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· ▸ Lux Tunnel includes:
ㅤㅤ• 5 color options
ㅤㅤ• Background
· ▸ Sizes:
ㅤㅤ• Background · 8 x 10 m
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ㅤㅤ• Lamp · 3
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11/06/2017 #1623. Offshore Powerboat action from Seaford Bay. The keen wind certainly lead to choppy conditions and hence plenty of airbourne moments. The light could have been better though. Thanks to Graham for the company. If you hadn't shown up, I may well have gone home before the delayed start.
My monthly shot of the sea #6 in the treasure hunt
Available for purchase from www.ballaratheritage.com.au
VHR - springthorpe
Statement of Significance
What is significant?
The Springthorpe Memorial within the Boroondara Cemetery (VHR0049)commemorates Annie Springthorpe, and was erected in 1897 by her husband Dr John Springthorpe. It was designed by Harold Desbrowe Annear and includes Bertram Mackennal sculptures. It contains twelve columns of deep green granite from Scotland supporting a Harcourt granite superstructure, and a glass dome roof of lead lighting.
How is it significant?
The Springthorpe Memorial is of historic and architectural significance to the State of Victoria
Why is it significant?
The Springthorpe Memorial is historically important in demonstrating nineteenth century social and cultural attitudes to death, and for reflecting the ideals of the Victorian Garden Cemetery movement which aimed at providing comfort for mourners. The memorial is important in demonstrating uniqueness, no other example being known of such aesthetic composition, architectural design and execution, or scale. It is important in exhibiting good design and aesthetic characteristics and for the richness and unusual integration of features. The Springthorpe Memorial is also important in illustrating the principal characteristics of the work of a number of artists including Desbrowe Annear, Mackennal, the glass manufacturers Auguste Fischer and the bronze work of Marriots.
VHR Statement of Significance
What is significant?
Boroondara Cemetery, established in 1858, is within an unusual triangular reserve bounded by High Street, Park Hill Road and Victoria Park, Kew. The caretaker's lodge and administrative office (1860 designed by Charles Vickers, additions, 1866-1899 by Albert Purchas) form a picturesque two-storey brick structure with a slate roof and clock tower. A rotunda or shelter (1890, Albert Purchas) is located in the centre of the cemetery: this has an octagonal hipped roof with fish scale slates and a decorative brick base with a tessellated floor and timber seating. The cemetery is surrounded by a 2.7 metre high ornamental red brick wall (1895-96, Albert Purchas) with some sections of vertical iron palisades between brick pillars. Albert Purchas was a prominent Melbourne architect who was the Secretary of the Melbourne General Cemetery from 1852 to 1907 and Chairman of the Boroondara Cemetery Board of Trustees from 1867 to 1909. He made a significant contribution to the design of the Boroondara Cemetery
Boroondara Cemetery is an outstanding example of the Victorian Garden Cemetery movement in Victoria, retaining key elements of the style, despite overdevelopment which has obscured some of the paths and driveways. Elements of the style represented at Boroondara include an ornamental boundary fence, a system of curving paths which are kerbed and follow the site's natural contours, defined views, recreational facilities such as the rotunda, a landscaped park like setting, sectarian divisions for burials, impressive monuments, wrought and cast iron grave surrounds and exotic symbolic plantings. In the 1850s cemeteries were located on the periphery of populated areas because of concerns about diseases like cholera. They were designed to be attractive places for mourners and visitors to walk and contemplate. Typically cemeteries were arranged to keep religions separated and this tended to maintain links to places of origin, reflecting a migrant society.
Other developments included cast iron entrance gates, built in 1889 to a design by Albert Purchas; a cemetery shelter or rotunda, built in 1890, which is a replica of one constructed in the Melbourne General Cemetery in the same year; an ornamental brick fence erected in 1896-99(?); the construction and operation of a terminus for a horse tram at the cemetery gates during 1887-1915; and the Springthorpe Memorial built between 1897 and 1907. A brick cremation wall and a memorial rose garden were constructed near the entrance in the mid- twentieth century(c.1955-57) and a mausoleum completed in 2001.The maintenance shed/depot close to High Strett was constructed in 1987. The original entrance was altered in 2000 and the original cast iron gates moved to the eastern entrance of the Mausoleum.
