of the cause for which you are fighting.

 

11 you have to climb the first 13 ranks to reach the 33rd, no step on the ladder is the same, the human experience is carried out in two different and, in many ways, incompatible ways. Here they are represented by the two amounts of this mystical scale. On the one hand, the disciplines of intelligence, science and technology that assume and affirm determinism. Venerable Master of Ceremonies, have two of our recipients symbolically walk through them (the Master of Ceremonies makes the recipients read, step by step, the names of the sciences inscribed therein: grammar, rhetoric, logic, arithmetic, geometry, music, astronomy)

 

12 A for Alchemy or Amorous and Astral ( SPIRITU ASTRA ERA), it is still a ladder to climb towards the High Grades. The symbol of the scale must be linked to the meaning of the weapons that Knight Kadosch has at his disposal to carry out his fight successfully. The scale that will allow her to access the highest level of metaphysical knowledge and in this sense, she becomes almost mystical. The aim here and now is to ensure that the binary that manages its destiny, which is the main characteristic of daily existence, is resolved, integrated into the unitary principle, into the Creative Principle. This can only be considered as something ineffable, only conceivable on a level that exceeds us, on a supra-human level. It is in fact the concept of the original Light, the very Light that prevails in all our endeavors on the initiatory path since we once knocked at the temple door and gives meaning to this quest. The scale nowadays is therefore double, stable, composed of two uprights and seven steps on each side. It is possible to climb it indifferently from one side or the other, but the process, in the initiatory progression towards the Principle, resembles the ascending path, that of Love, the ultimate goal of our process. Look up there it reads A a a a.......

 

13 Knight Kadosh has achieved his decorporation and now he is levitating above his ghost feet (white). We can also say that there is shade because an obstacle stands in the way and prevents the passage of light. The first awareness of the dark side is the shadow that each person takes with them. No matter how much we run, this shadow follows us everywhere. The only way to remove them is by light: the sun must reach us in such a way, for example when they are plumb, and the shadow must then remain under our feet.

 

14 The Western Knight: Knight, for a long time with different degrees ( 11th, 13th, 15th, 17th, 18th, 21st, 22nd, 25th, 28th and 30th) who refer to this distinction. It is linked to the lower ranks and to Earth's gravitation, it rotates on itself and around the golden background that symbolizes humanity's central star: the sun.

We can also note that the background is golden like an integral transmutation, becoming this light is the quest of Knight Kadosh, he no longer needs the apron of learning...

 

The ceremony is coming to an end, Knights of the South Camp, I invite you to recognize now for Grand Chosen Knights Kadosch, the Knights present between the two camps... Knights of the North Camp, I invite you to recognize from now on Grand Chosen Kadosch Knights, the Knights present between the two camps. Since this action seems to be the finality of the journey of a mystic, in general, and that of the Knight Kadosch, in particular; why does it take, then today, the form of combat, for the one who has reached the end of his individual initiation, and fight for Life what is more?

 

While trying to provide an answer to this question, we will try to bring the struggle of the Kadosch Knight closer to that of the Sufi mystic, as a "wali" knight, that is to say, Saint, adept of the futuwa, this spiritual knighthood of the Muslim world.

 

"Knight, my Brother, You are armed now for the fight of Life"

 

Certainly; each term has its importance, in this affirmative sentence, and undoubtedly contributes to give it its power, depth and dynamism. However, the adverb "now" is, in my opinion, the key to its front door. Because not only does it indicate a real limit in space; (where? At the 30th degree of the pyramid of the Rite, the end of the ascending realization, of the adept,) and in time (when? At the end of the consecration ceremony, of the knight), but thus placed just after the adjective "armed", it implicitly means that before having reached the 30th degree, and before having been dubbed there; the adept is not really armed to lead a fight, and even less to fight the fight of life.

And yet; the adept has carried many different weapons and fought many battles during his evolution on the scale of the Rite. Indeed, from the 11th degree; Sublime Chivalry Chosen, Excellent Emereck, "True Man in All Circumstances", armed with the sword of justice, by King Solomon, whose motto is "to win or die." he had engaged, in a singular struggle, his life to death, for a noble and just cause. It is precisely for a just purpose that, with the sword in one hand, the trowel in the other; Knight of the East and of the Sword, he was called upon to build the Temple with one hand and to defend it with the other. His motto was "freedom to pass", which is why he had to fight to cross the Gandhara bridge and thus pass from the material world to the spiritual world. His struggle, although physical, was ultimately of spiritual significance. Armed with his sword; Knight of the East and West, conscious of the need to fight the misdeeds of intolerance, prejudice and fanaticism; Kadosch was the pilgrim Knight, working to be recognized as the son of the Light. He fought to reconcile extreme opposites; East and West, shadow and light and thus try to overcome duality. Although his only material weapon was his pilgrim's staff, symbol of the axis mundi and the inner struggles, he took the oath, as a Knight Rose Cross (return to the point), on the sword of justice, promising to defend the weak and relieve the afflicted. He proposed as his goal to "fight pride, selfishness and ambition, to make devotion and Charity prevail in their place". In the defense of the True, the Good and the Righteous, prowess, generosity, such was his chivalrous ideal. If it is true that the struggles that Kadosch has fought so far are a necessary condition, although insufficient to lead the struggle of life, the accomplishment of this journey, made in the practice of Chivalric Virtues, fully contributes to his qualification and to that aptitude, which the Most Powerful Grand Master recognizes in him, and this by considering him worthy to fight, finally, in the ranks of the Militia of the Temple.

 

If any fight involves a certain preparation, and a certain skill, it requires, however, weapons.

 

"You're armed now."

 

The weapon, for the fight of Life, of the Knight Kadosch, who adorns his ribbon, is certainly not the dagger with which Johabert, thirsty for revenge and blood, killed Abairam, Hiram's murderer, by beheading him.His weapon being of a different type, his fight will necessarily be of a different nature because, led on other levels.

 

"In the name of God, Saint Michael and Saint George, I make you a knight"

 

Thus, three types of weapons are suggested: the Caduceus of Mercury, the sword of Saint Michael, and the spear of Saint George. On the other hand, the main weapon of the Grand Knight Kadosch is clearly designated to him and presented by the Mighty Grand Master as soon as he descends the Mystical Scale:

 

"Behold, behold, the Caduceus of Mercury, everything you touch with the tip of this weapon shall be transformed into pure gold.

 

Is it three in one? For his weapon will be at the same time, his "magic wand that will conjure up the spell of matter, his flaming sword that will transform the events, his Kherub's sword that will reopen the gates of Paradise to him." The injunction given by the Most Powerful Grand Master to the Knight Kadosch, who has just been consecrated, "works. Go to the mode. The road is clear," he said, leaving no doubt as to where his fight would take place. His action, as a collaborator of the Great Architect of the Universe "my rights consist in not submitting myself to the decrees of Divine law but, to collaborate in them" has no meaning unless it is carried out in the world of manifestation.

His action will be carried out, in accordance with the motto of our Order "ORDO AB CHAO DEUS MEUMQUE JUS", an Order that he first began to carry out in himself, because it is necessary to "Defeat our passion" by rectifying himself, by freeing himself, after having won the fight against his ego, this Holy War that the Sufi calls: the Great Jihad.On this level, the two Knights are fighting the same battle, because the Sufi's fight is not a horizontal fight against the other, for a material conquest, but an inner vertical fight, for a spiritual quest; which leads to the one of them, for the benefit of the other. It is this passage from the heroic to the mystical epic that constitutes, for the Sufi knight, the passage from the small jihad to the great jihad, the true "holy war".

 

"All heroes have always fought the snake to defeat it and force it to serve." Then with his flaming sword, like the Archangel Saint Michael, Prince of the Celestial Militia, he defeated the dragon to control and control it. And if he spares his life, it is because he knows that if he dies, he will no longer be of any use. It is therefore better to convert it. Thus, victorious over Saton, the adversary; his fight, far from being destructive, is constructive, full of promise and Life. It is in this sense that we can say that the Sword of the Knight Kadosch is the weapon of his holy war, waged against the errors of the corporeal dimension and leading to his reconciliation with the spiritual dimension. It is through this Flaming Sword that the Venerable Master creates, constitutes and receives the Neophyte Apprentice. It is through it that the symbolic passage from the profane to the initiated to chivalry or by analogy to alchemy takes place. His weapon is indeed transformative of its essential nature Now armed with his weapons of Light, the caduceus of Mercury, the flaming sword of Saint Michael and the inflexible spear of Saint George, who left alone in the world, without fear or reproach, the Knight of the White and Black Eagle, remembers that the last journey of any initiation ceremony is always a projection into the future of the initiate's journey. The time has therefore come for him to finally put into action the sentence of the Secret Master's last trip: "What chivalry asks you to do is to promote justice". It is therefore here in the manifested world that he must participate effectively in the restoration of the Order, in his soul and conscience, in accordance with the Divine Plans perceived at the top of the Mystical Scale, and this "NON NOBIS, DOMINE, NON NOBIS, SED NOMINI TUO DA GLORIAM".

 

If the Knight Kadosch, Being of Light, thus armed, now has the right to initiative to act and fight, it is because he has succeeded in climbing the seven steps of the Mystical Ladder, and purified by Sophie's tire, he has received the supreme initiation. It is because he has conquered, as a result, this freedom of the creature so sought "for those who have overcome the obstacles", the one that is conquered "beyond the limits of the realms of forms".

  

The Western Knight masters this degree of proximity to the principle, "Nec plus Ultra", separated, he received his mission order, and took, when he turned around at this summit, "the commitment not to suffer the events, but to transform them.

 

While the Eastern Knight, inspired by Sufi gnoseology, who arrives at this "station of the heart", who becomes protected from God "Wali" and who receives from his Master the secrets of esoteric Knowledge "Gnosis" and the investiture of the "Baraka", submits himself entirely to God.

 

Their weapons, although both of divine nature: the Caduceus of Mercury for one, the "Baraka" for the other, do not, however, have the same scope. For the "Baraka" received by Knight Wali, as "protected and "friend of God", appears as a reward for "effort given", given to those who have committed themselves to the path of the "Hakika", the Truth, by submitting to the Divine Law. Mediator between God and men, in the service of his fellow men, the Wali, is ready to help the weak and heal the sick by the powers of the "Baraka" of which he is invested, however, his remedy, even if it is effective, will only act on the surface, just on the wound of the wounded, or on the evil from which the sick suffer. While the Caduceus of Mercury of the Knight Kadosch, the intercessor, acts in depth by rectifying and transforming the material. Everything he touches with the tip of his fingers will turn into pure gold. It is by transmutation that he operates on matter by spiritualizing it. His purpose is not limited to healing the patient's wounds or ridding him of his pain, but to make him a doctor, so that he can in turn heal and heal all those who suffer from the evils caused by darkness in order to free them from all oppression and injustice.

 

Thus he will be entitled to think, like Albert Camus, "I understood that it was not enough to denounce injustice, you had to give your life to fight it".

 

To fight to conquer Freedom for others, it seems to me, is one of the senses of the Fight for the Life of the Knight Kadosch, a fight he must lead armed with his Caduceus of Mercury, that is, his own spiritual power, resulting from the synthesis of his past experiences and victories.

 

"In order to allow the infinite irradiation of the pure Being, the true sovereign, to manifest itself"

 

If there is no doubt, that being continuously at the service of others, in a relationship of otherness, by surpassing the ego, constitutes both the fundamental bases of the knightly ideal of the Kadosch knight and those of the Sufi knight; this spirituality, despite these obvious similarities, and although it leads to the same Principle, differs in certain respects.

 

The Sufi Knight, who bases his spirituality on his Islamic faith, by placing his destiny entirely in the hands of God, sees his actions guided by a transcendent determinism, and therefore his freedom of action in the world being limited, he directs his struggle essentially against his inner enemies and particularly against "El Nefs", his ego. In his spiritual quest, it is God's love that makes him love man. While the knight Kadosch, who takes his destiny in hand, who bases his spirituality on his alchemical faith and on that which he has in the perfectibility of man, positions himself as a collaborator of the Great Architect of the Universe. And from the moment his action necessarily turned towards the outside, his mission, as a Universal Man, is to transmit his knowledge. And his struggle, armed with his Caduceus of Mercury, who is none other than himself, will be to devote his entire Life to perfecting the world, in accordance with the plans of the Principle.

 

In this perspective, it is precisely the love of man that makes him love God.

 

Certainly Love and self-giving are the common vectors that motivate the struggles of the two spiritual knights, but if the knightly behaviour of one is aimed at the future opening of the gates of heavenly paradise for oneself; the goal of the other is the happiness, here and now, of all humanity, in the perspective of the coming of the Holy Kingdom.

 

Basquiat is now armed for the fight of Life

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A pintura retrata um sapateiro idoso, curvado sobre a sua bancada de trabalho, concentrado na sua tarefa manual.

O homem está vestido com roupas simples e desgastadas, indicando a sua condição de trabalhador.

Ele usa uma camisa branca de mangas arregaçadas, um avental cinza que protege o seu corpo e uma expressão de profundo foco.

A bancada está cheia de ferramentas tradicionais de sapateiro, como martelos, sovelas, e outros instrumentos que são usados na fabricação e reparo de calçado.

As cores utilizadas são principalmente tons terrosos e neutros, o que confere à obra uma sensação de realismo e nostalgia.

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Mário Silva adota uma abordagem realista para capturar a essência de um ofício tradicional que, com o tempo, se tornou cada vez mais raro.

A atenção aos detalhes, desde as rugas nas mãos do sapateiro até as texturas das ferramentas, revela uma técnica apurada e uma grande habilidade em criar uma representação fiel da cena.

O uso de luz e sombra é particularmente eficaz, destacando a concentração do sapateiro e enfatizando a tridimensionalidade dos objetos na bancada.

.

O tema da obra evoca uma sensação de nostalgia e respeito pelo trabalho manual.

A figura do sapateiro representa uma classe de trabalhadores que dedicam as suas vidas a um ofício especializado, o que hoje em dia está cada vez mais substituído por processos industriais.

A pintura parece celebrar a dedicação, a paciência e o conhecimento que só podem ser adquiridos com a experiência e o tempo.

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A composição é bastante íntima e focaliza exclusivamente o sapateiro e o seu espaço de trabalho.

Isso cria uma conexão direta entre o observador e o sujeito da pintura, quase como se estivéssemos testemunhando um momento particular de concentração e artesanato.

A escolha de um plano próximo permite que o observador repare nos detalhes das ferramentas e do trabalho sendo realizado, destacando a complexidade e a habilidade envolvidas.

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A expressão do sapateiro, combinada com a paleta de cores terrosas, infunde a obra com uma sensação de tranquilidade e dignidade.

Existe uma melancolia suave, talvez uma reflexão sobre a passagem do tempo e a eventual obsolescência de certos ofícios tradicionais.

No entanto, há também uma celebração implícita da maestria e da importância do trabalho manual.

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Como conclusão, "O antigo sapateiro" de Mário Silva é uma obra que vai além do simples retrato de um trabalhador.

É uma homenagem ao artesanato, à paciência e à perseverança.

Com a sua técnica apurada e abordagem realista, Silva convida-nos a refletir sobre a importância de preservar e respeitar os ofícios tradicionais num mundo cada vez mais dominado pela produção em massa.

A pintura consegue capturar não apenas a imagem de um sapateiro na sua oficina, mas também a alma de um trabalhador dedicado, imerso em seu ofício.

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Texto & Pintura (AI): ©MárioSilva

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總覺得這氣候不像是立秋，看了眼樹上的葉子這才發現，秋天好似悄悄的來了預告。

 

It's really hot these days, but the calendar shows that it's the beginning of autumn now. I don't believe it, but when I come out. The leaves on the tree show in deep yellow. The autumn announce in advance with an implicit way.

 

SONY A6000 / MEYER ORESTON 50MM F1.8

 

f/1.8 1/800s ISO100

 

A heavenly standard for the regulation of all our conduct

(Arthur Pink, "A Prosperous New Year")

 

"Do not let this Book of the Law depart from your mouth. You shall meditate on it day and night--so that you may be careful to do everything written in it. Then you will be prosperous and successful." Joshua 1:8

 

"You shall meditate on it day and night."

Only thus will its injunctions be fixed in the memory;

only thus shall we be able to ascertain our duty;

only thus shall we discern the rightful application of the Divine precepts to all the varied details of our daily lives.

 

The more I am regulated by the Divine Rule--the more I shall be preserved from the mistakes and follies which characterize those who follow a course of self-pleasing. But in order to do God's commandments, I must be conversant with them; and in order to perceive their breadth and specific application unto any problem or decision confronting me, I must "meditate on it day and night." Meditation stands to reading--as mastication does to eating. Spiritual prosperity eludes the slothful and careless.

 

"That you may be careful to do everything written in it." This must be the dominating motive and object. God's Word is to be appropriated and masticated--fed and meditated upon--not for the purpose of understanding its prophecies, or obtaining an insight into its mysteries--but in order to learn God's will for myself, and having learned it--to conform thereunto. God's Word is given to us chiefly--not to gratify curiosity or to entertain our imagination--but as "a lamp to our feet--and a light unto our path" (Psalm 119:105) in this dark world. It is a Rule for us to walk by--it is a heavenly standard for the regulation of all our conduct. It points out the things to be avoided--the things which would harm us. It tells of the things to be followed and practiced--the things which are for our good and our peace. It contains not only good advice--but is clothed with Divine authority, commanding implicit and unqualified obedience.

 

Painting Outside the Box' by Ilan Vizgan

  

The flute raises it's voice / what is it's story? / is it bad news or good ones or what? / It's about everything and all

 

A poem by

 

Nathan Alterman/ summer celebration

  

Mirit Ben-Nun’s paintings escape common description. An objective observation might describe it as contemporary art, though created by an upbeat young female artist, it is far from contemporary. This art possesses no “present day” defining elements.

 

Mirit's paintings speak in a distant dialect seemingly of another era and location. By trying to pinpoint this time and place, we find ourselves wandering about without a solid grasping point.

 

Her paintings are laced with a fire-like sensuality and striking colors. The naive and archetypal characteristics remind us of folk art. Reality is lost within the ‘erroneous’ size ratio of the numerous imagery, similarly to tribal and native art in Africa, Oceania and Australia.

 

The surface is laboriously worked and replicated similarly to rug weaving techniques. Motifs of Western Pop can be found in many of the paintings. This combination of Primeval motifs and Western Modern Art creates cultural and historical tensions between here and there, then and now. Formatively speaking the paintings are schematically divided into colorful segments with no intermediate transitions. Strong and clear boundaries outline the different areas, each is populated with a happening, opposing or complementing the one next to it. In this fashion, for example, round shapes are confronted with geometric ones or human images with those of animals and plants. Often the paintings are outlined with a ‘frame' thereby uniting the parts and creating an enclosure, like a window within a window. As a result, unconventional compositions are created and shatter the conventional formula of the "Uniformity of subject, shape & color". The rule breaking strengthens the untamed quality of these ‘uncivilized’ paintings.

  

In the center of Ben-Nun's paintings stands the image of the woman and the relationship between the sexes. Women are displayed as curvaceous, seductive images often in dancing poses. The dance is used as a metaphor for courting and seduction; the thick red lips, at times heart- shaped, symbolize passion and love. When it seems that the implicit allure isn't sufficient, the female image is portrayed in a frontal wide stance, in a composition that reminds us of the letter W. But when the two images meet, the feminine and the masculine, the unification is complete; melding into each other, the images' side view completely overlaps. When in a seated position the whole shape converts into the letter M emphasizing the complimenting opposites.

 

The protagonists - women and men - are accompanied by secondary characters; symbolic images of especially fish, hands (the Hamsa) and eyes. Those are prevalent in Middle East cultures and represent fertility, luck and protection from the evil eye. Their presence in the paintings, alongside the lovers, implies that the matter at hand is not barren erotica and carnal passion, but genuine love that yearns for a home, family and the raising of offsprings.

 

Beyond that, those images provide the observer that needed grasping point, for they corral this artistic creation, that seemed at first glance to fluctuate between other cultures and histories, to bring it back into this place, our own place, the here and now.

  

Mirit Ben-Nun is a wild plant who doesn't grow in the main avenue of the Israeli art but off the main road. She has her own path from which she defies the established Israeli art world. Like a Cupid, she sends her love arrows with a mischievous smile; when they hit a passerby the falling in love is instantaneous. Her paintings are filled with magic and humor. The unfamiliarity characterising them has an inexplicable attraction, similarly to the spell the wild has over the Westerner. In a sea of sounds that wraps around us, more pleasing or less, Ben-Nun‘s pure voice is echoed from the depths riddle- filled and unique, yearning for its own place in the world!

Museo de Madinat Al-Zahra

 

(Museo arqueológico y centro de interpretación del Conjunto de Madinat al-Zahra)

 

Ctra. de Córdoba a Palma del Río, A-431, km 5.5, Córdoba

 

Arquitectos: Nieto Sobejano Arquitectos: Fuensanta Nieto y Enrique Sobejano. Arquitecto de proyecto Miguel Ubarrechena. Equipo de proyecto Carlos Ballesteros, Pedro Quero y Juan Carlos Redondo. Dirección de obra: Fuensanta Nieto, Enrique Sobejano y Miguel Mesas Izquierdo. Proyecto museográfico: Nieto Sobejano Arquitectos / Frade Arquitectos, S.L. Concurso: 1999 Proyecto: 2002 Finalización: 2009

 

Los Arquitectos describen su proyecto:

“Los restos de la antigua ciudad hispano-musulmana sugerían un diálogo con quienes mil años antes la habían concebido y construido, pero también con el paciente trabajo de los arqueólogos y con el paisaje agrícola circundante, al que la geometría de las ruinas otorgaba una inesperada cualidad abstracta. El terreno del recinto arqueológico destinado al museo provocaba, no obstante, sentimientos encontrados.

Por una parte, la añoranza de un pasado remoto aún por descubrir impregnaba el paisaje que se extendía hacia la sierra de Córdoba. Por otra parte, el desordenado avance de las construcciones recientes se cernía inquietante sobre el entorno de lo que un día fue la ciudad palatina. Nuestra primera reacción al llegar al lugar habría de marcar, desde el primer momento, la futura propuesta: no debíamos edificar en aquel paisaje.

Ante una extensión de tal amplitud, que aún espera ser excavada, decidimos actuar como lo haría un arqueólogo: no construyendo un nuevo edificio, sino encontrándolo bajo tierra, como si el paso del tiempo lo hubiera ocultado hasta el día de hoy. De esta forma, el proyecto descubre la planta de un museo subterráneo, que articula sus espacios en torno a una secuencia de llenos y vacíos, áreas cubiertas y patios que guían al visitante en su recorrido. A partir del vestíbulo principal se extiende un amplio patio de planta cuadrada que, como un claustro, organiza en torno suyo los espacios públicos principales: salón de actos, cafetería, tienda, biblioteca, y salas de exposición. Un patio profundo y longitudinal articula las zonas de uso privado: administración, talleres de conservación e investigación. Un último patio constituye la prolongación al exterior de las áreas expositivas del museo. Las zonas de almacenamiento, concebidas como grandes espacios visitables iluminados cenitalmente, se funden en los recorridos del edificio con las áreas públicas de exposición y difusión. La propia concepción del proyecto lleva implícito un posible futuro crecimiento, pudiéndose agregar nuevos pabellones como si de nuevas excavaciones se tratase.

El nuevo museo establece casi imperceptiblemente un permanente diálogo con la arquitectura y el paisaje de la antigua medina árabe. La planta de doble cuadrado del museo se hace homotética con la de la ciudad, los jardines evocan la geometría abandonada de una excavación, los muros de hormigón y las cubiertas de acero cortén reflejan en el blanco y el rojo los colores con que originalmente estuvieron estucados los muros de la ciudad califal. La luz, la sombra, la textura, el material, abstraen la riqueza perceptiva que transmiten las ruinas arqueológicas.

El museo de Madinat al-Zahra aparece en el paisaje silenciosamente, como si hubiera sido encontrado bajo tierra, del mismo modo que a lo largo de los años continuará ocurriendo con los restos de la antigua ciudad de los califas omeyas.”

 

En “Museos de Andalucía” podemos leer:

El Museo, abierto al público en octubre de 2009, es un complejo edificio que contiene los espacios propios de un museo moderno, así como toda la infraestructura dedicada a la gestión patrimonial que demanda un conjunto arqueológico de la magnitud de la ciudad califal. El edificio está concebido como el punto de partida para la visita al yacimiento, con una presentación y exposición museográfica sobre Madinat al-Zahra.

La creación del Museo resuelve varios problemas planteados desde el comienzo de la recuperación del yacimiento en 1911. El primer edificio construido para dar apoyo a la excavación quedó pronto obsoleto por la ingente cantidad de material arqueológico que se fue almacenando en sus instalaciones y por la insuficiencia de espacios expositivos.

El Museo viene a resolver, además, varias demandas del Conjunto, referidas tanto a la difusión y función didáctica de la institución, como a la tarea de custodia y conservación que esta institución tiene encomendada.

Destaca en el edificio su ubicación exterior a la ciudad, aprovechando uno de sus caminos originales de acceso, de forma que no condiciona ni las excavaciones futuras ni el crecimiento en extensión de las mismas. Este compromiso de la nueva infraestructura con el yacimiento se extiende también al paisaje, pues el proyecto planteado por el estudio de arquitectura Nieto y Sobejano la concibe como una edificación que se oculta parcialmente en el territorio, para no interferir ni en la contemplación del paisaje ni en el fundamental protagonismo de la ciudad califal.

Se trata, en definitiva, de una infraestructura, ideada para facilitar la comprensión del yacimiento y desarrollar a todos los niveles sus potencialidades. Se concibe como una infraestructura para impulsar nuevos proyectos de investigación, conservación y difusión de la ciudad de Madinat al-Zahra y toda la ordenación territorial que constituye su entorno. Cuenta con los siguientes servicios:

Área cultural, expositiva y didáctica: Auditorio, Exposición permanente, Biblioteca Especializada "Manuel Ocaña", Aula didáctica y Sala de seminarios. Área de conservación, investigación y Administración: Almacenes, Talleres de restauración, Centro de documentación, Oficinas y despachos. Otros servicios: Tienda con librería y Cafetería-restaurante.

 

Premios:

2009: Finalista Premio Intervención en Patrimonio Arquitectónico Español. The International Architecture Award. The Chicago Athenaeum Museum.

2010: Aga Khan Award for Architecture.

2011: Piranesi Prix de Rome. Obra Seleccionada Premio de Arquitectura Contemporánea de la Unión Europea – Premio Mies van der Rohe. Finalista Premio Arquitectura Española. Finalista Premios FAD

2012: European Museum of the Year Award

 

www.nietosobejano.com/project.aspx?i=1&t=MADINAT_ALZA...

 

www.dezeen.com

 

europaconcorsi.com

 

www.plataformaarquitectura.cl

 

www.baunetz.de

 

arqa.com

 

www.ondiseno.com

 

www.metalocus.es/es/noticias/nieto-sobejano-arquitectos-m...

 

www.museosdeandalucia.es/cultura/museos/CAMA/?lng=es

 

NietoSobejano Arquitectos

 

www.nietosobejano.com

 

There's a Barnes & Noble in Studio City that used to be a movie theater, near the Paper Source that used to be a gas station and the Walgreens that used to be a reliable source of Perc 30s if you pay cash and say Bruno sent you, but then a certain dipshit in a lab coat finds a set of *morals* and suddenly they're not for sale anymore, in violation of what one could argue was an implicit gentlemen's agreement.

 

Anyway, cool place.

Rijksmuseum van Oudheden, Leiden - Rapenburg 28.

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Domitian (Latin: Domitianus; 24 October 51 – 18 September 96) was the Roman emperor from 81 to 96. He was the son of Vespasian and the younger brother of Titus, his two predecessors on the throne, and the last member of the Flavian dynasty. During his reign, the authoritarian nature of his rule put him at sharp odds with the Senate, whose powers he drastically curtailed.

 

Domitian had a minor and largely ceremonial role during the reigns of his father and brother. After the death of his brother, Domitian was declared emperor by the Praetorian Guard. His 15-year reign was the longest since that of Tiberius. As emperor, Domitian strengthened the economy by revaluing the Roman coinage, expanded the border defenses of the empire, and initiated a massive building program to restore the damaged city of Rome. Significant wars were fought in Britain, where his general Agricola attempted to conquer Caledonia (Scotland), and in Dacia, where Domitian was unable to procure a decisive victory against King Decebalus. Domitian's government exhibited strong authoritarian characteristics. Religious, military, and cultural propaganda fostered a cult of personality, and by nominating himself perpetual censor, he sought to control public and private morals. As a consequence, Domitian was popular with the people and army, but considered a tyrant by members of the Roman Senate.

 

Domitian's reign came to an end in 96 when he was assassinated by court officials. He was succeeded the same day by his advisor Nerva. After his death, Domitian's memory was condemned to oblivion by the Senate, while senatorial and equestrian authors such as Tacitus, Pliny the Younger, and Suetonius propagated the view of Domitian as a cruel and paranoid tyrant. Modern revisionists instead have characterized Domitian as a ruthless but efficient autocrat whose cultural, economic, and political programs provided the foundation of the peaceful second century.

 

Domitian was born in Rome on 24 October 51, the youngest son of Titus Flavius Vespasianus—commonly known as Vespasian—and Flavia Domitilla Major. He had an older sister, Domitilla the Younger, and brother, also named Titus Flavius Vespasianus.

 

Decades of civil war during the 1st century BC had contributed greatly to the demise of the old aristocracy of Rome, which a new Italian nobility gradually replaced in prominence during the early part of the 1st century. One such family, the Flavians, or gens Flavia, rose from relative obscurity to prominence in just four generations, acquiring wealth and status under the emperors of the Julio-Claudian dynasty. Domitian's great-grandfather, Titus Flavius Petro, had served as a centurion under Pompey during Caesar's civil war. His military career ended in disgrace when he fled the battlefield at the Battle of Pharsalus in 48 BC.

 

Nevertheless, Petro managed to improve his status by marrying the extremely wealthy Tertulla, whose fortune guaranteed the upward mobility of Petro's son Titus Flavius Sabinus I, Domitian's grandfather. Sabinus himself amassed further wealth and possible equestrian status through his services as tax collector in Asia and banker in Helvetia (modern Switzerland). By marrying Vespasia Polla he allied the Flavian family to the more prestigious gens Vespasia, ensuring the elevation of his sons Titus Flavius Sabinus II and Vespasian to senatorial rank.

 

The political career of Vespasian included the offices of quaestor, aedile, and praetor, and culminated in a consulship in 51, the year of Domitian's birth. As a military commander, Vespasian gained early renown by participating in the Roman invasion of Britain in 43. Nevertheless, ancient sources allege poverty for the Flavian family at the time of Domitian's upbringing, even claiming Vespasian had fallen into disrepute under the emperors Caligula (37–41) and Nero (54–68). Modern history has refuted these claims, suggesting these stories later circulated under Flavian rule as part of a propaganda campaign to diminish success under the less reputable Emperors of the Julio-Claudian dynasty and to maximize achievements under Emperor Claudius (41–54) and his son Britannicus.

 

By all appearances, the Flavians enjoyed high imperial favour throughout the 40s and 60s. While Titus received a court education in the company of Britannicus, Vespasian pursued a successful political and military career. Following a prolonged period of retirement during the 50s, he returned to public office under Nero, serving as proconsul of the Africa Province in 63, and accompanying the emperor Nero during an official tour of Greece in 66.

 

That same year Jews from the Province of Judaea revolted against the Roman Empire, sparking what is now known as the First Jewish–Roman War. Vespasian was assigned to lead the Roman army against the insurgents, with Titus—who had completed his military education by this time—in charge of a legion.

 

Of the three Flavian emperors, Domitian would rule the longest, despite the fact that his youth and early career were largely spent in the shadow of his older brother. Titus had gained military renown during the First Jewish–Roman War. After their father, Vespasian, became emperor in 69 following the civil war known as the Year of the Four Emperors, Titus held a great many offices, while Domitian received honours, but no responsibilities.

 

By the time he was 16 years old, Domitian's mother and sister had long since died, while his father and brother were continuously active in the Roman military, commanding armies in Germania and Judaea. For Domitian, this meant that a significant part of his adolescence was spent in the absence of his near relatives. During the Jewish–Roman wars, he was likely taken under the care of his uncle Titus Flavius Sabinus II, at the time serving as city prefect of Rome; or possibly even Marcus Cocceius Nerva, a loyal friend of the Flavians and the future successor to Domitian.

 

He received the education of a young man of the privileged senatorial class, studying rhetoric and literature. In his biography in the Lives of the Twelve Caesars, Suetonius attests to Domitian's ability to quote the important poets and writers such as Homer or Virgil on appropriate occasions, and describes him as a learned and educated adolescent, with elegant conversation. Among his first published works were poetry, as well as writings on law and administration.

 

Unlike his brother Titus, Domitian was not educated at court. Whether he received formal military training is not recorded, but according to Suetonius, he displayed considerable marksmanship with the bow and arrow. A detailed description of Domitian's appearance and character is provided by Suetonius, who devotes a substantial part of his biography to his personality:

 

He was tall of stature, with a modest expression and a high colour. His eyes were large, but his sight was somewhat dim. He was handsome and graceful too, especially when a young man, and indeed in his whole body with the exception of his feet, the toes of which were somewhat cramped. In later life he had the further disfigurement of baldness, a protruding belly, and spindling legs, though the latter had become thin from a long illness.

 

Domitian was allegedly extremely sensitive regarding his baldness, which he disguised in later life by wearing wigs. According to Suetonius, he even wrote a book on the subject of hair care. With regard to Domitian's personality, however, the account of Suetonius alternates sharply between portraying Domitian as the emperor-tyrant, a man both physically and intellectually lazy, and the intelligent, refined personality drawn elsewhere.

 

Historian Brian Jones concludes in The Emperor Domitian that assessing the true nature of Domitian's personality is inherently complicated by the bias of the surviving sources. Common threads nonetheless emerge from the available evidence. He appears to have lacked the natural charisma of his brother and father. He was prone to suspicion, displayed an odd, sometimes self-deprecating sense of humour, and often communicated in cryptic ways.

 

This ambiguity of character was further exacerbated by his remoteness, and as he grew older, he increasingly displayed a preference for solitude, which may have stemmed from his isolated upbringing. Indeed, by the age of eighteen nearly all of his closest relatives had died by war or disease. Having spent the greater part of his early life in the twilight of Nero's reign, his formative years would have been strongly influenced by the political turmoil of the 60s, culminating with the civil war of 69, which brought his family to power.

 

On 9 June 68, amid growing opposition of the Senate and the army, Nero committed suicide and with him the Julio-Claudian dynasty came to an end. Chaos ensued, leading to a year of brutal civil war known as the Year of the Four Emperors, during which the four most influential generals in the Roman Empire—Galba, Otho, Vitellius and Vespasian—successively vied for imperial power.

 

News of Nero's death reached Vespasian as he was preparing to besiege the city of Jerusalem. Almost simultaneously the Senate had declared Galba, then governor of Hispania Tarraconensis (modern northern Spain), as Emperor of Rome. Rather than continue his campaign, Vespasian decided to await further orders and send Titus to greet the new Emperor.

 

Before reaching Italy, Titus learnt that Galba had been murdered and replaced by Otho, the governor of Lusitania (modern Portugal). At the same time Vitellius and his armies in Germania had risen in revolt and prepared to march on Rome, intent on overthrowing Otho. Not wanting to risk being taken hostage by one side or the other, Titus abandoned the journey to Rome and rejoined his father in Judaea.

 

Otho and Vitellius realized the potential threat posed by the Flavian faction. With four legions at his disposal, Vespasian commanded a strength of nearly 80,000 soldiers. His position in Judaea further granted him the advantage of being nearest to the vital province of Egypt, which controlled the grain supply to Rome. His brother Titus Flavius Sabinus II, as city prefect, commanded the entire city garrison of Rome. Tensions among the Flavian troops ran high but so long as either Galba or Otho remained in power, Vespasian refused to take action.

 

When Otho was defeated by Vitellius at the First Battle of Bedriacum, the armies in Judaea and Egypt took matters into their own hands and declared Vespasian emperor on 1 July 69. Vespasian accepted and entered an alliance with Gaius Licinius Mucianus, the governor of Syria, against Vitellius. A strong force drawn from the Judaean and Syrian legions marched on Rome under the command of Mucianus, while Vespasian travelled to Alexandria, leaving Titus in charge of ending the Jewish rebellion.

 

In Rome, Domitian was placed under house arrest by Vitellius, as a safeguard against Flavian aggression. Support for the old emperor waned as more legions around the empire pledged their allegiance to Vespasian. On 24 October 69, the forces of Vitellius and Vespasian (under Marcus Antonius Primus) met at the Second Battle of Bedriacum, which ended in a crushing defeat for the armies of Vitellius.

 

In despair, Vitellius attempted to negotiate a surrender. Terms of peace, including a voluntary abdication, were agreed upon with Titus Flavius Sabinus II but the soldiers of the Praetorian Guard—the imperial bodyguard—considered such a resignation disgraceful and prevented Vitellius from carrying out the treaty. On the morning of 18 December, the emperor appeared to deposit the imperial insignia at the Temple of Concord but at the last minute retraced his steps to the Imperial palace. In the confusion, the leading men of the state gathered at Sabinus' house, proclaiming Vespasian as Emperor, but the multitude dispersed when Vitellian cohorts clashed with the armed escort of Sabinus, who was forced to retreat to the Capitoline Hill.