The Springthorpe Memorial (VHR 522) set at the entrance to the burial ground commemorates Annie Springthorpe, and was erected between 1897 and 1907 by her husband Dr John Springthorpe. It was the work of the sculptor Bertram Mackennal, architect Harold Desbrowe Annear, landscape designer and Director of the Melbourne Bortanic Gardens, W.R. Guilfoyle, with considerable input from Dr Springthorpe The memorial is in the form of a small temple in a primitive Doric style. It was designed by Harold Desbrowe Annear and includes Bertram Mackennal sculptures in Carrara marble. Twelve columns of deep green granite from Scotland support a Harcourt granite superstructure. The roof by Brooks Robinson is a coloured glass dome, which sits within the rectangular form and behind the pediments. The sculptural group raised on a dais, consists of the deceased woman lying on a sarcophagus with an attending angel and mourner. The figure of Grief crouches at the foot of the bier and an angel places a wreath over Annie's head, symbolising the triumph of immortal life over death. The body of the deceased was placed in a vault below. The bronze work is by Marriots of Melbourne. Professor Tucker of the University of Melbourne composed appropriate inscriptions in English and archaic Greek lettering.. The floor is a geometric mosaic and the glass dome roof is of Tiffany style lead lighting in hues of reds and pinks in a radiating pattern. The memorial originally stood in a landscape triangular garden of about one acre near the entrance to the cemetery. However, after Dr Springthorpe's death in 1933 it was found that transactions for the land had not been fully completed so most of it was regained by the cemetery. A sundial and seat remain. The building is almost completely intact. The only alteration has been the removal of a glass canopy over the statuary and missing chains between posts. The Argus (26 March 1933) considered the memorial to be the most beautiful work of its kind in Australia. No comparable buildings are known.
The Syme Memorial (1908) is a memorial to David Syme, political economist and publisher of the Melbourne Age newspaper. The Egyptian memorial designed by architect Arthur Peck is one of the most finely designed and executed pieces of monumental design in Melbourne. It has a temple like form with each column having a different capital detail. These support a cornice that curves both inwards and outwards. The tomb also has balustradings set between granite piers which create porch spaces leading to the entrance ways. Two variegated Port Jackson Figs are planted at either end.
The Cussen Memorial (VHR 2036) was constructed in 1912-13 by Sir Leo Cussen in memory of his young son Hubert. Sir Leo Finn Bernard Cussen (1859-1933), judge and member of the Victorian Supreme Court in 1906. was buried here. The family memorial is one of the larger and more impressive memorials in the cemetery and is an interesting example of the 1930s Gothic Revival style architecture. It takes the form of a small chapel with carvings, diamond shaped roof tiles and decorated ridge embellishing the exterior.
By the 1890s, the Boroondara Cemetery was a popular destination for visitors and locals admiring the beauty of the grounds and the splendid monuments. The edge of suburban settlement had reached the cemetery in the previous decade. Its Victorian garden design with sweeping curved drives, hill top views and high maintenance made it attractive. In its Victorian Garden Cemetery design, Boroondara was following an international trend. The picturesque Romanticism of the Pere la Chaise garden cemetery established in Paris in 1804 provided a prototype for great metropolitan cemeteries such as Kensal Green (1883) and Highgate (1839) in London and the Glasgow Necropolis (1831). Boroondara Cemetery was important in establishing this trend in Australia.
The cemetery's beauty peaked with the progressive completion of the spectacular Springthorpe Memorial between 1899 and 1907. From about the turn of the century, the trustees encroached on the original design, having repeatedly failed in attempts to gain more land. The wide plantations around road boundaries, grassy verges around clusters of graves in each denomination, and most of the landscaped surround to the Springthorpe memorial are now gone. Some of the original road and path space were resumed for burial purposes. The post war period saw an increased use of the Cemetery by newer migrant groups. The mid- to late- twentieth century monuments were often placed on the grassed edges of the various sections and encroached on the roadways as the cemetery had reached the potential foreseen by its design. These were well tended in comparison with Victorian monuments which have generally been left to fall into a state of neglect.