 

During the night, he was joined by his relatives, including Domitian. The armies of Mucianus were nearing Rome but the besieged Flavian party did not hold out for longer than a day. On 19 December, Vitellianists burst onto the Capitol and in a skirmish, Sabinus was captured and executed. Domitian managed to escape by disguising himself as a worshipper of Isis and spent the night in safety with one of his father's supporters, Cornelius Primus.

 

By the afternoon of 20 December, Vitellius was dead, his armies having been defeated by the Flavian legions. With nothing more to be feared, Domitian came forward to meet the invading forces; he was universally saluted by the title of Caesar and the mass of troops conducted him to his father's house. The following day, 21 December, the Senate proclaimed Vespasian emperor of the Roman Empire.

 

The Conspiracy of Claudius Civilis (detail), by Rembrandt (1661). During the Batavian rebellion, Domitian eagerly sought the opportunity to attain military glory, but was denied command of a legion by superior officers.

 

Although the war had officially ended, a state of anarchy and lawlessness pervaded in the first days following the demise of Vitellius. Order was properly restored by Mucianus in early 70 but Vespasian did not enter Rome until September of that year. In the meantime, Domitian acted as the representative of the Flavian family in the Roman Senate. He received the title of Caesar and was appointed praetor with consular power.

 

The ancient historian Tacitus describes Domitian's first speech in the Senate as brief and measured, at the same time noting his ability to elude awkward questions. Domitian's authority was merely nominal, foreshadowing what was to be his role for at least ten more years. By all accounts, Mucianus held the real power in Vespasian's absence and he was careful to ensure that Domitian, still only eighteen years old, did not overstep the boundaries of his function. Strict control was also maintained over the young Caesar's entourage, promoting away Flavian generals such as Arrius Varus and Antonius Primus and replacing them with more reliable men such as Arrecinus Clemens.

 

Equally curtailed by Mucianus were Domitian's military ambitions. The civil war of 69 had severely destabilized the provinces, leading to several local uprisings such as the Batavian revolt in Gaul. Batavian auxiliaries of the Rhine legions, led by Gaius Julius Civilis, had rebelled with the aid of a faction of Treveri under the command of Julius Classicus. Seven legions were sent from Rome, led by Vespasian's brother-in-law Quintus Petillius Cerialis.

 

Although the revolt was quickly suppressed, exaggerated reports of disaster prompted Mucianus to depart the capital with reinforcements of his own. Domitian eagerly sought the opportunity to attain military glory and joined the other officers with the intention of commanding a legion of his own. According to Tacitus, Mucianus was not keen on this prospect but since he considered Domitian a liability in any capacity that was entrusted to him, he preferred to keep him close at hand rather than in Rome.

 

When news arrived of Cerialis' victory over Civilis, Mucianus tactfully dissuaded Domitian from pursuing further military endeavours. Domitian then wrote to Cerialis personally, suggesting he hand over command of his army but, once again, he was snubbed. With the return of Vespasian in late September, his political role was rendered all but obsolete and Domitian withdrew from government devoting his time to arts and literature.

 

Where his political and military career had ended in disappointment, Domitian's private affairs were more successful. In 70 Vespasian attempted to arrange a dynastic marriage between his youngest son and the daughter of Titus, Julia Flavia, but Domitian was adamant in his love for Domitia Longina, going so far as to persuade her husband, Lucius Aelius Lamia Plautius Aelianus, to divorce her so that Domitian could marry her himself. Despite its initial recklessness, the alliance was very prestigious for both families. Domitia Longina was the younger daughter of Gnaeus Domitius Corbulo, a respected general and honoured politician who had distinguished himself for his leadership in Armenia. Following the failed Pisonian conspiracy against Nero in 65, he had been forced to commit suicide. She was also a granddaughter of Junia Lepida, a descendant of Emperor Augustus. The new marriage not only re-established ties to senatorial opposition, but also served the broader Flavian propaganda of the time, which sought to diminish Vespasian's political success under Nero. Instead, connections to Claudius and Britannicus were emphasised, and Nero's victims, or those otherwise disadvantaged by him, rehabilitated.

 

In 80, Domitia and Domitian's only attested son was born. It is not known what the boy's name was, but he died in childhood in 83. Shortly following his accession as Emperor, Domitian bestowed the honorific title of Augusta upon Domitia, while their son was deified, appearing as such on the reverse of coin types from this period. Nevertheless, the marriage appears to have faced a significant crisis in 83. For reasons unknown, Domitian briefly exiled Domitia, and then soon recalled her, either out of love or due to rumours that he was carrying on a relationship with his niece Julia Flavia. Jones argues that most likely he did so for her failure to produce an heir. By 84, Domitia had returned to the palace, where she lived for the remainder of Domitian's reign without incident. Little is known of Domitia's activities as Empress, or how much influence she wielded in Domitian's government, but it seems her role was limited. From Suetonius, we know that she at least accompanied the Emperor to the amphitheatre, while the Jewish writer Josephus speaks of benefits he received from her. It is not known whether Domitian had other children, but he did not marry again. Despite allegations by Roman sources of adultery and divorce, the marriage appears to have been happy.

 

The Triumph of Titus, by Sir Lawrence Alma-Tadema (1885), depicting the Flavian family during the triumphal procession of 71. Vespasian proceeds at the head of the family, dressed as pontifex maximus, followed by Domitian with Domitia Longina, and finally Titus, also dressed in religious regalia. An exchange of glances between Titus and Domitia suggests an affair upon which historians have speculated. Alma-Tadema was known for his meticulous historical research on the ancient world.

 

Before becoming Emperor, Domitian's role in the Flavian government was largely ceremonial. In June 71, Titus returned triumphant from the war in Judaea. Ultimately, the rebellion had claimed the lives of tens of thousands, perhaps hundreds of thousands, a majority of whom were Jewish. The city and temple of Jerusalem were completely destroyed, its most valuable treasures carried off by the Roman army, and nearly 100,000 people were captured and enslaved.

 

For his victory, the Senate awarded Titus a Roman triumph. On the day of the festivities, the Flavian family rode into the capital, preceded by a lavish parade that displayed the spoils of the war. The family procession was headed by Vespasian and Titus, while Domitian, riding a magnificent white horse, followed with the remaining Flavian relatives.

 

Leaders of the Jewish resistance were executed in the Forum Romanum, after which the procession closed with religious sacrifices at the Temple of Jupiter. A triumphal arch, the Arch of Titus, was erected at the south-east entrance to the Forum to commemorate the successful end of the war.

 

Yet the return of Titus further highlighted the comparative insignificance of Domitian, both militarily and politically. As the eldest and most experienced of Vespasian's sons, Titus shared tribunician power with his father, received seven consulships, the censorship, and was given command of the Praetorian Guard; powers that left no doubt he was the designated heir to the Empire. As a second son, Domitian held honorary titles, such as Caesar or Princeps Iuventutis, and several priesthoods, including those of augur, pontifex, frater arvalis, magister frater arvalium, and sacerdos collegiorum omnium, but no office with imperium.

 

He held six consulships during Vespasian's reign but only one of these, in 73, was an ordinary consulship. The other five were less prestigious suffect consulships, which he held in 71, 75, 76, 77 and 79 respectively, usually replacing his father or brother in mid-January. While ceremonial, these offices no doubt gained Domitian valuable experience in the Roman Senate, and may have contributed to his later reservations about its relevance.

 

Under Vespasian and Titus, non-Flavians were virtually excluded from the important public offices. Mucianus himself all but disappeared from historical records during this time, and it is believed he died sometime between 75 and 77. Real power was unmistakably concentrated in the hands of the Flavian faction; the weakened Senate only maintained the facade of democracy.

 

Because Titus effectively acted as co-emperor with his father, no abrupt change in Flavian policy occurred when Vespasian died on 24 June 79. Titus assured Domitian that full partnership in the government would soon be his, but neither tribunician power nor imperium of any kind was conferred upon him during Titus' brief reign.

 

Two major disasters struck during 79 and 80. In October/November 79, Mount Vesuvius erupted, burying the surrounding cities of Pompeii and Herculaneum under metres of ash and lava; the following year, a fire broke out in Rome that lasted three days and destroyed a number of important public buildings. Consequently, Titus spent much of his reign coordinating relief efforts and restoring damaged property. On 13 September 81, after barely two years in office, he unexpectedly died of fever during a trip to the Sabine territories.

 

Ancient authors have implicated Domitian in the death of his brother, either by directly accusing him of murder, or implying he left the ailing Titus for dead, even alleging that during his lifetime, Domitian was openly plotting against his brother. It is difficult to assess the factual veracity of these statements given the known bias of the surviving sources. Brotherly affection was likely at a minimum, but this was hardly surprising, considering that Domitian had barely seen Titus after the age of seven.

 

Whatever the nature of their relationship, Domitian seems to have displayed little sympathy when his brother lay dying, instead making for the Praetorian camp where he was proclaimed emperor. The following day, 14 September, the Senate confirmed Domitian's powers, granting tribunician power, the office of Pontifex maximus, and the titles of Augustus ("venerable"), and Pater Patriae ("father of the country").

 

As Emperor, Domitian quickly dispensed with the republican facade his father and brother had maintained during their reign. By moving the centre of government (more or less formally) to the imperial court, Domitian openly rendered the Senate's powers obsolete. In his view, the Roman Empire was to be governed as a divine monarchy with himself as the benevolent despot at its head.

 

In addition to exercising absolute political power, Domitian believed the emperor's role encompassed every aspect of daily life, guiding the Roman people as a cultural and moral authority. To usher in the new era, he embarked on ambitious economic, military, and cultural programs with the intention of restoring the Empire to the splendour it had seen under the Emperor Augustus.

 

Despite these grand designs, Domitian was determined to govern the Empire conscientiously and scrupulously. He became personally involved in all branches of the administration: edicts were issued governing the smallest details of everyday life and law, while taxation and public morals were rigidly enforced. According to Suetonius, the imperial bureaucracy never ran more efficiently than under Domitian, whose exacting standards and suspicious nature maintained historically low corruption among provincial governors and elected officials.

 

Although he made no pretence regarding the significance of the Senate under his absolute rule, those senators he deemed unworthy were expelled from the Senate, and in the distribution of public offices he rarely favored family members, a policy that stood in contrast to the nepotism practiced by Vespasian and Titus. Above all, however, Domitian valued loyalty and malleability in those he assigned to strategic posts, qualities he found more often in men of the equestrian order than in members of the Senate or his own family, whom he regarded with suspicion, and promptly removed from office if they disagreed with imperial policy.

 

The reality of Domitian's autocracy was further highlighted by the fact that, more than any emperor since Tiberius, he spent significant periods of time away from the capital. Although the Senate's power had been in decline since the fall of the Republic, under Domitian the seat of power was no longer even in Rome, but rather wherever the Emperor was. Until the completion of the Flavian Palace on the Palatine Hill, the imperial court was situated at Alba or Circeii, and sometimes even farther afield. Domitian toured the European provinces extensively, and spent at least three years of his reign in Germania and Illyricum, conducting military campaigns on the frontiers of the Empire.

 

For his personal use, he was active in constructing many monumental buildings, including the Villa of Domitian, a vast and sumptuous palace situated 20 km outside Rome in the Alban Hills.[citation needed]

In Rome itself, he built the Palace of Domitian on the Palatine Hill. Six other villas are linked with Domitian at Tusculum, Antium, Caieta, Circei, Anxur and Baiae. Only the one at Circei has been identified today, where its remains can be visited by the Lago di Paola.

 

The Stadium of Domitian was dedicated in 86 AD as a gift to the people of Rome as part of an Imperial building program, following the damage or destruction of most of the buildings on the Field of Mars by fire in 79 AD. It was Rome's first permanent venue for competitive athletics, and today occupied by the Piazza Navona.

 

In Egypt too, Domitian was quite active in constructing buildings and decorating them. He appears, together with Trajan, in offering scenes on the propylon of the Temple of Hathor at Dendera. His cartouche also appears in the column shafts of the Temple of Khnum at Esna.

 

Upon his accession, Domitian revalued the Roman currency by increasing the silver content of the denarius by 12%. Domitian's tendency towards micromanagement was nowhere more evident than in his financial policy. The question of whether Domitian left the Roman Empire in debt or with a surplus at the time of his death has been fiercely debated. The evidence points to a balanced economy for the greater part of Domitian's reign. Upon his accession he revalued the Roman currency dramatically. He increased the silver purity of the denarius from 90% to 98% – the actual silver weight increasing from 2.87 grams to 3.26 grams. A financial crisis in 85 forced a devaluation of the silver purity and weight to 93.5% and 3.04 grams respectively.

 

Nevertheless, the new values were still higher than the levels that Vespasian and Titus had maintained during their reigns. Domitian's rigorous taxation policy ensured that this standard was sustained for the following eleven years. Coinage from this era displays a highly consistent degree of quality including meticulous attention to Domitian's titulature and refined artwork on the reverse portraits.

 

Jones estimates Domitian's annual income at more than 1.2 billion sestertii, of which over one-third would presumably have been spent maintaining the Roman army. The other major expense was the extensive reconstruction of Rome. At the time of Domitian's accession the city was still suffering from the damage caused by the Great Fire of 64, the civil war of 69 and the fire in 80.

 

Much more than a renovation project, Domitian's building program was intended to be the crowning achievement of an Empire-wide cultural renaissance. Around fifty structures were erected, restored or completed, achievements second only to those of Augustus. Among the most important new structures were an odeon, a stadium, and an expansive palace on the Palatine Hill known as the Flavian Palace, which was designed by Domitian's master architect Rabirius.

 

The most important building Domitian restored was the Temple of Jupiter on the Capitoline Hill, said to have been covered with a gilded roof. Among those completed were the Temple of Vespasian and Titus, the Arch of Titus and the Flavian Amphitheatre (Colosseum), to which he added a fourth level and finished the interior seating area.

 

In order to appease the people of Rome an estimated 135 million sestertii was spent on donatives, or congiaria, throughout Domitian's reign. The Emperor also revived the practice of public banquets, which had been reduced to a simple distribution of food under Nero, while he invested large sums on entertainment and games. In 86 he founded the Capitoline Games, a quadrennial contest comprising athletic displays, chariot racing, and competitions for oratory, music and acting.

 

Domitian himself supported the travel of competitors from all corners of the Empire to Rome and distributed the prizes. Innovations were also introduced into the regular gladiatorial games such as naval contests, nighttime battles, and female and dwarf gladiator fights. Lastly, he added two new factions to the chariot races, Gold and Purple, to race against the existing White, Red, Green and Blue factions.

 

The military campaigns undertaken during Domitian's reign were generally defensive in nature, as the Emperor rejected the idea of expansionist warfare. His most significant military contribution was the development of the Limes Germanicus, which encompassed a vast network of roads, forts and watchtowers constructed along the Rhine river to defend the Empire. Nevertheless, several important wars were fought in Gaul, against the Chatti, and across the Danube frontier against the Suebi, the Sarmatians, and the Dacians.

 

The conquest of Britain continued under the command of Gnaeus Julius Agricola, who expanded the Roman Empire as far as Caledonia, or modern day Scotland. Domitian also founded a new legion in 82, the Legio I Minervia, to fight against the Chatti. Domitian is also credited on the easternmost evidence of Roman military presence, the rock inscription near Boyukdash mountain, in present-day Azerbaijan. As judged by the carved titles of Caesar, Augustus and Germanicus, the related march took place between 84 and 96 AD.

 

Domitian's administration of the Roman army was characterized by the same fastidious involvement he exhibited in other branches of the government. His competence as a military strategist was criticized by his contemporaries however. Although he claimed several triumphs, these were largely propaganda manoeuvres. Tacitus derided Domitian's victory against the Chatti as a "mock triumph", and criticized his decision to retreat in Britain following the conquests of Agricola.

 

Nevertheless, Domitian appears to have been very popular among the soldiers, spending an estimated three years of his reign among the army on campaigns—more than any emperor since Augustus—and raising their pay by one-third. While the army command may have disapproved of his tactical and strategic decisions, the loyalty of the common soldier was unquestioned.

 

Once Emperor, Domitian immediately sought to attain his long delayed military glory. As early as 82, or possibly 83, he went to Gaul, ostensibly to conduct a census, and suddenly ordered an attack on the Chatti. For this purpose, a new legion was founded, Legio I Minervia, which constructed some 75 kilometres (46 mi) of roads through Chattan territory to uncover the enemy's hiding places.

 

Although little information survives of the battles fought, enough early victories were apparently achieved for Domitian to be back in Rome by the end of 83, where he celebrated an elaborate triumph and conferred upon himself the title of Germanicus. Domitian's supposed victory was much scorned by ancient authors, who described the campaign as "uncalled for", and a "mock triumph". The evidence lends some credence to these claims, as the Chatti would later play a significant role during the revolt of Saturninus in 89.

 

One of the most detailed reports of military activity under the Flavian dynasty was written by Tacitus, whose biography of his father-in-law Gnaeus Julius Agricola largely concerns the conquest of Britain between 77 and 84. Agricola arrived c. 77 as governor of Roman Britain, immediately launching campaigns into Caledonia (modern Scotland).

 

In 82 Agricola crossed an unidentified body of water and defeated peoples unknown to the Romans until then. He fortified the coast facing Ireland, and Tacitus recalls that his father-in-law often claimed the island could be conquered with a single legion and a few auxiliaries. He had given refuge to an exiled Irish king whom he hoped he might use as the excuse for conquest. This conquest never happened, but some historians believe that the crossing referred to was in fact a small-scale exploratory or punitive expedition to Ireland.

 

Turning his attention from Ireland, the following year Agricola raised a fleet and pushed beyond the Forth into Caledonia. To aid the advance, a large legionary fortress was constructed at Inchtuthil. In the summer of 84, Agricola faced the armies of the Caledonians, led by Calgacus, at the Battle of Mons Graupius. Although the Romans inflicted heavy losses on the enemy, two-thirds of the Caledonian army escaped and hid in the Scottish marshes and Highlands, ultimately preventing Agricola from bringing the entire British island under his control.

 

In 85, Agricola was recalled to Rome by Domitian, having served for more than six years as governor, longer than normal for consular legates during the Flavian era. Tacitus claims that Domitian ordered his recall because Agricola's successes outshone the Emperor's own modest victories in Germania. The relationship between Agricola and the Emperor is unclear: on the one hand, Agricola was awarded triumphal decorations and a statue, on the other, Agricola never again held a civil or military post in spite of his experience and renown. He was offered the governorship of the province of Africa but declined it, either due to ill health or, as Tacitus claims, the machinations of Domitian.

 

Not long after Agricola's recall from Britain, the Roman Empire entered into war with the Kingdom of Dacia in the East. Reinforcements were needed, and in 87 or 88, Domitian ordered a large-scale strategic withdrawal of troops in the British province. The fortress at Inchtuthil was dismantled and the Caledonian forts and watchtowers abandoned, moving the Roman frontier some 120 kilometres (75 mi) further south. The army command may have resented Domitian's decision to retreat, but to him the Caledonian territories never represented anything more than a loss to the Roman treasury.

 

The most significant threat the Roman Empire faced during the reign of Domitian arose from the northern provinces of Illyricum, where the Suebi, the Sarmatians and the Dacians continuously harassed Roman settlements along the Danube river. Of these, the Sarmatians and the Dacians posed the most formidable threat. In approximately 84 or 85 the Dacians, led by King Decebalus, crossed the Danube into the province of Moesia, wreaking havoc and killing the Moesian governor Oppius Sabinus.

 

Domitian quickly launched a counteroffensive, personally travelling to the region accompanied by a large force commanded by his praetorian prefect Cornelius Fuscus. Fuscus successfully drove the Dacians back across the border in mid-85, prompting Domitian to return to Rome and celebrate his second triumph.

 

The victory proved short-lived, however: as early in 86 Fuscus embarked on an ill-fated expedition into Dacia. Fuscus was killed, and the battle standard of the Praetorian Guard was lost. The loss of the battle standard, or aquila, was indicative of a crushing defeat and a serious affront to Roman national pride.

 

Domitian returned to Moesia in August 86. He divided the province into Lower Moesia and Upper Moesia, and transferred three additional legions to the Danube. In 87, the Romans invaded Dacia once more, this time under the command of Tettius Julianus, and finally defeated Decebalus in late 88 at the same site where Fuscus had previously perished. An attack on the Dacian capital Sarmizegetusa was forestalled when new troubles arose on the German frontier in 89.

 

In order to avert having to conduct a war on two fronts, Domitian agreed to terms of peace with Decebalus, negotiating free access of Roman troops through the Dacian region while granting Decebalus an annual subsidy of 8 million sesterces. Contemporary authors severely criticized this treaty, which was considered shameful to the Romans and left the deaths of Sabinus and Fuscus unavenged. For the remainder of Domitian's reign Dacia remained a relatively peaceful client kingdom, but Decebalus used the Roman money to fortify his defenses.

 

Domitian probably wanted a new war against the Dacians, and reinforced Upper Moesia with two more cavalry units brought from Syria and with at least five cohorts brought from Pannonia. Trajan continued Domitian's policy and added two more units to the auxiliary forces of Upper Moesia, and then he used the build up of troops for his Dacian wars. Eventually the Romans achieved a decisive victory against Decebalus in 106. Again, the Roman army sustained heavy losses, but Trajan succeeded in capturing Sarmizegetusa and, importantly, annexed the Dacian gold and silver mines.

 

Domitian firmly believed in the traditional Roman religion, and personally saw to it that ancient customs and morals were observed throughout his reign. In order to justify the divine nature of the Flavian rule, Domitian emphasized connections with the chief deity Jupiter, perhaps most significantly through the impressive restoration of the Temple of Jupiter on the Capitoline Hill. A small chapel dedicated to Jupiter Conservator was also constructed near the house where Domitian had fled to safety on 20 December 69. Later in his reign, he replaced it with a more expansive building, dedicated to Jupiter Custos.

 

The goddess he worshipped the most zealously, however, was Minerva. Not only did he keep a personal shrine dedicated to her in his bedroom, she regularly appeared on his coinage—in four different attested reverse types—and he founded a legion, Legio I Minervia, in her name.

 

Domitian also revived the practice of the imperial cult, which had fallen somewhat out of use under Vespasian. Significantly, his first act as an Emperor was the deification of his brother Titus. Upon their deaths, his infant son, and niece, Julia Flavia, were likewise enrolled among the gods. With regards to the emperor himself as a religious figure, both Suetonius and Cassius Dio allege that Domitian officially gave himself the title of Dominus et Deus ("Lord and God"). However, not only did he reject the title of Dominus during his reign, but since he issued no official documentation or coinage to this effect, historians such as Brian Jones contend that such phrases were addressed to Domitian by flatterers who wished to earn favors from the emperor.

 

To foster the worship of the imperial family, he erected a dynastic mausoleum on the site of Vespasian's former house on the Quirinal, and completed the Temple of Vespasian and Titus, a shrine dedicated to the worship of his deified father and brother. To memorialize the military triumphs of the Flavian family, he ordered the construction of the Templum Divorum and the Templum Fortuna Redux, and completed the Arch of Titus.

 

Construction projects such as these constituted only the most visible part of Domitian's religious policy, which also concerned itself with the fulfilment of religious law and public morals. In 85, he nominated himself perpetual censor, the office that held the task of supervising Roman morals and conduct. Once again, Domitian acquitted himself of this task dutifully, and with care. He renewed the Lex Iulia de Adulteriis Coercendis, under which adultery was punishable by exile. From the list of jurors he struck an equestrian who had divorced his wife and taken her back, while an ex-quaestor was expelled from the Senate for acting and dancing.

 

As eunuchs were popularly used as servants, Domitian punished people who castrated others and wanted to ban the eunuchs themselves. Subsequent emperors made similar prohibitions, but Domitian may have been the first to do so. Despite his moralizing, Domitian had his own favorite eunuch boy, Earinus, who was commemorated by the contemporary court poets Martial and Statius.

 

Domitian also heavily prosecuted corruption among public officials, removing jurors if they accepted bribes and rescinding legislation when a conflict of interest was suspected. He ensured that libellous writings, especially those directed against himself, were punishable by exile or death. Actors were likewise regarded with suspicion. Consequently, he forbade mimes from appearing on stage in public. Philosophers did not fare much better. Epictetus, who had set himself up in Rome as a professor of philosophy, remarked that philosophers were able to "look tyrants steadily in the face", and it was Domitian's decree of 94, expelling all philosophers from Rome, that caused Epictetus to shift his base to the recently founded Roman city of Nicopolis, in Epirus, Greece, where he lived simply, worked safely and died of old age.

Coin of Domitian, found in the Buddhist stupa of Ahin Posh, dedicated under the Kushan Empire in 150–160, in modern Afghanistan.

 

In 87, Vestal Virgins were found to have broken their sacred vows of lifelong public chastity. As the Vestals were regarded as daughters of the community, this offense essentially constituted incest. Accordingly, those found guilty of any such transgression were condemned to death, either by a manner of their choosing, or according to the ancient fashion, which dictated that Vestals should be buried alive.

 

Foreign religions were tolerated insofar as they did not interfere with public order, or could be assimilated with the traditional Roman religion. The worship of Egyptian deities in particular flourished under the Flavian dynasty, to an extent not seen again until the reign of Commodus. Veneration of Serapis and Isis, who were identified with Jupiter and Minerva respectively, was especially prominent.

 

4th century writings by Eusebius maintain that Jews and Christians were heavily persecuted toward the end of Domitian's reign. The Book of Revelation and First Epistle of Clement are thought by some to have been written during this period, the latter making mention of "sudden and repeated misfortunes", which are assumed to refer to persecutions under Domitian. Although Jews were heavily taxed, no contemporary authors give specific details of trials or executions based on religious offenses other than those within the Roman religion. Suetonius mentions having seen in his youth a nonagenarian being stripped by a procurator to see if he was circumcised.

 

On 1 January 89, the governor of Germania Superior, Lucius Antonius Saturninus, and his two legions at Mainz, Legio XIV Gemina and Legio XXI Rapax, revolted against the Roman Empire with the aid of the Germanic Chatti people. The precise cause for the rebellion is uncertain, although it appears to have been planned well in advance. The Senatorial officers may have disapproved of Domitian's military strategies, such as his decision to fortify the German frontier rather than attack, as well as his recent retreat from Britain, and finally the disgraceful policy of appeasement towards Decebalus.

 

At any rate, the uprising was strictly confined to Saturninus' province, and quickly detected once the rumour spread across the neighbouring provinces. The governor of Germania Inferior, Aulus Bucius Lappius Maximus, moved to the region at once, assisted by the procurator of Rhaetia, Titus Flavius Norbanus. From Spain, Trajan was summoned, while Domitian himself came from Rome with the Praetorian Guard.

 

By a stroke of luck, a thaw prevented the Chatti from crossing the Rhine and coming to Saturninus' aid. Within twenty-four days the rebellion was crushed, and its leaders at Mainz savagely punished. The mutinous legions were sent to the front in Illyricum, while those who had assisted in their defeat were duly rewarded.

 

Lappius Maximus received the governorship of the province of Syria, a second consulship in May 95, and finally a priesthood, which he still held in 102. Titus Flavius Norbanus may have been appointed to the prefecture of Egypt, but almost certainly became prefect of the Praetorian Guard by 94, with Titus Petronius Secundus as his colleague. Domitian opened the year following the revolt by sharing the consulship with Marcus Cocceius Nerva, suggesting the latter had played a part in uncovering the conspiracy, perhaps in a fashion similar to the one he played during the Pisonian conspiracy under Nero.

 

Although little is known about the life and career of Nerva before his accession as Emperor in 96, he appears to have been a highly adaptable diplomat, surviving multiple regime changes and emerging as one of the Flavians' most trusted advisors. His consulship may therefore have been intended to emphasize the stability and status quo of the regime. The revolt had been suppressed and the Empire returned to order.

 

Since the fall of the Republic, the authority of the Roman Senate had largely eroded under the quasi-monarchical system of government established by Augustus, known as the Principate. The Principate allowed the existence of a de facto dictatorial regime, while maintaining the formal framework of the Roman Republic. Most Emperors upheld the public facade of democracy, and in return the Senate implicitly acknowledged the Emperor's status as a de facto monarch.

 

Some rulers handled this arrangement with less subtlety than others. Domitian was not so subtle. From the outset of his reign, he stressed the reality of his autocracy. He disliked aristocrats and had no fear of showing it, withdrawing every decision-making power from the Senate, and instead relying on a small set of friends and equestrians to control the important offices of state.

 

The dislike was mutual. After Domitian's assassination, the senators of Rome rushed to the Senate house, where they immediately passed a motion condemning his memory to oblivion. Under the rulers of the Nervan-Antonian dynasty, senatorial authors published histories that elaborated on the view of Domitian as a tyrant.

 

Nevertheless, the evidence suggests that Domitian did make concessions toward senatorial opinion. Whereas his father and brother had concentrated consular power largely in the hands of the Flavian family, Domitian admitted a surprisingly large number of provincials and potential opponents to the consulship, allowing them to head the official calendar by opening the year as an ordinary consul. Whether this was a genuine attempt to reconcile with hostile factions in the Senate cannot be ascertained. By offering the consulship to potential opponents, Domitian may have wanted to compromise these senators in the eyes of their supporters. When their conduct proved unsatisfactory, they were almost invariably brought to trial and exiled or executed, and their property was confiscated.

 

Both Tacitus and Suetonius speak of escalating persecutions toward the end of Domitian's reign, identifying a point of sharp increase around 93, or sometime after the failed revolt of Saturninus. At least twenty senatorial opponents were executed, including Domitia Longina's former husband Lucius Aelius Lamia Plautius Aelianus and three of Domitian's own family members, Titus Flavius Sabinus, Titus Flavius Clemens and Marcus Arrecinus Clemens. Flavius Clemens was a cousin of Domitian, and the emperor had even designated Clemens' two young sons as his successors, calling them as "Vespasian" and "Domitian". Some of these men were executed as early as 83 or 85, however, lending little credit to Tacitus' notion of a "reign of terror" late in Domitian's reign. According to Suetonius, some were convicted for corruption or treason, others on trivial charges, which Domitian justified through his suspicion:

 

He used to say that the lot of Emperors was most unfortunate, since when they discovered a conspiracy, no one believed them unless they had been murdered.

 

Jones compares the executions of Domitian to those under Emperor Claudius (41–54), noting that Claudius executed around 35 senators and 300 equestrians, and yet was still deified by the Senate and regarded as one of the good Emperors of history. Domitian was apparently unable to gain support among the aristocracy, despite attempts to appease hostile factions with consular appointments. His autocratic style of government accentuated the Senate's loss of power, while his policy of treating patricians and even family members as equals to all Romans earned him their contempt.

 

According to Suetonius, Domitian worshipped Minerva as his protector goddess with superstitious veneration. In a dream, she is said to have abandoned the emperor prior to the assassination.

Domitian was assassinated on 18 September 96 in a conspiracy by court officials. A highly detailed account of the plot and the assassination is provided by Suetonius. He alleges that Domitian's chamberlain Parthenius played the main role in the plot, and historian John Grainger cites Parthenius' likely fear over Domitian's recent execution of Nero's former secretary Epaphroditus as a possible motive. The act itself was carried out by a freedman of Parthenius named Maximus, and a steward of Domitian's niece Flavia Domitilla, named Stephanus.

 

According to Suetonius, a number of omens had foretold Domitian's death. The Germanic soothsayer Larginus Proclus predicted the date of Domitian's death and was consequently sentenced to death by him. Several days prior to the assassination, Minerva had appeared to the emperor in a dream. She announced that she had been disarmed by Jupiter and could no longer give Domitian her protection. According to an auspice he had received, the Emperor believed that his death would be at midday. As a result, he was always restless around that time. On the day of the assassination, Domitian was distressed and repeatedly asked a servant to tell him what time it was. The servant, who was himself one of the plotters, lied to the emperor, telling him that it was already late in the afternoon. Apparently put at ease, the Emperor went to his desk to sign some decrees. Stephanus, who had been feigning an injury to his arm for several days and wearing a bandage to allow him to carry a concealed dagger, suddenly appeared:

 

...he pretended that he had discovered a plot, and was for that reason granted an audience: whereupon, as the amazed Domitian perused a document he had handed him, Stephanus stabbed him in the groin. The wounded Emperor put up a fight, but succumbed to seven further stabs, his assailants being a subaltern named Clodianus, Parthenius's freedman Maximus, Satur, a head-chamberlain and one of the imperial gladiators.

 

During the attack, Stephanus and Domitian had struggled on the floor, during which time Stephanus was stabbed by the emperor and died shortly afterward. Domitian's body was carried away on a common bier and unceremoniously cremated by his nurse Phyllis. Later, she took the emperor's ashes to the Flavian Temple and mingled them with those of his niece, Julia. He was 44 years old. As had been foretold, his death came at midday.

 

Cassius Dio, writing nearly a hundred years after the assassination, suggests that the assassination was improvised, while Suetonius implies it was a well-organized conspiracy, citing Stephanus' feigned injury and claiming that the doors to the servants' quarters had been locked prior to the attack and that a sword Domitian kept concealed beneath his pillow as a last line of personal protection against a would-be assassin, had also been removed beforehand.

 

Dio included Domitia Longina among the conspirators, but in light of her attested devotion to Domitian—even years after her husband had died—her involvement in the plot seems highly unlikely. The precise involvement of the Praetorian Guard is unclear. One of the guard's commanders, Titus Petronius Secundus, was almost certainly aware of the plot. The other, Titus Flavius Norbanus, the former governor of Raetia, was a member of Domitian's family.

 

Upon the death of Domitian, Nerva was proclaimed Emperor by the Senate.

The Fasti Ostienses, the Ostian Calendar, records that on the same day as Domitian's assassination, the Senate proclaimed Marcus Cocceius Nerva emperor. Despite his political experience, this was a remarkable choice. Nerva was old and childless, and had spent much of his career out of the public light, prompting both ancient and modern authors to speculate on his involvement in Domitian's assassination.

 

According to Cassius Dio, the conspirators approached Nerva as a potential successor prior to the assassination, suggesting that he was at least aware of the plot. He does not appear in Suetonius' version of the events, but this may be understandable, since his works were published under Nerva's direct descendants Trajan and Hadrian. To suggest the dynasty owed its accession to murder would have been less than sensitive.

 

On the other hand, Nerva lacked widespread support in the Empire, and as a known Flavian loyalist, his track record would not have recommended him to the conspirators. The precise facts have been obscured by history, but modern historians believe Nerva was proclaimed Emperor solely on the initiative of the Senate, within hours after the news of the assassination broke. The decision may have been hasty so as to avoid civil war, but neither appears to have been involved in the conspiracy.

 

The Senate nonetheless rejoiced at the death of Domitian, and immediately following Nerva's accession as Emperor, passed damnatio memoriae on Domitian's memory; his coins and statues were melted, his arches were torn down and his name was erased from all public records. Domitian and, over a century later, Publius Septimius Geta were the only emperors known to have officially received a damnatio memoriae, though others may have received de facto ones. In many instances, existing portraits of Domitian, such as those found on the Cancelleria Reliefs, were simply recarved to fit the likeness of Nerva, which allowed quick production of new images and recycling of previous material.[181] Yet the order of the Senate was only partially executed in Rome, and wholly disregarded in most of the provinces outside Italy.

 

According to Suetonius, the people of Rome met the news of Domitian's death with indifference, but the army was much grieved, calling for his deification immediately after the assassination, and in several provinces rioting. As a compensation measure, the Praetorian Guard demanded the execution of Domitian's assassins, which Nerva refused. Instead he merely dismissed Titus Petronius Secundus, and replaced him with a former commander, Casperius Aelianus.

 

Dissatisfaction with this state of affairs continued to loom over Nerva's reign, and ultimately erupted into a crisis in October 97, when members of the Praetorian Guard, led by Casperius Aelianus, laid siege to the Imperial Palace and took Nerva hostage. He was forced to submit to their demands, agreeing to hand over those responsible for Domitian's death and even giving a speech thanking the rebellious Praetorians. Titus Petronius Secundus and Parthenius were sought out and killed. Nerva was unharmed in this assault, but his authority was damaged beyond repair. Shortly thereafter he announced the adoption of Trajan as his successor, and with this decision nearly abdicated (Wikipedia).