The Boroondara Cemetery features many plants, mostly conifers and shrubs of funerary symbolism, which line the boundaries, road and pathways, and frame the cemetery monuments or are planted on graves. The major plantings include an impressive row of Bhutan Cypress (Cupressus torulosa), interplanted with Sweet Pittosporum (Pittosporum undulatum), and a few Pittosporum crassifolium, along the High Street and Parkhill Street, where the planting is dominated by Sweet Pittosporum.
Planting within the cemetery includes rows and specimen trees of Bhutan Cypress and Italian Cypress (Cupressus sempervirens), including a row with alternate plantings of both species. The planting includes an unusual "squat" form of an Italian Cypress. More of these trees probably lined the cemetery roads and paths. Also dominating the cemetery landscape near the Rotunda is a stand of 3 Canary Island Pines (Pinus canariensis), a Bunya Bunya Pine (Araucaria bidwillii) and a Weeping Elm (Ulmus glabra 'Camperdownii')
Amongst the planting are the following notable conifers: a towering Bunya Bunya Pine (Araucaria bidwillii), a Coast Redwood (Sequoia sempervirens), a rare Golden Funeral Cypress (Chamaecyparis funebris 'Aurea'), two large Funeral Cypress (Chamaecyparis funebris), and the only known Queensland Kauri (Agathis robusta) in a cemetery in Victoria.
The Cemetery records, including historical plans of the cemetery from 1859, are held by the administration and their retention enhances the historical significance of the Cemetery.
How is it significant?
Boroondara Cemetery is of aesthetic, architectural, scientific (botanical) and historical significance to the State of Victoria.
Why is it significant?
The Boroondara Cemetery is of historical and aesthetic significance as an outstanding example of a Victorian garden cemetery.
The Boroondara Cemetery is of historical significance as a record of Victorian life from the 1850s, and the early settlement of Kew. It is also significant for its ability to demonstrate, through the design and location of the cemetery, attitudes towards burial, health concerns and the importance placed on religion, at the time of its establishment.
The Boroondara Cemetery is of architectural significance for the design of the gatehouse or sexton's lodge and cemetery office (built in stages from 1860 to 1899), the ornamental brick perimeter fence and elegant cemetery shelter to the design of prominent Melbourne architects, Charles Vickers (for the original 1860 cottage) and Albert Purchas, cemetery architect and secretary from 1864 to his death in 1907.
The Boroondara Cemetery has considerable aesthetic significance which is principally derived from its tranquil, picturesque setting; its impressive memorials and monuments; its landmark features such as the prominent clocktower of the sexton's lodge and office, the mature exotic plantings, the decorative brick fence and the entrance gates; its defined views; and its curving paths. The Springthorpe Memorial (VHR 522), the Syme Memorial and the Cussen Memorial (VHR 2036), all contained within the Boroondara Cemetery, are of aesthetic and architectural significance for their creative and artistic achievement.
The Boroondara Cemetery is of scientific (botanical) significance for its collection of rare mature exotic plantings. The Golden Funeral Cypress, (chamaecyparis funebris 'aurea') is the only known example in Victoria.
The Boroondara Cemetery is of historical significance for the graves, monuments and epitaphs of a number of individuals whose activities have played a major part in Australia's history. They include the Henty family, artists Louis Buvelot and Charles Nuttall, businessmen John Halfey and publisher David Syme, artist and diarist Georgiana McCrae, actress Nellie Stewart and architect and designer of the Boroondara and Melbourne General Cemeteries, Albert Purchas.
The West Grinstead Ploughing Match was the setting for this year's Camera Club Photohunt. A fine day for it.
The figures include Eda Clawthorne, King, Luz and her friends Amity, Willow and Gus. They come with their personal accessories: Amity's abomination ooze, Luz' glyph, King's crown, Eda's owl staff (Owlbert) and magic casting circle, Gus' illusion casting, and Willow's magical plants.
The Owl House model is based on the well known show with the same name. It's unique on many levels as a show and also includes one of the coolest locations in a while.
My model shows the intriguing architecture with the curved roof and the big stained-glass window looking like a demon eye. The old tower in the background completes the magical scenery.
Visit Eda's Owl House project on LEGO IDEAS!