PUENTES CASCARA

 

Son dos puentes gemelos construidos con una lámina de 15 cms. de hormigón autonivelante que forma una superficie con doble curvatura, de la que cuelga el tablero. Se conciben como dos pabellones a los que acceder para cruzar el río,El equipo Madrid Río-West 8 ha elaborado un diseño en el que se combina lo funcional con lo artístico. El resultado son dos puentes gemelos, con tableros que alcanzan una anchura máxima de 8,5 metros en los estribos y de 4,5 en el centro del vano, que cuelgan de las bóvedas a las que están unidos a través de 136 cables de acero. La decoración de tales bóvedas, es uno de sus principales atractivos. Daniel Canogar, de Madrid un artista joven y vanguardista, a base de mosaicos, ha utilizado más de 6,6 millones de teselas de vidrio reciclado para plasmar en las bóvedas, a 50 ciudadanos anónimos de los distritos de Arganzuela y Usera. Entre ellos hay un profesor que lleva más de 80 años viviendo en Legazpi, parejas de enamorados, padres con sus hijos o, incluso, una mujer con su perro.

estos puentes se inaguraron en los años 2010-2011

  

MADRID RIO

  

Madrid Río es un parque de la ciudad española de Madrid, consistente en una zona peatonal y de recreo construida entre los años 2006 a 2012 en los dos márgenes del río Manzanares, en buena parte sobre el trazado soterrado de la vía de circunvalación M-30,1​ desde el nudo Sur hasta el enlace con la A-5. En 2016, el proyecto se hizo con el galardón Veronica Rudge Green Prize in Urban Design de la Universidad de Harvard por su diseño e impacto social y cultural en la transformación del río

Entre 2003 y 2007 se llevó a cabo la obra de soterramiento del arco oeste de la M-30 en el ámbito del río, obra que hizo posible la eliminación del tráfico en superficie y la consiguiente liberación de más de cincuenta hectáreas de terreno ocupado anteriormente por las calzadas. A esta superficie se sumaron otras casi cien hectáreas correspondientes a los diferentes suelos infrautilizados adyacentes a la autopista.

 

Tras la construcción de los túneles afloró una herida vacía formada por un rosario de espacios desocupados, que atesoraban la potencia latente de convertirse en nexo de unión de un corredor ambiental de casi tres mil hectáreas dentro del término municipal, que se extiende desde El Pardo hasta Getafe y que enlaza importantísimas áreas verdes de la ciudad como la Casa de Campo, el Parque de la Arganzuela o el Parque del Manzanares Sur.

 

Por tanto, los beneficios obtenidos al enterrar la antigua autopista, obviamente, no han quedado reducidos a la mejora de ciertos aspectos de la movilidad urbana, ni siquiera a la rehabilitación local de los barrios, sino que pueden adquirir en un futuro próximo, una dimensión de gran escala que necesariamente deberá repercutir en las relaciones entre la ciudad y el territorio, entendidas en su mayor alcance. La enorme trascendencia para la ciudad de los espacios liberados como consecuencia del soterramiento de la M-30, llevó al Ayuntamiento de Madrid a convocar un Concurso Internacional de Ideas para concebir y proyectar los nuevos espacios libres en el entorno del río. El concurso lo ganó el equipo de arquitectos dirigido por Ginés Garrido y formado por Burgos & Garrido Arquitectos, Porras & La Casta y Rubio & Álvarez-Sala y West8, con la solución para la construcción de un parque urbano de más de ciento veinte hectáreas, que ocupa la superficie liberada por el soterramiento de la autopista. Los inicios del proyecto pasaron por el intento de comprender en su totalidad las cualidades geográficas de la cuenca fluvial. Las características del territorio y la diversidad de sus elementos naturales constituyen un conjunto de claves que han sustentado muchas de las ideas contenidas en el proyecto.

 

Sumariamente, la estrategia del éste se basa en la convicción de que, a través del río es posible conectar la ciudad, expresión máxima de la acción artificial, con los territorios del norte y el sur de Madrid, en los que aún perviven los elementos naturales propios de la cuenca fluvial. El río se convierte en puerta o enlace entre interior urbano y exterior territorial y, a través de sus márgenes, se establece la continuidad y la permeabilidad, hasta hoy aniquiladas por los sucesivos anillos concéntricos, hollados por los cinturones viarios, M-30, M-40, M-45, M-50 …, que fueron el resultado de aplicar a la red circulatoria los modelos de movilidad propios de mediados del siglo XX.

 

El proyecto se ha concebido en sucesivas aproximaciones o escalas a partir de las que se ha aplicado la reflexión sobre el campo de juego, obteniendo respuestas o soluciones diversas, desde el ámbito territorial o estratégico al local o específico.

 

En la escala territorial se han establecido los parámetros de partida para que, en el medio plazo, sea posible la regeneración de las márgenes del río en toda su longitud, como verdaderas áreas de integración entre el paisaje y la actividad humana, bajo un entendimiento contemporáneo capaz de superar el antagonismo implícito en el binomio urbano-rural.

 

En la escala metropolitana, a través del proyecto y de su concepción como gran infraestructura, se lleva a cabo la incorporación del corredor que se extiende sobre los bordes fluviales a su paso por la ciudad como parte del GR 124 (Gran Recorrido de la Red de Senderos Europeos) que ya, en 2011 se podrá transitar en toda su extensión, desde Manzanares el Real hasta Aranjuez.

 

En la escala urbana, el proyecto incorpora el río como doble línea de fachada inédita y configura un conjunto enlazado de espacios verdes que se infiltra en la ciudad; establece en la superficie un nuevo sistema de movilidad y accesibilidad; incrementa la integración y calidad urbana de los barrios limítrofes al río; protege y revaloriza el patrimonio histórico y detecta áreas de oportunidad que, sobre este ámbito de nueva centralidad, serán capaces de generar un cambio potencial del conjunto de la ciudad en el largo plazo.

 

En la escala local, la propuesta se ejecuta como una operación radicalmente artificial, materializada sin embargo con instrumentos eminentemente naturales. No se debe olvidar que se actúa mayoritariamente sobre una infraestructura bajo tierra. El proyecto se implanta sobre un túnel o, más bien, sobre la cubierta de un conjunto complejísimo de instalaciones al servicio del viario enterrado. Un edificio de hormigón de más de seis kilómetros de longitud, con enormes y determinantes servidumbres y con una topografía cuya lógica obedece exclusivamente a la construcción de la infraestructura, que emerge inopinadamente sobre el suelo y con la que ha sido necesario negociar. Sobre esta edificación subterránea, la solución adoptada se ha basado en el uso de la vegetación como principal material de construcción. El proyecto establece como estrategia general la idea de implantar una densa capa vegetal, de carácter casi forestal, allá donde sea posible, es decir, fabricar un paisaje con materia viva, sobre un sustrato subterráneo inerte, modificado y excavado para el automóvil, sobre una construcción que expresa por sí misma el artificio máximo.

 

Las familias, formas y asociaciones de especies vegetales seleccionadas provienen de la extrapolación del estudio de la cuenca del río y su adaptación, en cada caso, al medio urbano específico. La ordenación de los distintos entornos y su caracterización como lugares de uso público se ha producido teniendo en cuenta, por un lado, las funciones requeridas y las necesidades detectadas en cada distrito y por otro, la capacidad de conformar espacios habitables, inherente a los conjuntos organizados de vegetación de distinto porte.

La solución se concreta en tres unidades de paisaje principales. Primero, el Salón de Pinos, o corredor verde que discurre por la margen derecha del río. Es la estructura que permite la continuidad de los recorridos y reacciona en su encuentro con los puentes existentes dando lugar a distintos tipos de jardines de ribera (Jardines bajos de Puente de Segovia, Jardines del Puente de San Isidro, Jardines del Puente de Toledo y Jardines del Puente de Praga). Segundo, el enlace definitivo del centro histórico (representado por la imagen imponente del Palacio Real y la cornisa elevada de la ciudad), con la Casa de Campo, parque de más de mil setecientas hectáreas. En este entorno se incluyen la Avenida de Portugal, la Huerta de la Partida, la Explanada del Rey y los Jardines de la Virgen del Puerto. Tercero, la ancha franja sobre la ribera izquierda donde se sitúa el conjunto del Parque de la Arganzuela que incluye el centro de creación de arte contemporáneo de Matadero, y que representa la mayor superficie de espacio verde unitario de la propuesta.

 

Además de estas tres grandes operaciones paisajísticas coherentes entre sí, el proyecto propone ciento cincuenta intervenciones de diferente carácter, entre las que destaca el sistema puentes que dotan de un inédito grado de permeabilidad al cauce. Se han desarrollado soluciones sobre más de veinte puentes o pasarelas sobre el río, rehabilitando las siete presas, reciclando algunos puentes existentes y creando nuevos pasos, unas veces con un lenguaje silencioso y otras, intencionadamente expresivo. Como en una acción microquirúrgica el proyecto incorpora, eslabón por eslabón, una cadena de fórmulas de integración del río en la ciudad y de la ciudad en el río. Son elementos que garantizarán el contagio de los nuevos valores de las orillas regeneradas sobre los ámbitos y barrios cercanos. Con este efecto de resonancia, se prevé una sucesión de operaciones que aseguren una renovación de gran alcance. Desde ahora y de manera irreversible, se está fraguando una radical metamorfosis, sin precedentes para la ciudad de Madrid.

La superestructura lineal del Salón de Pinos es el elemento que organiza la continuidad de recorridos a lo largo de la ribera derecha del río. Está construida sobre los túneles en su práctica totalidad y tiene un ancho medio de treinta metros. Sobre la losa de hormigón que cubre el paso de los automóviles se han plantado más de 9.000 unidades de diferentes especies de pinos, de diversos tamaños, formas y agrupaciones con un marco de plantación forestal. Los ejemplares han sido seleccionados fundamentalmente en campos en los que hubiese posibilidad de extraer plantas con morfologías naturales (troncos no lineales, troncos dobles, troncos inclinados, etc.) De este modo se obtiene una prolongación controlada de los pinares de la sierra situada al norte de Madrid que parecen extenderse hasta el confín de la ciudad. Estos árboles han sido anclados a la losa de los túneles mediante cables de acero y bridas biodegradables, para potenciar su estabilidad y el crecimiento de sus raíces en horizontal sobre el paquete de tierras disponible. No obstante, este paseo se encuentra frecuentemente con estructuras de gran valor urbano o patrimonial.

 

Dos ejemplos simbólicos de esta intersección son los puentes históricos de Segovia (1582) y de Toledo (1732). En estos enclaves el salón reacciona como espacio de estancia, ampliando sus límites y ofreciendo un diseño específico, con árboles de ribera de hoja caduca y alineaciones de setos y bancos de piedra. Las actividades integradas en el salón se incorporan con un lenguaje coherente con su carácter forestal. Un claro ejemplo de este procedimiento lo forma el conjunto de áreas de juegos infantiles, diseñado específicamente como un sistema completo de formas naturales.

 

Jardines del Puente de Segovia

 

El puente de Segovia está declarado Bien de Interés Cultural. Fue construido a finales del siglo XVI por el arquitecto Juan de Herrera, por encargo de Felipe II. El proyecto de ajardinamiento de su entorno conforma una excepción en el ámbito del Salón de Pinos, constituyendo un ensanchamiento de éste y ofreciendo un modo diferente de aproximación al río. Los jardines se ordenan mediante una serie de líneas de traza orgánica que modelan sucesivas terrazas que descienden hacia el río. Estas líneas están construidas con unas piezas de granito de gran formato que sirven también de bancos. Entre ellos se extiende una superficie de hierba de bajo consumo hídrico arbolada con diferentes especies de árboles frondosos de ribera de la familia de los populus. En las inmediaciones de la fábrica almohadillada del puente se han construido dos estanques de agua limpia sobre los cuales, por un lado alza una fuente monumental de 16 chorros con forma de ciprés y por otro se extiende un pequeño jardín de lirios acuáticos. Los estanques son accesibles mediante unas gradas de piedra que se acercan a ellos hasta sumergirse.

 

Jardines del Puente de Toledo

 

Los jardines del Puente de Toledo constituyen una de las áreas más significativas del Proyecto Madrid Río, ya que se están situados en un enclave de excepcional importancia en el que el Salón de Pinos se encuentra con uno de los puentes monumentales de Madrid, el puente de Toledo, construido entre 1718 y 1732. El proyecto aprovecha dicho monumento en un doble sentido: Por un lado se compone un espacio concebido para ser visto desde lo alto del puente que se convierte así en un mirador privilegiado. De este modo los jardines ofrecen una nueva e inédita panorámica de Madrid ya que sus trazados dibujan un enorme tatuaje que se extiende como una alfombra sobre la superficie, reproduciendo un motivo figurativo vegetal. Por otro lado, los jardines incorporan el Puente de Toledo, que es una estructura barroca diseñada por el arquitecto Pedro de Ribera, como un objeto al que admirar, al que tocar y bajo el que pasar. La disposición de los setos está organizada de modo que conforma una serie de líneas que toman como referencia los jardines barrocos de la época borbónica, aunque están trazadas con un lenguaje contemporáneo. Asimismo en este punto se ha construido un graderío que permite la máxima aproximación a la lámina de agua del río, y la mejor contemplación de los arcos del antiguo puente.

 

Segunda unidad de paisaje: La Escena Monumental

 

La vinculación del centro histórico y el barrio de La Latina con la Casa de Campo ha estado vedada a los peatones de forma secular. El nuevo contacto, que ya es posible por la desaparición de los automóviles bajo tierra, ha sido resuelto con diversas intervenciones que asumen el carácter monumental y panorámico de esta zona, en la que el zócalo elevado del Palacio Real (germen primigenio del nacimiento de la ciudad) contacta con el río. Se han propuesto diferentes soluciones afrontando con extremada atención el contexto en el que se sitúan: La “Explanada del Rey”, explanada abierta pavimentada con un gran patrón figurativo y que sirve de gran atrio ante la Casa de Campo. La huerta de la partida, que es un recinto cerrado en el que se han plantado diferentes retículas de árboles frutales (perales, manzanos, moreras, granados, higueras, nogales, avellanos, etc) acoge un extraordinario mirador de la cornisa. La avenida de Portugal, convertida en un bulevar pavimentado por calceteiros portugueses y poblado por cuatro especies de cerezos (Prunus avium, P. avium ‘Plena’, P.yedoensis y P.padus ‘Watereii’ ) permite la contemplación de una espectacular floración que se alarga más de un mes en primavera. Por último, los jardines de La Virgen del Puerto, en la otra margen del río, estructurados mediante la disposición de parterres orientados según los ejes de los principales acontecimientos urbanos del área: el puente de Segovia, el puente del Rey, la avenida de Portugal y la puerta del Rey que ha sido restaurada y resituada según los datos disponibles en la cartografía histórica de Madrid.

 

Plataforma del Rey

 

En el acceso monumental que enlaza el centro histórico de Madrid con la Casa de Campo, antiguo cazadero real, destaca la Explanada o Plataforma del Rey, que es un espacio abierto de una superficie aproximada de 14.000 m2 y un frente paralelo al río de poco menos de 250 m. El destino de este espacio es el de formar un escenario capaz de acoger diferentes manifestaciones cívicas (conciertos, celebraciones oficiales, actividades culturales, etc.) en un entorno de extraordinaria calidad ambiental, que permite contemplar la Cornisa Histórica de la Ciudad. Este lugar está conectado con el Salón de Pinos y forma parte de él, aunque por exigencias de su uso, sea un área casi desprovista de arbolado. En ella el principal elemento organizador es el pavimento que, de forma muy suave, se adapta a una topografía que integra todas las emergencias de los túneles hasta hacerlas imperceptibles. En este pavimento las pequeñas piezas de granito y basalto forman un patrón que desciende desde la Avenida de Portugal y se esparce sobre la superficie del suelo a una escala en aumento progresivo. Dicho patrón vincula la plataforma con el pavimento proyectado en la avenida. De este modo la Plataforma es un elemento que liga de manera natural importantes piezas del escenario monumental que se produce en este punto, como son el Puente del Rey, la Casa de Campo, la Avenida de Portugal y el Salón de Pinos.

 

Huerta de la Partida

  

Se trata de un espacio recuperado que en las pasadas décadas se dedicó a albergar uno de los principales nudos de la autopista. La propuesta de regeneración de este lugar incluye varias operaciones: En primer lugar la construcción de una tapia, a veces opaca, a veces permeable que constituye un cierre que confiere al recinto el carácter de huerto cerrado. En segundo lugar, el modelado artificial del terreno, regularizando su superficie y tallando un único plano inclinado de suave pendiente que se desliza hacia el río. En tercer lugar la plantación de diferentes agrupaciones de árboles frutales (granados, moreras, manzanos, perales, avellanos, almendros, higueras, olivos y nogales) que se incorporan en el entorno describiendo cuadrantes reticulados con sutiles variaciones de orientación. Por último, se ha proyectado una ría húmeda que describe la trayectoria del Arroyo Meaques, actualmente entubado y oculto. Este proyecto ha sido fruto del estudio minucioso de la historia del lugar, ya que en el pasado, cuando Felipe II adquirió esta finca después de establecer la capitalidad de Madrid, en esta posición se plantaron algunas huertas que producían el alimento necesario para los trabajadores de la Casa de Campo.

 

Tercera unidad de paisaje: La Ribera del Agua. Arganzuela y Matadero

 

En la margen izquierda del cauce la ciudad se separa del río. El ejemplo más importante de la propuesta en esta orilla es el nuevo Parque de la Arganzuela, construido sobre antiguas dehesas de pasto de uso comunal. En este entorno se construyó el Matadero Municipal, notable ejemplo de arquitectura posindustrial de la segunda década del siglo XX. Con el soterramiento de la autopista, Madrid dispone ahora en este punto de 33 hectáreas de espacios libres que forman el mayor parque del proyecto. Éste se ha concebido como un gran espacio en el que el río se ha retirado dejando su huella ancestral. Está organizado con diferentes líneas que se entrecruzan, como surcos por los que pasó el agua, dejando entre sí espacios para distintos usos. Estas líneas, de carácter marcadamente longitudinal, son los caminos de distinta especie que recorren el espacio de norte a sur.

 

Paseo junto al matadero

 

Un camino más plano y ancho (el Camino Rápido), otro más sinuoso y de pendiente variable (el Camino Lento) y una franja empedrada de márgenes frondosos (el Arroyo Seco), que vertebra el centro del parque. La construcción del espacio se plantea como una gran arboleda que contiene varios paisajes, algunos más naturales y otros más construidos, configurados por una variación de especies, alturas, densidades y texturas. De este modo el parque, concebido como un retazo de la cuenca del río, incorpora tres áreas botánicas: bosque mediterráneo, bosque atlántico y fronda de ribera. El carácter de estos paisajes interiores está relacionado con los trazados longitudinales del parque, con árboles que siguen los caminos y las sendas, con sotos y bosques que emergen sobre la topografía. La textura boscosa se intercala con las superficies plantadas de aromáticas entre los caminos y el Arroyo Seco. Siguiendo la orilla izquierda del río, se dispone una franja húmeda y verde, con una pradera de césped que se inclina hacia el agua. Una constelación de fuentes ornamentales y un conjunto de tres láminas elípticas de agua pura introducen este elemento como materia narrativa que relaciona las distintas asociaciones de vegetación. Cada fuente presenta un distinto juego sonoro y visual y se rodea de pequeñas laderas plantadas de frutales que remiten a la imagen de los jardines de las leyendas o del Paraíso. Las líneas entrelazadas que estructuran el parque permiten la formación de recintos en los que se han situado importantes instalaciones para el recreo al servicio de los usuarios de todas las edades. En él se incluye un campo de fútbol , dos pistas de patinaje y tres importantes conjuntos de juegos infantiles. El parque así mismo incorpora el conjunto dedicado a la creación de arte contemporáneo de Matadero, como una gran dotación cultural que vive dentro de él. A través de los caminos se accede a las naves del antiguo complejo, cuya rehabilitación está a punto de finalizar. El diseño de los trazados permite entender la relación entre Matadero y el parque como un continuo entre el río y la ciudad.

 

El sistema de puentes sobre el río

 

La implantación de puentes sobre el Manzanares se lleva a cabo como una estrategia global, es decir, como un conjunto en que cada elemento resuelve problemas puntuales detectados en el entorno próximo, pero también forma parte a su vez de un sistema integral de conectividad transversal de acuerdo con la relación entre la ciudad y el río. Las unidades de este conjunto son de diferente carácter: puentes y presas rehabilitados o reciclados, puentes rodados existentes acondicionados al nuevo sistema de tráfico ciclista y peatonal, puentes singulares que constituyen hitos en el recorrido del río, pasarelas funcionales situadas en los nodos de máximo tránsito transversal y puentes de grandes luces que enlazan los recorridos del parque con los territorios exteriores a la ciudad al norte y al sur, haciendo realidad la principal aspiración territorial del proyecto.

 

Entre los puentes existentes destaca la operación llevada a cabo con las siete presas que han sido convertidas en pasarelas peatonales a través de su restauración integral y la incorporación de un tablero de madera accesible. En segundo lugar dentro de esta serie, se debe destacar el reciclaje del puente rodado de la M-30 que cruzaba el río al sur del Puente de Segovia, reconvertido en un puente peatonal y ciclista que incorpora un talud plantado con pinos. Entre los puentes singulares cabe mencionar el puente con forma de Y construido con cajones de perfiles metálicos, que evoca el lenguaje de los puentes ferroviarios del s. XIX colgados sobre los desfiladeros forestales y los puentes gemelos de hormigón que se dan acceso al complejo Matadero, proyectados como elementos de paso capaces también de configurar un espacio al que se ingresa, como pabellones que gravitan sobre el río, pero que verdaderamente pertenecen al parque.

 

Pasarela de Almuñécar

 

Fabricada de una sola pieza con fibra de carbono, para salvar una luz de algo más de 40 metros. Se sitúa sobre el único tramo del cauce que carece de cajero de hormigón. Su diseño final responde a las capacidades del material con que está fabricada, extremadamente ligero y resistente.

 

Restauración de Presas

 

Las siete presas que regulan el río a su paso de la ciudad han sido restauradas y puestas al servicio del nuevo sistema de pasos transversales. Sus mecanismos y exclusas han sido reparados y se les ha incorporado un tablero accesible de madera y una escala de peces para favorecer la continuidad de la fauna subacuática a lo largo del río.

 

Puente Oblicuo

 

Esta estructura viaria coetánea de la M-30 se ha reciclado para incorporarla al Salón de Pinos como un paso privilegiado a través del cual los peatones, los ciclistas y los árboles pasan de una a otra orilla. La losa aligerada que componía el tablero de hormigón postesado se cortó y apeó reforzándose para soportar las cargas debidas a su nuevo uso.

 

Puente del Principado de Andorra

 

Es uno de los nuevos puentes singulares del proyecto. Está construido por jaulas de perfiles abiertos, de expresividad algo arcaica, que toma como referencia las estructuras ferroviarias sobre los desfiladeros boscosos que se construyeron en Europa y Estados Unidos a finales de siglo XIX. Antes conocido como Puente Y, en julio de 2011 se le cambió de nombre al actual de Principado de Andorra, para agradecer al gobierno de Andorra la construcción del Puente de Madrid en Andorra la Vieja.​ Se escogió este puente para nombrarlo como Principado de Andorra porque representa también la geografía de Andorra: el país pirenaico está formado por dos valles, el del Valira del Norte y el del Valira de Oriente, los cuales confluyen en Escaldes-Engordany y se convierten en uno solo, de nombre Gran Valira. Esta disposición de los valles y sus ríos es similar a una Y.

 

Puentes Cáscara

 

Son dos puentes gemelos construidos con una lámina de 15 cm de hormigón autonivelante que forma una superficie con doble curvatura, de la que cuelga el tablero. Se conciben como dos pabellones a los que acceder para cruzar el río. Su bóveda se ha ornamentado con un mosaico creado por el artista Daniel Canogar.

 

Pasarela de la Princesa

 

El canto necesario para el funcionamiento de la pasarela se incorpora en las barandillas que en realidad conforman una pareja de vigas de alma llena y rigidizadores verticales. El lenguaje de la pasarela es intencionadamente sobrio.

  

La primera fotografía de una serie fotográfica, que realice algún tiempo atrás. Es muy filosófica y reflexiva, en esta serie se invita al espectador a crear el resultado de una escena aparentemente inerte, crear algo inexistente pero que esta implícito en ella.

The true face of the ' Castle's ' Child

 

Mix Media/Canvas

1 x 1 mt

2009

 

Texto incluido:

 

Por ké llenarías mis tristezas y penas

 

con palabras prestadas

 

de un único lugar ke conoces?

 

Y por ké cantarías 'Aleluya'

 

Sin significados implicitos?

 

Por ké cantarías conmigo de algún modo?

Rudolf Steiner

Steiner um 1905.jpg

BornRudolf Joseph Lorenz Steiner

27 (25?) February 1861

Murakirály, Kingdom of Hungary, Austrian Empire (now Donji Kraljevec, Croatia)

Died30 March 1925 (aged 64)

Dornach, Switzerland

Alma materVienna Institute of Technology

University of Rostock (PhD, 1891)

Spouse(s)

Anna Eunicke (1899–1911)

Marie Steiner-von Sivers (1914–1925)

Era20th-century philosophy

RegionWestern philosophy

SchoolMonism

Holism in science

Goethean science

Anthroposophy

Main interests

Metaphysics, epistemology, philosophy of science, esotericism, Christianity

Notable ideas

Anthroposophy, anthroposophical medicine, biodynamic agriculture, eurythmy, spiritual science, Waldorf education, holism in science

Influences[show]

Influenced[show]

Steiner Seven Apocalyptical Seals Transparent.png

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Rudolf Joseph Lorenz Steiner (27 (or 25) February 1861[5] – 30 March 1925) was an Austrian philosopher, social reformer, architect, and esotericist.[6][7] Steiner gained initial recognition at the end of the nineteenth century as a literary critic and published philosophical works including The Philosophy of Freedom. At the beginning of the twentieth century he founded an esoteric spiritual movement, anthroposophy, with roots in German idealist philosophy and theosophy; other influences include Goethean science and Rosicrucianism.[8]

 

In the first, more philosophically oriented phase of this movement, Steiner attempted to find a synthesis between science and spirituality.[9] His philosophical work of these years, which he termed "spiritual science", sought to apply the clarity of thinking characteristic of Western philosophy to spiritual questions,[10]:291 differentiating this approach from what he considered to be vaguer approaches to mysticism. In a second phase, beginning around 1907, he began working collaboratively in a variety of artistic media, including drama, the movement arts (developing a new artistic form, eurythmy) and architecture, culminating in the building of the Goetheanum, a cultural centre to house all the arts.[11] In the third phase of his work, beginning after World War I, Steiner worked to establish various practical endeavors, including Waldorf education, biodynamic agriculture,[12] and anthroposophical medicine.[13]

 

Steiner advocated a form of ethical individualism, to which he later brought a more explicitly spiritual approach. He based his epistemology on Johann Wolfgang Goethe's world view, in which "Thinking… is no more and no less an organ of perception than the eye or ear. Just as the eye perceives colours and the ear sounds, so thinking perceives ideas."[14] A consistent thread that runs from his earliest philosophical phase through his later spiritual orientation is the goal of demonstrating that there are no essential limits to human knowledge.[15]

  

Contents

1Biography

1.1Childhood and education

1.2Early spiritual experiences

1.3Writer and philosopher

1.4Theosophical Society

1.5Anthroposophical Society and its cultural activities

1.6Political engagement and social agenda

1.7Attacks, illness, and death

1.8Spiritual research

1.9Esoteric schools

2Breadth of activity

2.1Education

2.2Biodynamic agriculture

2.3Anthroposophical medicine

2.4Social reform

2.5Architecture and visual arts

2.6Performing arts

3Philosophical ideas

3.1Goethean science

3.2Knowledge and freedom

3.3Spiritual science

3.4Steiner and Christianity

3.4.1Christ and human evolution

3.4.2Divergence from conventional Christian thought

3.4.3The Christian Community

4Reception

4.1Scientism

4.2Race and ethnicity

4.2.1Judaism

5Writings (selection)

6See also

7References

8Further reading

9External links

Biography[edit]

Childhood and education[edit]

 

The house where Rudolf Steiner was born, in present-day Croatia

Steiner's father, Johann(es) Steiner (1829–1910), left a position as a gamekeeper[16] in the service of Count Hoyos in Geras, northeast Lower Austria to marry one of the Hoyos family's housemaids, Franziska Blie (1834 Horn – 1918, Horn), a marriage for which the Count had refused his permission. Johann became a telegraph operator on the Southern Austrian Railway, and at the time of Rudolf's birth was stationed in Murakirály (Kraljevec) in the Muraköz region of the Kingdom of Hungary, Austrian Empire (present-day Donji Kraljevec in the Međimurje region of northernmost Croatia). In the first two years of Rudolf's life, the family moved twice, first to Mödling, near Vienna, and then, through the promotion of his father to stationmaster, to Pottschach, located in the foothills of the eastern Austrian Alps in Lower Austria.[13]

 

Steiner entered the village school, but following a disagreement between his father and the schoolmaster, he was briefly educated at home. In 1869, when Steiner was eight years old, the family moved to the village of Neudörfl and in October 1872 Steiner proceeded from the village school there to the realschule in Wiener Neustadt.[17]:Chap. 2

  

Rudolf Steiner, graduation photo from secondary school

In 1879, the family moved to Inzersdorf to enable Steiner to attend the Vienna Institute of Technology,[18] where he enrolled in courses in mathematics, physics, chemistry, botany, zoology, and mineralogy and audited courses in literature and philosophy, on an academic scholarship from 1879 to 1883, at the end of which time he withdrew from the Institute without graduating.[2]:122,443,446,456,503[19]:29 In 1882, one of Steiner's teachers, Karl Julius Schröer,[17]:Chap. 3 suggested Steiner's name to Joseph Kürschner, chief editor of a new edition of Goethe's works,[20] who asked Steiner to become the edition's natural science editor,[21] a truly astonishing opportunity for a young student without any form of academic credentials or previous publications.[19]:43

 

Before attending the Vienna Institute of Technology, Steiner had studied Kant, Fichte and Schelling.[22]

 

Early spiritual experiences[edit]

 

Rudolf Steiner as 21-year-old student (1882)

When he was nine years old, Steiner believed that he saw the spirit of an aunt who had died in a far-off town asking him to help her at a time when neither he nor his family knew of the woman's death.[23] Steiner later related that as a child he felt "that one must carry the knowledge of the spiritual world within oneself after the fashion of geometry ... [for here] one is permitted to know something which the mind alone, through its own power, experiences. In this feeling I found the justification for the spiritual world that I experienced ... I confirmed for myself by means of geometry the feeling that I must speak of a world 'which is not seen'."[17]

 

Steiner believed that at the age of 15 he had gained a complete understanding of the concept of time, which he considered to be the precondition of spiritual clairvoyance.[22] At 21, on the train between his home village and Vienna, Steiner met an herb gatherer, Felix Kogutzki, who spoke about the spiritual world "as one who had his own experience therein".[17]:39–40[24] Kogutzki conveyed to Steiner a knowledge of nature that was non-academic and spiritual.

 

Writer and philosopher[edit]

In 1888, as a result of his work for the Kürschner edition of Goethe's works, Steiner was invited to work as an editor at the Goethe archives in Weimar. Steiner remained with the archive until 1896. As well as the introductions for and commentaries to four volumes of Goethe's scientific writings, Steiner wrote two books about Goethe's philosophy: The Theory of Knowledge Implicit in Goethe's World-Conception (1886),[25] which Steiner regarded as the epistemological foundation and justification for his later work,[26] and Goethe's Conception of the World (1897).[27] During this time he also collaborated in complete editions of the works of Arthur Schopenhauer and the writer Jean Paul and wrote numerous articles for various journals.

  

Rudolf Steiner around 1891/92, etching by Otto Fröhlich

In 1891, Steiner received a doctorate in philosophy at the University of Rostock, for his dissertation discussing Fichte's concept of the ego,[10][28] submitted to Heinrich von Stein, whose Seven Books of Platonism Steiner esteemed.[17]:Chap. 14 Steiner's dissertation was later published in expanded form as Truth and Knowledge: Prelude to a Philosophy of Freedom, with a dedication to Eduard von Hartmann.[29] Two years later, he published Die Philosophie der Freiheit (The Philosophy of Freedom or The Philosophy of Spiritual Activity—Steiner's preferred English title) (1894), an exploration of epistemology and ethics that suggested a way for humans to become spiritually free beings. Steiner later spoke of this book as containing implicitly, in philosophical form, the entire content of what he later developed explicitly as anthroposophy.[30]

  

Marie Steiner 1903

In 1896, Steiner declined an offer from Elisabeth Förster-Nietzsche to help organize the Nietzsche archive in Naumburg. Her brother by that time was non compos mentis. Förster-Nietzsche introduced Steiner into the presence of the catatonic philosopher; Steiner, deeply moved, subsequently wrote the book Friedrich Nietzsche, Fighter for Freedom.[31] Steiner later related that:

 

My first acquaintance with Nietzsche's writings belongs to the year 1889. Previous to that I had never read a line of his. Upon the substance of my ideas as these find expression in The Philosophy of Spiritual Activity, Nietzsche's thought had not the least influence....Nietzsche's ideas of the 'eternal recurrence' and of 'Übermensch' remained long in my mind. For in these was reflected that which a personality must feel concerning the evolution and essential being of humanity when this personality is kept back from grasping the spiritual world by the restricted thought in the philosophy of nature characterizing the end of the 19th century....What attracted me particularly was that one could read Nietzsche without coming upon anything which strove to make the reader a 'dependent' of Nietzsche's.[17]:Chap. 18

 

In 1897, Steiner left the Weimar archives and moved to Berlin. He became part owner of, chief editor of, and an active contributor to the literary journal Magazin für Literatur, where he hoped to find a readership sympathetic to his philosophy. Many subscribers were alienated by Steiner's unpopular support of Émile Zola in the Dreyfus Affair[32] and the journal lost more subscribers when Steiner published extracts from his correspondence with anarchist John Henry Mackay.[32] Dissatisfaction with his editorial style eventually led to his departure from the magazine.

 

In 1899, Steiner married Anna Eunicke; the couple separated several years later. Anna died in 1911.

 

Theosophical Society[edit]

Main article: Rudolf Steiner and the Theosophical Society

 

Rudolf Steiner in Munich with Annie Besant, leader of the Theosophical Society. Photo from 1907

In 1899, Steiner published an article, "Goethe's Secret Revelation", discussing the esoteric nature of Goethe's fairy tale The Green Snake and the Beautiful Lily. This article led to an invitation by the Count and Countess Brockdorff to speak to a gathering of Theosophists on the subject of Nietzsche. Steiner continued speaking regularly to the members of the Theosophical Society, becoming the head of its newly constituted German section in 1902 without ever formally joining the society.[10][33] It was also in connection with this society that Steiner met and worked with Marie von Sivers, who became his second wife in 1914. By 1904, Steiner was appointed by Annie Besant to be leader of the Theosophical Esoteric Society for Germany and Austria. In 1904, Eliza, the wife of Helmuth von Moltke the Younger, became one of his favourite scholars[34]. Through Eliza, Steiner met Helmuth, who served as the Chief of the German General Staff from 1906 to 1914[35].

 

In contrast to mainstream Theosophy, Steiner sought to build a Western approach to spirituality based on the philosophical and mystical traditions of European culture. The German Section of the Theosophical Society grew rapidly under Steiner's leadership as he lectured throughout much of Europe on his spiritual science. During this period, Steiner maintained an original approach, replacing Madame Blavatsky's terminology with his own, and basing his spiritual research and teachings upon the Western esoteric and philosophical tradition. This and other differences, in particular Steiner's vocal rejection of Leadbeater and Besant's claim that Jiddu Krishnamurti was the vehicle of a new Maitreya, or world teacher,[36] led to a formal split in 1912/13,[10] when Steiner and the majority of members of the German section of the Theosophical Society broke off to form a new group, the Anthroposophical Society. Steiner took the name "Anthroposophy" from the title of a work of the Austrian philosopher Robert von Zimmermann, published in Vienna in 1856.[37] Despite his departure from the Theosophical Society, Steiner maintained his interest in Theosophy throughout his life.[8]

 

Anthroposophical Society and its cultural activities[edit]

RudolfSteiner.jpeg

The Anthroposophical Society grew rapidly. Fueled by a need to find an artistic home for their yearly conferences, which included performances of plays written by Edouard Schuré and Steiner, the decision was made to build a theater and organizational center. In 1913, construction began on the first Goetheanum building, in Dornach, Switzerland. The building, designed by Steiner, was built to a significant part by volunteers who offered craftsmanship or simply a will to learn new skills. Once World War I started in 1914, the Goetheanum volunteers could hear the sound of cannon fire beyond the Swiss border, but despite the war, people from all over Europe worked peaceably side by side on the building's construction. Steiner moved from Berlin to Dornach in 1913 and lived there to the end of his life.[38]

 

Steiner's lecture activity expanded enormously with the end of the war. Most importantly, from 1919 on Steiner began to work with other members of the society to found numerous practical institutions and activities, including the first Waldorf school, founded that year in Stuttgart, Germany. At the same time, the Goetheanum developed as a wide-ranging cultural centre. On New Year's Eve, 1922/1923, the building burned to the ground; contemporary police reports indicate arson as the probable cause.[13]:752[39]:796 Steiner immediately began work designing a second Goetheanum building - this time made of concrete instead of wood - which was completed in 1928, three years after his death.