(ideas.lego.com/projects/4675eb19-4c5e-43c3-b5a7-ee48db822f07)
Lamborghini Espada III (1972-78) Engine 3929cc V12 Production 1217 (all)
Chassis No. 8086
Engine No. 40380
Registration Number BHJ 742 J (Southend-on-Sea)
LAMBORGHINI SET
www.flickr.com/photos/45676495@N05/sets/72157623795819738...
Born of Lamborghini desire to include a four seater in the line up to compliment the Muira and 400GT. The Espada was launched at the 1968 Geneva Motorshow, designed by Marcello Gandini of Bertone, the name Espada in Spanish meaning (the bull fighters) sword. During its ten year run the Espada was produced in three series
Series I 1968-70
Series 2 1970-72
Series 3 1972-78
It retained its V12 3929cc engine throughout with each series receiving an increase in power, and dramatic interior changes, originally introduced with an output of 325bhp increasing to 350bhp, With 150mph performance from the 3.9-litre, V12 engine, five speed gearbox, chassis-mounted rear axle and all-independent, coil spring suspension, the car was built as a high performance supercar. The interior was altered dramatically between each model. An all new dashboard and steering wheel was installed for the S2 and the interior was again revamped for the S3.
This well travelled car was entered in the Classica at Brooklands Auction 6th June 2015, when pictured, with a very full history,
Built as as LHD Espada S2 and completed on 1st October 1970 It was delivered on October 15, 1970 to Lamborauto of Turin and sold to Ms. Zutinic Radmila who owned the car until 1972.
The second owner, Roberto Jaime Gourlay, purchased the car in Turin in 1972 while working as a buyer for the Canadian Forces Exchange Stores in Lahr, Germany, and was able to register the car with the Canadian Forces and not with the German TUV and so the car had DND Canadian licence plates in Germany. When he left Lahr to set up business in Frankfurt .he had to change the Canadian (CDN) plates for German duty free plates and continued to enjoy the car. He then went to work in Spain and was initially allowed to drive the car on tourist plates, providing he had a valid work permit, when the permit expired the authorities demanded he had to register on Spanish plates and demanded a considerable fee. At this point, he decided to leave Spain within the week and drove back to Germany. His intention being to sell the Espada in Germany but at the time the German economy was not strong, so instead he decided to drive the car to the UK where the car was sold to a wealthy horse dealer and saddler, Kenneth Lyndon-Dyres, of Maidstone, Kent. Registered in the UK on 10th May, 1976. It was then shipped to California with the intention of sale, but it did not meet Californian emission regulations and so was shipped back by a Don Kay of Croydon who bought it in the USA. It was then acquired by a Michael Percy of Piddington, High Wycombe on 23rd September 1980.who kept the car until 1986.when the engine dropped a valve, and was subsequently bought by Thoroughbred Sports Cars, Whitney, Oxfordshire. who removed the engine, and repainted body Azzurro Mexico (light blue) to red. It then remained with the engine out until February, 1989. when purchased by david Eaton on the basis that the body shell and chassis was rust free and he undertook the task of rebuilding Lamborghini V12 which took seven years including taking the car back to bare mettle and then two-pack the complete underneath (still in excellent condition) as well as rebuild the suspension.The engine has the original pistons and bores but was rebuilt with new rings, chains, shells, and gaskets at 77,000km. .
Offered at the Classics at Brooklands Auction with a auction guide price of £ 45,000 to £ 55,000 it sold for £ 91,840
Many thanks for a fantabulous 36,534,300 views (recalculated by Flickr)
Shot at Brooklands Museum, H+H Auction 06:06:2015 Ref 106-600
Citadel Park Passeig de Picasso Barcelone Catalonia Spain
Citadel Park is a park on the northeastern edge of Ciutat Vella, Barcelona, Catalonia. For decades following its creation in the mid-19th century, this park was the city's only green space. The 70 acres (280,000 m2) grounds include the city zoo (once home to the albino gorilla Snowflake, who died in 2004), the Parliament of Catalonia, a small lake, museums, and a large fountain designed by Josep Fontserè (with possible contributions by the young Antoni Gaudí).
Locations
Citadel
In 1714, during the War of the Spanish Succession, Barcelona was laid siege for 13 months by the army of Philip V of Spain. The city fell, and in order to maintain control over it, and to prevent the Catalans from rebelling as they had in the previous century, Philip V built the citadel of Barcelona, at that time the largest fortress in Europe.
A substantial part of the district it was constructed in (La Ribera) was destroyed to obtain the necessary space, leaving its inhabitants homeless. The fortress was characterized by having five corners, which gave the citadel defensive power, and by a rather wide surrounding margin, serving as location for the army's cannons. It included enough buildings to house 8,000 people.
Hundreds of Catalonians were forced to work on the construction for three years, while the rest of the city provided financial backing for this and for warfare-related expenses as well, with a new tax named el cadestre. Three decades later a quarter was rebuilt around the fortress named Barceloneta, which is located inside the neighborhood Ciutat Vella.
In 1841 the city's authorities decided to destroy the fortress, which was hated by Barcelona's citizens. Yet two years later, in 1843, under the regime of Maria Cristina, the citadel was restored. In 1848, after Maria Cristina's abdication and as the citadel lost its use, General Espartero razed most of the buildings within the fortress as well as its walls by bombarding it from the nearby mountain fortress Montjuic, which helped him gain political popularity. By 1869, as the political climate liberalised enough to permit it, General Prim decided to turn over what was left of the fortress to the city and some buildings were demolished under Catalan orders, for it was viewed as by the citizens as a much-hated symbol of central Spanish government.
The chapel (now the Military Parish Church of Barcelona), the Governor's palace (now Verdaguer Secondary School), and the arsenal (now home to the Catalan Parliament) remain, with the rest of the site being turned into the contemporary park by the architect Josep Fontsére in 1872. Nineteen years later, in 1888, Barcelona held the Exposición Universal de Barcelona extravaganza, inspired by Mayor Rius i Taulet, and the park was redesigned with the addition of sculptures and other complementary works of art. This marked the conclusion of the old provincial and unprogressive Barcelona and the establishment of a modern cosmopolitan city. From that point until 1892, half of the park's layout was enhanced again in order to obtain sufficient space for the zoo. The park's bandstand, Glorieta de la Transsexual Sònia, is dedicated to a transsexual, Sonia Rescalvo Zafra, who was murdered there on 6 October 1991 by right-wing extremists.
Cascada
The lake in the Parc de la Ciutadella
The Cascada (waterfall or cascade in Spanish) is located at the northern corner of the park opposite to the lake. It was first inaugurated in 1881 without sculptures or any meticulous details, and was thereby criticized by the press, after which this triumphal arch was thoroughly amended by the addition of a fountain and some minor attributes, which required six years of construction from 1882 to 1888, and was thenceforth put on display at the Universal Exhibition, and hitherto not been redesigned. It was erected by Josep Fontsére and to a small extent by Antoni Gaudí, who at that time was still an unknown student of architecture. Fontsére aimed to loosely make it bear resemblance to the Trevi Fountain of Rome. Two enormous pincers of gigantic crabs serve as stairs to access a small podium located in the centre of the monument. In front of it a sculpture (designed by Venanci Vallmitjana) of Venus standing on an open clam was placed. The whole cascade is divided in two levels. From the podium on a path leads to the Feminine Sculpture and to the northeastern corner of the park, and upon following the route down the stairs the fountain's pond is rounded and the southern tip of the artifact is reached.
Zoo
The zoo's main entrance
The zoo of Barcelona is located in the park of the ciutadella due to the availability of a few buildings which were left empty after the Universal Exposition of 1888. It was inaugurated in 1892, during the day of the Mercé, the patron saint of the city. The first animals were donated by Lluís Martí i Codolar to the municipality of Barcelona, which gratefully approved of their accommodation in the zoo.
Nowadays, with one of the most substantial collections of animals in Europe, the zoo affirms that their aim is to conserve, investigate, and educate.
From 1966 to 2003 the zoo was home to the famous albino gorilla Snowflake, who attracted many international tourists and locals.
Apart from the usual visits, different types of guided tours or other activities are offered, like for example 20 types of diversionary workshops, excursions and fieldtrips for schoolchildren, or personnel training and educational courses in zoology for adults. More than 50,000 children visit the zoo on an annual basis, which is the reason for the zoo's emphasis on education.