 

At a "Foundation Meeting" for members held at the Dornach center during Christmas, 1923, Steiner spoke of laying a new Foundation Stone for the society in the hearts of his listeners. At the meeting, a new "General Anthroposophical Society" was established with a new executive board. At this meeting, Steiner also founded a School of Spiritual Science, intended as an "organ of initiative" for research and study and as "the 'soul' of the Anthroposophical Society".[40] This School, which was led by Steiner, initially had sections for general anthroposophy, education, medicine, performing arts (eurythmy, speech, drama and music), the literary arts and humanities, mathematics, astronomy, science, and visual arts. Later sections were added for the social sciences, youth and agriculture.[41][42][43] The School of Spiritual Science included meditative exercises given by Steiner.

 

Political engagement and social agenda[edit]

Steiner became a well-known and controversial public figure during and after World War I. In response to the catastrophic situation in post-war Germany, he proposed extensive social reforms through the establishment of a Threefold Social Order in which the cultural, political and economic realms would be largely independent. Steiner argued that a fusion of the three realms had created the inflexibility that had led to catastrophes such as World War I. In connection with this, he promoted a radical solution in the disputed area of Upper Silesia, claimed by both Poland and Germany. His suggestion that this area be granted at least provisional independence led to his being publicly accused of being a traitor to Germany.[44]

 

Steiner opposed Wilson's proposal to create new European nations based around ethnic groups, which he saw as opening the door to rampant nationalism. Steiner proposed as an alternative "'social territories' with democratic institutions that were accessible to all inhabitants of a territory whatever their origin while the needs of the various ethnicities would be met by independent cultural institutions."[45]

 

Attacks, illness, and death[edit]

The National Socialist German Workers Party gained strength in Germany after the First World War. In 1919, a political theorist of this movement, Dietrich Eckart, attacked Steiner and suggested that he was a Jew.[46] In 1921, Adolf Hitler attacked Steiner on many fronts, including accusations that he was a tool of the Jews,[47] while other nationalist extremists in Germany called for a "war against Steiner". That same year, Steiner warned against the disastrous effects it would have for Central Europe if the National Socialists came to power.[46]:8 In 1922 a lecture Steiner was giving in Munich was disrupted when stink bombs were let off and the lights switched out, while people rushed the stage apparently attempting to attack Steiner, who exited safely through a back door.[48][49] Unable to guarantee his safety, Steiner's agents cancelled his next lecture tour.[32]:193[50] The 1923 Beer Hall Putsch in Munich led Steiner to give up his residence in Berlin, saying that if those responsible for the attempted coup [Hitler and others] came to power in Germany, it would no longer be possible for him to enter the country.[51]

 

From 1923 on, Steiner showed signs of increasing frailness and illness. He nonetheless continued to lecture widely, and even to travel; especially towards the end of this time, he was often giving two, three or even four lectures daily for courses taking place concurrently. Many of these lectures focused on practical areas of life such as education.[52]

  

Steiner's gravestone at the Goetheanum

Increasingly ill, he held his last lecture in late September, 1924. He continued work on his autobiography during the last months of his life; he died on 30 March 1925.

 

Spiritual research[edit]

Steiner first began speaking publicly about spiritual experiences and phenomena in his 1899 lectures to the Theosophical Society. By 1901 he had begun to write about spiritual topics, initially in the form of discussions of historical figures such as the mystics of the Middle Ages. By 1904 he was expressing his own understanding of these themes in his essays and books, while continuing to refer to a wide variety of historical sources.

 

"A world of spiritual perception is discussed in a number of writings which I have published since this book appeared. The Philosophy of Freedom forms the philosophical basis for these later writings. For it tries to show that the experience of thinking, rightly understood, is in fact an experience of spirit." (Steiner, Philosophy of Freedom, Consequences of Monism)

 

Steiner aimed to apply his training in mathematics, science, and philosophy to produce rigorous, verifiable presentations of those experiences.[53] He believed that through freely chosen ethical disciplines and meditative training, anyone could develop the ability to experience the spiritual world, including the higher nature of oneself and others.[32] Steiner believed that such discipline and training would help a person to become a more moral, creative and free individual – free in the sense of being capable of actions motivated solely by love.[54] His philosophical ideas were affected by Franz Brentano,[32] with whom he had studied,[55] as well as by Fichte, Hegel, Schelling, and Goethe's phenomenological approach to science.[32][56][57]

 

Steiner followed Wilhelm Dilthey in using the term Geisteswissenschaft, usually translated as "spiritual science".[58] Steiner used the term to describe a discipline treating the spirit as something actual and real, starting from the premise that it is possible for human beings to penetrate behind what is sense-perceptible.[59] He proposed that psychology, history, and the humanities generally were based on the direct grasp of an ideal reality,[60] and required close attention to the particular period and culture which provided the distinctive character of religious qualities in the course of the evolution of consciousness. In contrast to William James' pragmatic approach to religious and psychic experience, which emphasized its idiosyncratic character, Steiner focused on ways such experience can be rendered more intelligible and integrated into human life.[61]

 

Steiner proposed that an understanding of reincarnation and karma was necessary to understand psychology[62] and that the form of external nature would be more comprehensible as a result of insight into the course of karma in the evolution of humanity.[63] Beginning in 1910, he described aspects of karma relating to health, natural phenomena and free will, taking the position that a person is not bound by his or her karma, but can transcend this through actively taking hold of one's own nature and destiny.[64] In an extensive series of lectures from February to September 1924, Steiner presented further research on successive reincarnations of various individuals and described the techniques he used for karma research.[52][65]

 

Esoteric schools[edit]

See also: Rudolf Steiner's exercises for spiritual development

Steiner was founder and leader of the following:

 

His independent Esoteric School of the Theosophical Society, founded in 1904. This school continued after the break with Theosophy but was disbanded at the start of World War I.

A lodge called Mystica Aeterna within the Masonic Order of Memphis and Mizraim, which Steiner led from 1906 until around 1914. Steiner added to the Masonic rite a number of Rosicrucian references.[66]

The School of Spiritual Science of the Anthroposophical Society, founded in 1923 as a further development of his earlier Esoteric School. This was originally constituted with a general section and seven specialized sections for education, literature, performing arts, natural sciences, medicine, visual arts, and astronomy.[41][43][67] Steiner gave members of the School the first Lesson for guidance into the esoteric work in February 1924.[68] Though Steiner intended to develop three "classes" of this school, only the first of these was developed in his lifetime (and continues today). An authentic text of the written records on which the teaching of the First Class was based was published in 1992.[69]

Breadth of activity[edit]

After the First World War, Steiner became active in a wide variety of cultural contexts. He founded a number of schools, the first of which was known as the Waldorf school,[70] which later evolved into a worldwide school network. He also founded a system of organic agriculture, now known as biodynamic agriculture, which was one of the very first forms of, and has contributed significantly to the development of, modern organic farming.[71] His work in medicine led to the development of a broad range of complementary medications and supportive artistic and biographic therapies.[72] Numerous homes for children and adults with developmental disabilities based on his work (including those of the Camphill movement) are found in Africa, Europe, and North America.[73] His paintings and drawings influenced Joseph Beuys and other modern artists. His two Goetheanum buildings have been widely cited as masterpieces of modern architecture,[74][75][76][77][78] and other anthroposophical architects have contributed thousands of buildings to the modern scene.[79] One of the first institutions to practice ethical banking was an anthroposophical bank working out of Steiner's ideas; other anthroposophical social finance institutions have since been founded.

 

Steiner's literary estate is correspondingly broad. Steiner's writings, published in about forty volumes, include books, essays, four plays ('mystery dramas'), mantric verse, and an autobiography. His collected lectures, making up another approximately 300 volumes, discuss an extremely wide range of themes. Steiner's drawings, chiefly illustrations done on blackboards during his lectures, are collected in a separate series of 28 volumes. Many publications have covered his architectural legacy and sculptural work.

 

Education[edit]

 

The Waldorf school in Verrières-le-Buisson (France)

Main article: Waldorf education

As a young man, Steiner was a private tutor and a lecturer on history for the Berlin Arbeiterbildungsschule,[80] an educational initiative for working class adults.[81] Soon thereafter, he began to articulate his ideas on education in public lectures,[82] culminating in a 1907 essay on The Education of the Child in which he described the major phases of child development which formed the foundation of his approach to education.[83] His conception of education was influenced by the Herbartian pedagogy prominent in Europe during the late nineteenth century,[80]:1362, 1390ff[82] though Steiner criticized Herbart for not sufficiently recognizing the importance of educating the will and feelings as well as the intellect.[84]

 

In 1919, Emil Molt invited him to lecture to his workers at the Waldorf-Astoria cigarette factory in Stuttgart. Out of these lectures came a new school, the Waldorf school. In 1922, Steiner presented these ideas at a conference called for this purpose in Oxford by Professor Millicent Mackenzie. He subsequently presented a teacher training course at Torquay in 1924 at an Anthroposophy Summer School organised by Eleanor Merry.[85] The Oxford Conference and the Torquay teacher training led to the founding of the first Waldorf schools in Britain.[86] During Steiner's lifetime, schools based on his educational principles were also founded in Hamburg, Essen, The Hague and London; there are now more than 1000 Waldorf schools worldwide.

 

Biodynamic agriculture[edit]

Main article: Biodynamic agriculture

In 1924, a group of farmers concerned about the future of agriculture requested Steiner's help. Steiner responded with a lecture series on an ecological and sustainable approach to agriculture that increased soil fertility without the use of chemical fertilizers and pesticides.[12] Steiner's agricultural ideas promptly spread and were put into practice internationally[87] and biodynamic agriculture is now practiced in Europe,[88] North America, South America[89], Africa[90], Asia[88] and Australasia.[91][92][93]

 

A central aspect of biodynamics is that the farm as a whole is seen as an organism, and therefore should be a largely self-sustaining system, producing its own manure and animal feed. Plant or animal disease is seen as a symptom of problems in the whole organism. Steiner also suggested timing such agricultural activities as sowing, weeding, and harvesting to utilize the influences on plant growth of the moon and planets; and the application of natural materials prepared in specific ways to the soil, compost, and crops, with the intention of engaging non-physical beings and elemental forces. He encouraged his listeners to verify his suggestions empirically, as he had not yet done.[91]

 

Anthroposophical medicine[edit]

Main article: Anthroposophical medicine

From the late 1910s, Steiner was working with doctors to create a new approach to medicine. In 1921, pharmacists and physicians gathered under Steiner's guidance to create a pharmaceutical company called Weleda which now distributes natural medical products worldwide. At around the same time, Dr. Ita Wegman founded a first anthroposophic medical clinic (now the Ita Wegman Clinic) in Arlesheim.

 

Social reform[edit]

Main article: Threefold Social Order

For a period after World War I, Steiner was active as a lecturer on social reform. A petition expressing his basic social ideas was widely circulated and signed by many cultural figures of the day, including Hermann Hesse.

 

In Steiner's chief book on social reform, Toward Social Renewal, he suggested that the cultural, political and economic spheres of society need to work together as consciously cooperating yet independent entities, each with a particular task: political institutions should establish political equality and protect human rights; cultural institutions should nurture the free and unhindered development of science, art, education and religion; and economic institutions should enable producers, distributors and consumers to cooperate to provide efficiently for society's needs.[94] He saw such a division of responsibility, which he called the Threefold Social Order, as a vital task which would take up consciously the historical trend toward the mutual independence of these three realms. Steiner also gave suggestions for many specific social reforms.

 

Steiner proposed what he termed a "fundamental law" of social life:

 

The well-being of a community of people working together will be the greater, the less the individual claims for himself the proceeds of his work, i.e. the more of these proceeds he makes over to his fellow-workers, the more his own needs are satisfied, not out of his own work but out of the work done by others.

 

— Steiner, The Fundamental Social Law[95]

He expressed this in the motto:[95]

 

The healthy social life is found

When in the mirror of each human soul

The whole community finds its reflection,

And when in the community

The virtue of each one is living.

Architecture and visual arts[edit]

 

First Goetheanum

  

Second Goetheanum

  

Detail of The Representative of Humanity

 

English sculptor Edith Maryon belonged to the innermost circle of founders of anthroposophy and was appointed to head the Section of Sculptural Arts at the Goetheanum.

 

Steiner designed 17 buildings, including the First and Second Goetheanums.[96] These two buildings, built in Dornach, Switzerland, were intended to house significant theater spaces as well as a "school for spiritual science".[97] Three of Steiner's buildings have been listed amongst the most significant works of modern architecture.[98]

 

His primary sculptural work is The Representative of Humanity (1922), a nine-meter high wood sculpture executed as a joint project with the sculptor Edith Maryon. This was intended to be placed in the first Goetheanum. It shows a central, free-standing Christ holding a balance between the beings of Lucifer and Ahriman, representing opposing tendencies of expansion and contraction.[99][100][101] It was intended to show, in conscious contrast to Michelangelo's Last Judgment, Christ as mute and impersonal such that the beings that approach him must judge themselves.[102] The sculpture is now on permanent display at the Goetheanum.

 

Steiner's blackboard drawings were unique at the time and almost certainly not originally intended as art works.[103] Josef Beuys' work, itself heavily influenced by Steiner, has led to the modern understanding of Steiner's drawings as artistic objects.[104]

 

Performing arts[edit]

See also: Eurythmy

Steiner wrote four mystery plays between 1909 and 1913: The Portal of Initiation, The Souls' Probation, The Guardian of the Threshold and The Soul's Awakening, modeled on the esoteric dramas of Edouard Schuré, Maurice Maeterlinck, and Johann Wolfgang von Goethe.[105] Steiner's plays continue to be performed by anthroposophical groups in various countries, most notably (in the original German) in Dornach, Switzerland and (in English translation) in Spring Valley, New York and in Stroud and Stourbridge in the U.K.

 

In collaboration with Marie von Sivers, Steiner also founded a new approach to acting, storytelling, and the recitation of poetry. His last public lecture course, given in 1924, was on speech and drama. The Russian actor, director, and acting coach Michael Chekhov based significant aspects of his method of acting on Steiner's work.[106][107]

 

Together with Marie von Sivers, Rudolf Steiner also developed the art of eurythmy, sometimes referred to as "visible speech and song". According to the principles of eurythmy, there are archetypal movements or gestures that correspond to every aspect of speech – the sounds (or phonemes), the rhythms, and the grammatical function – to every "soul quality" – joy, despair, tenderness, etc. – and to every aspect of music – tones, intervals, rhythms, and harmonies.

 

Philosophical ideas[edit]

Live through deeds of love, and let others live understanding their unique intentions: this is the fundamental principle of free human beings.

Rudolf Steiner, Philosophy of Freedom. Chapter 9

 

Goethean science[edit]

See also: Goethean science

In his commentaries on Goethe's scientific works, written between 1884 and 1897, Steiner presented Goethe's approach to science as essentially phenomenological in nature, rather than theory- or model-based. He developed this conception further in several books, The Theory of Knowledge Implicit in Goethe's World-Conception (1886) and Goethe's Conception of the World (1897), particularly emphasizing the transformation in Goethe's approach from the physical sciences, where experiment played the primary role, to plant biology, where both accurate perception and imagination were required to find the biological archetypes (Urpflanze), and postulated that Goethe had sought but been unable to fully find the further transformation in scientific thinking necessary to properly interpret and understand the animal kingdom.[108] Steiner emphasized the role of evolutionary thinking in Goethe's discovery of the intermaxillary bone in human beings; Goethe expected human anatomy to be an evolutionary transformation of animal anatomy.[108] Steiner defended Goethe's qualitative description of color as arising synthetically from the polarity of light and darkness, in contrast to Newton's particle-based and analytic conception.

 

Particular organic forms can be evolved only from universal types, and every organic entity we experience must coincide with some one of these derivative forms of the type. Here the evolutionary method must replace the method of proof. We aim not to show that external conditions act upon one another in a certain way and thereby bring about a definite result, but that a particular form has developed under definite external conditions out of the type. This is the radical difference between inorganic and organic science.

 

— Rudolf Steiner, The Theory of Knowledge Implicit in Goethe's World Conception, Chapter XVI, "Organic Nature"

Knowledge and freedom[edit]

See also: Philosophy of Freedom

Steiner approached the philosophical questions of knowledge and freedom in two stages. In his dissertation, published in expanded form in 1892 as Truth and Knowledge, Steiner suggests that there is an inconsistency between Kant's philosophy, which posits that all knowledge is a representation of an essential verity inaccessible to human consciousness, and modern science, which assumes that all influences can be found in the sensory and mental world to which we have access. Steiner considered Kant's philosophy of an inaccessible beyond ("Jenseits-Philosophy") a stumbling block in achieving a satisfying philosophical viewpoint.[109]

 

Steiner postulates that the world is essentially an indivisible unity, but that our consciousness divides it into the sense-perceptible appearance, on the one hand, and the formal nature accessible to our thinking, on the other. He sees in thinking itself an element that can be strengthened and deepened sufficiently to penetrate all that our senses do not reveal to us. Steiner thus considered what appears to human experience as a division between the spiritual and natural worlds to be a conditioned result of the structure of our consciousness, which separates perception and thinking. These two faculties give us not two worlds, but two complementary views of the same world; neither has primacy and the two together are necessary and sufficient to arrive at a complete understanding of the world. In thinking about perception (the path of natural science) and perceiving the process of thinking (the path of spiritual training), it is possible to discover a hidden inner unity between the two poles of our experience.[54]:Chapter 4 Truth, for Steiner, is paradoxically both an objective discovery and yet "a free creation of the human spirit, that never would exist at all if we did not generate it ourselves. The task of understanding is not to replicate in conceptual form something that already exists, but rather to create a wholly new realm, that together with the world given to our senses constitutes the fullness of reality."[110]

 

In the Philosophy of Freedom, Steiner further explores potentials within thinking: freedom, he suggests, can only be approached gradually with the aid of the creative activity of thinking. Thinking can be a free deed; in addition, it can liberate our will from its subservience to our instincts and drives. Free deeds, he suggests, are those for which we are fully conscious of the motive for our action; freedom is the spiritual activity of penetrating with consciousness our own nature and that of the world,[111] and the real activity of acting in full consciousness.[54]:133–4 This includes overcoming influences of both heredity and environment: "To be free is to be capable of thinking one's own thoughts – not the thoughts merely of the body, or of society, but thoughts generated by one's deepest, most original, most essential and spiritual self, one's individuality."[10]

 

Steiner affirms Darwin's and Haeckel's evolutionary perspectives but extended this beyond its materialistic consequences; he sees human consciousness, indeed, all human culture, as a product of natural evolution that transcends itself. For Steiner, nature becomes self-conscious in the human being. Steiner's description of the nature of human consciousness thus closely parallels that of Solovyov:[112]

 

Spiritual science[edit]

See also: Anthroposophy and Rudolf Steiner's exercises for spiritual development

 

Rudolf Steiner 1900

In his earliest works, Steiner already spoke of the "natural and spiritual worlds" as a unity.[32] From 1900 on, he began lecturing about concrete details of the spiritual world(s), culminating in the publication in 1904 of the first of several systematic presentations, his Theosophy: An Introduction to the Spiritual Processes in Human Life and in the Cosmos. As a starting point for the book Steiner took a quotation from Goethe, describing the method of natural scientific observation,[113] while in the Preface he made clear that the line of thought taken in this book led to the same goal as that in his earlier work, The Philosophy of Freedom.[114]

 

In the years 1903–1908 Steiner maintained the magazine "Lucifer-Gnosis" and published in it essays on topics such as initiation, reincarnation and karma, and knowledge of the supernatural world.[115] Some of these were later collected and published as books, such as How to Know Higher Worlds (1904/5) and Cosmic Memory. The book An Outline of Esoteric Science was published in 1910. Important themes include:

 

the human being as body, soul and spirit;

the path of spiritual development;

spiritual influences on world-evolution and history; and

reincarnation and karma.