Museum of Natural Science
The facade of the zoology museum of Barcelona
Ceramics on the facade of the zoology museum of Barcelona
The Museum of Natural Science, sited in the park, comprises a museum of zoology and a museum of geology.
The museum of zoology was constructed for the Exposición Universal de Barcelona (1888) by the architect Lluís Doménech i Montaner to serve as an exhibition. Most of the building is constructed of red brick. The most popular displays are the skeleton of a whale and exhibits dedicated for smaller children. The institute's stated aims are to enhance knowledge and conservation of the natural diversity of Catalonia and its surroundings, to promote public education on the natural world, to transmit ethical values of respect for nature, and to stimulate informed debate on the issues and environmental problems that concern society. The museum has permanent exhibitions on the subject of mineralogy, petrology and paleontology; the volcanic region of Olot; minerals' secret colors; the animal kingdom; urban birds; and an apiary.
The museum of geology is a legacy of the scientist Francisco Martorell i Peña (1822–1878), who donated his whole collection of artifacts of cultural and archeological importance, his scientific library, and an amount of 125,000 pesetas to the city for the purpose of creating a new museum. The building, built during the same year and named the Corporación Municipal, was designed by Antoni Rivas i Trias.
The calendar includes a selection of events and anniveraries which will occur in 2014. The external ring can be used by the reader to customize his year. The center of the visualization shows the information related to the weather conditions during the years 2010-2012. Data refers to the city of Milan.
Includes every detail I could squeeze in on exterior. Proportions are almost exact. Took 3 hours to build. Have a good one!
8th Anniversary's Lucky Bag includes VINDOLL and resin secret heads. You may find some in this picture...😂
The RAF Typhoon displaying at Airbourne - the Eastbourne Airshow. I love looking for the atmospheric effects - either from the low pressure areas above the wings or from the hot afterburner exhausts.
Citadel Park Passeig de Picasso Barcelone Catalonia Spain
Citadel Park is a park on the northeastern edge of Ciutat Vella, Barcelona, Catalonia. For decades following its creation in the mid-19th century, this park was the city's only green space. The 70 acres (280,000 m2) grounds include the city zoo (once home to the albino gorilla Snowflake, who died in 2004), the Parliament of Catalonia, a small lake, museums, and a large fountain designed by Josep Fontserè (with possible contributions by the young Antoni Gaudí).
Locations
Citadel
In 1714, during the War of the Spanish Succession, Barcelona was laid siege for 13 months by the army of Philip V of Spain. The city fell, and in order to maintain control over it, and to prevent the Catalans from rebelling as they had in the previous century, Philip V built the citadel of Barcelona, at that time the largest fortress in Europe.
A substantial part of the district it was constructed in (La Ribera) was destroyed to obtain the necessary space, leaving its inhabitants homeless. The fortress was characterized by having five corners, which gave the citadel defensive power, and by a rather wide surrounding margin, serving as location for the army's cannons. It included enough buildings to house 8,000 people.
Hundreds of Catalonians were forced to work on the construction for three years, while the rest of the city provided financial backing for this and for warfare-related expenses as well, with a new tax named el cadestre. Three decades later a quarter was rebuilt around the fortress named Barceloneta, which is located inside the neighborhood Ciutat Vella.
In 1841 the city's authorities decided to destroy the fortress, which was hated by Barcelona's citizens. Yet two years later, in 1843, under the regime of Maria Cristina, the citadel was restored. In 1848, after Maria Cristina's abdication and as the citadel lost its use, General Espartero razed most of the buildings within the fortress as well as its walls by bombarding it from the nearby mountain fortress Montjuic, which helped him gain political popularity. By 1869, as the political climate liberalised enough to permit it, General Prim decided to turn over what was left of the fortress to the city and some buildings were demolished under Catalan orders, for it was viewed as by the citizens as a much-hated symbol of central Spanish government.