Steiner emphasized that there is an objective natural and spiritual world that can be known, and that perceptions of the spiritual world and incorporeal beings are, under conditions of training comparable to that required for the natural sciences, including self-discipline, replicable by multiple observers. It is on this basis that spiritual science is possible, with radically different epistemological foundations than those of natural science. He believed that natural science was correct in its methods but one-sided for exclusively focusing on sensory phenomena, while mysticism was vague in its methods, though seeking to explore the inner and spiritual life. Anthroposophy was meant to apply the systematic methods of the former to the content of the latter[116][117]

 

For Steiner, the cosmos is permeated and continually transformed by the creative activity of non-physical processes and spiritual beings. For the human being to become conscious of the objective reality of these processes and beings, it is necessary to creatively enact and reenact, within, their creative activity. Thus objective spiritual knowledge always entails creative inner activity.[32] Steiner articulated three stages of any creative deed:[54]:Pt II, Chapter 1

 

Moral intuition: the ability to discover or, preferably, develop valid ethical principles;

Moral imagination: the imaginative transformation of such principles into a concrete intention applicable to the particular situation (situational ethics); and

Moral technique: the realization of the intended transformation, depending on a mastery of practical skills.

Steiner termed his work from this period onwards Anthroposophy. He emphasized that the spiritual path he articulated builds upon and supports individual freedom and independent judgment; for the results of spiritual research to be appropriately presented in a modern context they must be in a form accessible to logical understanding, so that those who do not have access to the spiritual experiences underlying anthroposophical research can make independent evaluations of the latter's results.[54] Spiritual training is to support what Steiner considered the overall purpose of human evolution, the development of the mutually interdependent qualities of love and freedom.[10]

 

Steiner and Christianity[edit]

In 1899 Steiner experienced what he described as a life-transforming inner encounter with the being of Christ; previously he had little or no relation to Christianity in any form. Then and thereafter, his relationship to Christianity remained entirely founded upon personal experience, and thus both non-denominational and strikingly different from conventional religious forms.[10] Steiner was then 38, and the experience of meeting the Christ occurred after a tremendous inner struggle. To use Steiner's own words, the "experience culminated in my standing in the spiritual presence of the Mystery of Golgotha in a most profound and solemn festival of knowledge."[118]

 

Christ and human evolution[edit]

Steiner describes Christ as the unique pivot and meaning of earth's evolutionary processes and human history, redeeming the Fall from Paradise.[119] He understood the Christ as a being that unifies and inspires all religions, not belonging to a particular religious faith. To be "Christian" is, for Steiner, a search for balance between polarizing extremes[119]:102–3 and the ability to manifest love in freedom.[10]

 

Central principles of his understanding include:

 

The being of Christ is central to all religions, though called by different names by each.

Every religion is valid and true for the time and cultural context in which it was born.

Historical forms of Christianity need to be transformed in our times in order to meet the ongoing evolution of humanity.

In Steiner's esoteric cosmology, the spiritual development of humanity is interwoven in and inseparable from the cosmological development of the universe. Continuing the evolution that led to humanity being born out of the natural world, the Christ being brings an impulse enabling human consciousness of the forces that act creatively, but unconsciously, in nature.[120]

 

Divergence from conventional Christian thought[edit]

Steiner's views of Christianity diverge from conventional Christian thought in key places, and include gnostic elements.[108] However, unlike many gnostics, Steiner affirms the unique and actual physical Incarnation of Christ in Jesus at the beginning of the Christian era.

 

One of the central points of divergence with conventional Christian thought is found in Steiner's views on reincarnation and karma.

 

Steiner also posited two different Jesus children involved in the Incarnation of the Christ: one child descended from Solomon, as described in the Gospel of Matthew; the other child from Nathan, as described in the Gospel of Luke.[94] He references in this regard the fact that the genealogies in these two gospels list twenty-six (Luke) to forty-one (Matthew) completely different ancestors for the generations from David to Jesus. See Genealogy of Jesus for alternative explanations of this radical divergence.

 

Steiner's view of the second coming of Christ is also unusual. He suggested that this would not be a physical reappearance, but rather, meant that the Christ being would become manifest in non-physical form, in the "etheric realm" – i.e. visible to spiritual vision and apparent in community life – for increasing numbers of people, beginning around the year 1933. He emphasized that the future would require humanity to recognize this Spirit of Love in all its genuine forms, regardless of how this is named. He also warned that the traditional name, "Christ", might be used, yet the true essence of this Being of Love ignored.[108]

 

The Christian Community[edit]

In the 1920s, Steiner was approached by Friedrich Rittelmeyer, a Lutheran pastor with a congregation in Berlin, who asked if it was possible to create a more modern form of Christianity. Soon others joined Rittelmeyer – mostly Protestant pastors and theology students, but including several Roman Catholic priests. Steiner offered counsel on renewing the spiritual potency of the sacraments while emphasizing freedom of thought and a personal relationship to religious life. He envisioned a new synthesis of Catholic and Protestant approaches to religious life, terming this "modern, Johannine Christianity".[94]

 

The resulting movement for religious renewal became known as "The Christian Community". Its work is based on a free relationship to the Christ, without dogma or policies. Its priesthood, which is open to both men and women, is free to preach out of their own spiritual insights and creativity.

 

Steiner emphasized that the resulting movement for the renewal of Christianity was a personal gesture of help to a movement founded by Rittelmeyer and others independently of his anthroposophical work.[94] The distinction was important to Steiner because he sought with Anthroposophy to create a scientific, not faith-based, spirituality.[119] He recognized that for those who wished to find more traditional forms, however, a renewal of the traditional religions was also a vital need of the times.

 

Reception[edit]

See also: Anthroposophy § Reception

Steiner's work has influenced a broad range of notable personalities. These include philosophers Albert Schweitzer, Owen Barfield and Richard Tarnas;[32] writers Saul Bellow,[121] Andrej Belyj,[122][123][124] Michael Ende,[125] Selma Lagerlöf,[126] Edouard Schuré, David Spangler,[citation needed] and William Irwin Thompson;[32] child psychiatrist Eva Frommer;[127] economist Leonard Read;[128] artists Josef Beuys,[129] Wassily Kandinsky,[130][131] and Murray Griffin;[132] esotericist and educationalist George Trevelyan;[133] actor and acting teacher Michael Chekhov;[134] cinema director Andrei Tarkovsky;[135] composers Jonathan Harvey[136] and Viktor Ullmann;[137] and conductor Bruno Walter.[138] Olav Hammer, though sharply critical of esoteric movements generally, terms Steiner "arguably the most historically and philosophically sophisticated spokesperson of the Esoteric Tradition."[139]

 

Albert Schweitzer wrote that he and Steiner had in common that they had "taken on the life mission of working for the emergence of a true culture enlivened by the ideal of humanity and to encourage people to become truly thinking beings".[140]

 

Anthony Storr stated about Rudolf Steiner's Anthroposophy: "His belief system is so eccentric, so unsupported by evidence, so manifestly bizarre, that rational skeptics are bound to consider it delusional."[141]

 

Robert Todd Carroll has said of Steiner that "Some of his ideas on education – such as educating the handicapped in the mainstream – are worth considering, although his overall plan for developing the spirit and the soul rather than the intellect cannot be admired".[142] Steiner's translators have pointed out that his use of Geist includes both mind and spirit, however,[143] as the German term Geist can be translated equally properly in either way.[144]

 

The 150th anniversary of Rudolf Steiner's birth was marked by the first major retrospective exhibition of his art and work, 'Kosmos - Alchemy of the everyday'. Organized by Vitra Design Museum, the traveling exhibition presented many facets of Steiner's life and achievements, including his influence on architecture, furniture design, dance (Eurythmy), education, and agriculture (Biodynamic agriculture).[145] The exhibition opened in 2011 at the Kunstmuseum in Stuttgart, Germany,[146]

 

Scientism[edit]

See also: Anthroposophy: Scientific basis

Olav Hammer has criticized as scientism Steiner's claim to use scientific methodology to investigate spiritual phenomena that were based upon his claims of clairvoyant experience.[139] Steiner regarded the observations of spiritual research as more dependable (and above all, consistent) than observations of physical reality. However, he did consider spiritual research to be fallible[2]:p. 618 and held the view that anyone capable of thinking logically was in a position to correct errors by spiritual researchers.[147]

 

Race and ethnicity[edit]

Steiner's work includes both universalist, humanist elements and historically influenced racial assumptions.[148] Due to the contrast and even contradictions between these elements, "whether a given reader interprets Anthroposophy as racist or not depends upon that reader's concerns".[149] Steiner considered that by dint of its shared language and culture, each people has a unique essence, which he called its soul or spirit.[139] He saw race as a physical manifestation of humanity's spiritual evolution, and at times discussed race in terms of complex hierarchies that were largely derived from 19th century biology, anthropology, philosophy and theosophy. However, he consistently and explicitly subordinated race, ethnicity, gender, and indeed all hereditary factors, to individual factors in development.[149] For Steiner, human individuality is centered in a person's unique biography, and he believed that an individual's experiences and development are not bound by a single lifetime or the qualities of the physical body.[33] More specifically:

 

Steiner occasionally characterized specific races, nations and ethnicities in ways that have been termed racist by critics.[150] This includes descriptions by him of certain races and ethnic groups as flowering, others as backward, or destined to degenerate or disappear.[149] He presented explicitly hierarchical views of the spiritual evolution of different races,[151] including—at times, and inconsistently—portraying the white race, European culture or Germanic culture as representing the high point of human evolution as of the early 20th century, although he did describe them as destined to be superseded by future cultures.[149]

Throughout his life Steiner consistently emphasized the core spiritual unity of all the world's peoples and sharply criticized racial prejudice. He articulated beliefs that the individual nature of any person stands higher than any racial, ethnic, national or religious affiliation.[13][94] His belief that race and ethnicity are transient and superficial, and not essential aspects of the individual,[149] was partly rooted in his conviction that each individual reincarnates in a variety of different peoples and races over successive lives, and that each of us thus bears within him or herself the heritage of many races and peoples.[149][152] Toward the end of his life, Steiner predicted that race will rapidly lose any remaining significance for future generations.[149] In Steiner's view, culture is universal, and explicitly not ethnically based; he saw Goethe and idealist philosophy in particular as the source of ideas that could be drawn upon by any culture, and he vehemently criticized imperialism.[153]

In the context of his ethical individualism, Steiner considered "race, folk, ethnicity and gender" to be general, describable categories into which individuals may choose to fit, but from which free human beings can and will liberate themselves.[33]

 

Judaism[edit]

During the years when Steiner was best known as a literary critic, he published a series of articles attacking various manifestations of antisemitism[154] and criticizing some of the most prominent anti-Semites of the time as "barbaric" and "enemies of culture".[155] On a number of occasions, however, Steiner suggested that Jewish cultural and social life had lost all contemporary relevance[156] and promoted full assimilation of the Jewish people into the nations in which they lived. This stance has come under severe criticism in recent years.[149]

 

Steiner was a critic of his contemporary Theodor Herzl's goal of a Zionist state, and indeed of any ethnically determined state, as he considered ethnicity to be an outmoded basis for social life and civic identity.[157]

 

Towards the end of Steiner's life and after his death, there were massive defamatory press attacks mounted on him by early National Socialist leaders (including Adolf Hitler) and other right-wing nationalists. These criticized Steiner's thought and anthroposophy as being incompatible with National Socialist racial ideology, and charged him of being influenced by his close connections with Jews and even that he himself was Jewish.[46][155]

 

en.wikipedia.org/wiki/Rudolf_Steiner

Museo de Madinat Al-Zahra

 

(Museo arqueológico y centro de interpretación del Conjunto de Madinat al-Zahra)

 

Ctra. de Córdoba a Palma del Río, A-431, km 5.5, Córdoba

 

Arquitectos: Nieto Sobejano Arquitectos: Fuensanta Nieto y Enrique Sobejano. Arquitecto de proyecto Miguel Ubarrechena. Equipo de proyecto Carlos Ballesteros, Pedro Quero y Juan Carlos Redondo. Dirección de obra: Fuensanta Nieto, Enrique Sobejano y Miguel Mesas Izquierdo. Proyecto museográfico: Nieto Sobejano Arquitectos / Frade Arquitectos, S.L. Concurso: 1999 Proyecto: 2002 Finalización: 2009

 

Los Arquitectos describen su proyecto:

“Los restos de la antigua ciudad hispano-musulmana sugerían un diálogo con quienes mil años antes la habían concebido y construido, pero también con el paciente trabajo de los arqueólogos y con el paisaje agrícola circundante, al que la geometría de las ruinas otorgaba una inesperada cualidad abstracta. El terreno del recinto arqueológico destinado al museo provocaba, no obstante, sentimientos encontrados.

Por una parte, la añoranza de un pasado remoto aún por descubrir impregnaba el paisaje que se extendía hacia la sierra de Córdoba. Por otra parte, el desordenado avance de las construcciones recientes se cernía inquietante sobre el entorno de lo que un día fue la ciudad palatina. Nuestra primera reacción al llegar al lugar habría de marcar, desde el primer momento, la futura propuesta: no debíamos edificar en aquel paisaje.

Ante una extensión de tal amplitud, que aún espera ser excavada, decidimos actuar como lo haría un arqueólogo: no construyendo un nuevo edificio, sino encontrándolo bajo tierra, como si el paso del tiempo lo hubiera ocultado hasta el día de hoy. De esta forma, el proyecto descubre la planta de un museo subterráneo, que articula sus espacios en torno a una secuencia de llenos y vacíos, áreas cubiertas y patios que guían al visitante en su recorrido. A partir del vestíbulo principal se extiende un amplio patio de planta cuadrada que, como un claustro, organiza en torno suyo los espacios públicos principales: salón de actos, cafetería, tienda, biblioteca, y salas de exposición. Un patio profundo y longitudinal articula las zonas de uso privado: administración, talleres de conservación e investigación. Un último patio constituye la prolongación al exterior de las áreas expositivas del museo. Las zonas de almacenamiento, concebidas como grandes espacios visitables iluminados cenitalmente, se funden en los recorridos del edificio con las áreas públicas de exposición y difusión. La propia concepción del proyecto lleva implícito un posible futuro crecimiento, pudiéndose agregar nuevos pabellones como si de nuevas excavaciones se tratase.

El nuevo museo establece casi imperceptiblemente un permanente diálogo con la arquitectura y el paisaje de la antigua medina árabe. La planta de doble cuadrado del museo se hace homotética con la de la ciudad, los jardines evocan la geometría abandonada de una excavación, los muros de hormigón y las cubiertas de acero cortén reflejan en el blanco y el rojo los colores con que originalmente estuvieron estucados los muros de la ciudad califal. La luz, la sombra, la textura, el material, abstraen la riqueza perceptiva que transmiten las ruinas arqueológicas.

El museo de Madinat al-Zahra aparece en el paisaje silenciosamente, como si hubiera sido encontrado bajo tierra, del mismo modo que a lo largo de los años continuará ocurriendo con los restos de la antigua ciudad de los califas omeyas.”

 

En “Museos de Andalucía” podemos leer:

El Museo, abierto al público en octubre de 2009, es un complejo edificio que contiene los espacios propios de un museo moderno, así como toda la infraestructura dedicada a la gestión patrimonial que demanda un conjunto arqueológico de la magnitud de la ciudad califal. El edificio está concebido como el punto de partida para la visita al yacimiento, con una presentación y exposición museográfica sobre Madinat al-Zahra.

La creación del Museo resuelve varios problemas planteados desde el comienzo de la recuperación del yacimiento en 1911. El primer edificio construido para dar apoyo a la excavación quedó pronto obsoleto por la ingente cantidad de material arqueológico que se fue almacenando en sus instalaciones y por la insuficiencia de espacios expositivos.

El Museo viene a resolver, además, varias demandas del Conjunto, referidas tanto a la difusión y función didáctica de la institución, como a la tarea de custodia y conservación que esta institución tiene encomendada.

Destaca en el edificio su ubicación exterior a la ciudad, aprovechando uno de sus caminos originales de acceso, de forma que no condiciona ni las excavaciones futuras ni el crecimiento en extensión de las mismas. Este compromiso de la nueva infraestructura con el yacimiento se extiende también al paisaje, pues el proyecto planteado por el estudio de arquitectura Nieto y Sobejano la concibe como una edificación que se oculta parcialmente en el territorio, para no interferir ni en la contemplación del paisaje ni en el fundamental protagonismo de la ciudad califal.

Se trata, en definitiva, de una infraestructura, ideada para facilitar la comprensión del yacimiento y desarrollar a todos los niveles sus potencialidades. Se concibe como una infraestructura para impulsar nuevos proyectos de investigación, conservación y difusión de la ciudad de Madinat al-Zahra y toda la ordenación territorial que constituye su entorno. Cuenta con los siguientes servicios:

Área cultural, expositiva y didáctica: Auditorio, Exposición permanente, Biblioteca Especializada "Manuel Ocaña", Aula didáctica y Sala de seminarios. Área de conservación, investigación y Administración: Almacenes, Talleres de restauración, Centro de documentación, Oficinas y despachos. Otros servicios: Tienda con librería y Cafetería-restaurante.

 

Premios:

2009: Finalista Premio Intervención en Patrimonio Arquitectónico Español. The International Architecture Award. The Chicago Athenaeum Museum.

2010: Aga Khan Award for Architecture.

2011: Piranesi Prix de Rome. Obra Seleccionada Premio de Arquitectura Contemporánea de la Unión Europea – Premio Mies van der Rohe. Finalista Premio Arquitectura Española. Finalista Premios FAD

2012: European Museum of the Year Award

 

www.nietosobejano.com/project.aspx?i=1&t=MADINAT_ALZA...

 

www.dezeen.com

 

europaconcorsi.com

 

www.plataformaarquitectura.cl

 

www.baunetz.de

 

arqa.com

 

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www.museosdeandalucia.es/cultura/museos/CAMA/?lng=es

 

NietoSobejano Arquitectos

 

www.nietosobejano.com