The chapel (now the Military Parish Church of Barcelona), the Governor's palace (now Verdaguer Secondary School), and the arsenal (now home to the Catalan Parliament) remain, with the rest of the site being turned into the contemporary park by the architect Josep Fontsére in 1872. Nineteen years later, in 1888, Barcelona held the Exposición Universal de Barcelona extravaganza, inspired by Mayor Rius i Taulet, and the park was redesigned with the addition of sculptures and other complementary works of art. This marked the conclusion of the old provincial and unprogressive Barcelona and the establishment of a modern cosmopolitan city. From that point until 1892, half of the park's layout was enhanced again in order to obtain sufficient space for the zoo. The park's bandstand, Glorieta de la Transsexual Sònia, is dedicated to a transsexual, Sonia Rescalvo Zafra, who was murdered there on 6 October 1991 by right-wing extremists.
Cascada
The lake in the Parc de la Ciutadella
The Cascada (waterfall or cascade in Spanish) is located at the northern corner of the park opposite to the lake. It was first inaugurated in 1881 without sculptures or any meticulous details, and was thereby criticized by the press, after which this triumphal arch was thoroughly amended by the addition of a fountain and some minor attributes, which required six years of construction from 1882 to 1888, and was thenceforth put on display at the Universal Exhibition, and hitherto not been redesigned. It was erected by Josep Fontsére and to a small extent by Antoni Gaudí, who at that time was still an unknown student of architecture. Fontsére aimed to loosely make it bear resemblance to the Trevi Fountain of Rome. Two enormous pincers of gigantic crabs serve as stairs to access a small podium located in the centre of the monument. In front of it a sculpture (designed by Venanci Vallmitjana) of Venus standing on an open clam was placed. The whole cascade is divided in two levels. From the podium on a path leads to the Feminine Sculpture and to the northeastern corner of the park, and upon following the route down the stairs the fountain's pond is rounded and the southern tip of the artifact is reached.
Zoo
The zoo's main entrance
The zoo of Barcelona is located in the park of the ciutadella due to the availability of a few buildings which were left empty after the Universal Exposition of 1888. It was inaugurated in 1892, during the day of the Mercé, the patron saint of the city. The first animals were donated by Lluís Martí i Codolar to the municipality of Barcelona, which gratefully approved of their accommodation in the zoo.
Nowadays, with one of the most substantial collections of animals in Europe, the zoo affirms that their aim is to conserve, investigate, and educate.
From 1966 to 2003 the zoo was home to the famous albino gorilla Snowflake, who attracted many international tourists and locals.
Apart from the usual visits, different types of guided tours or other activities are offered, like for example 20 types of diversionary workshops, excursions and fieldtrips for schoolchildren, or personnel training and educational courses in zoology for adults. More than 50,000 children visit the zoo on an annual basis, which is the reason for the zoo's emphasis on education.
Museum of Natural Science
The facade of the zoology museum of Barcelona
Ceramics on the facade of the zoology museum of Barcelona
The Museum of Natural Science, sited in the park, comprises a museum of zoology and a museum of geology.
The museum of zoology was constructed for the Exposición Universal de Barcelona (1888) by the architect Lluís Doménech i Montaner to serve as an exhibition. Most of the building is constructed of red brick. The most popular displays are the skeleton of a whale and exhibits dedicated for smaller children. The institute's stated aims are to enhance knowledge and conservation of the natural diversity of Catalonia and its surroundings, to promote public education on the natural world, to transmit ethical values of respect for nature, and to stimulate informed debate on the issues and environmental problems that concern society. The museum has permanent exhibitions on the subject of mineralogy, petrology and paleontology; the volcanic region of Olot; minerals' secret colors; the animal kingdom; urban birds; and an apiary.
The museum of geology is a legacy of the scientist Francisco Martorell i Peña (1822–1878), who donated his whole collection of artifacts of cultural and archeological importance, his scientific library, and an amount of 125,000 pesetas to the city for the purpose of creating a new museum. The building, built during the same year and named the Corporación Municipal, was designed by Antoni Rivas i Trias.
Lotus, a latinization of Greek lōtos (λωτός), is a genus of flowering plants that includes most bird's-foot trefoils (also known as bacon-and-eggs) and deervetches and contains many dozens of species distributed in the eastern hemisphere, including Africa, Europe, western, southern, and eastern Asia, and Australia and New Guinea. Depending on the taxonomic authority, roughly between 70 and 150 are accepted. Lotus is a genus of legumes and its members are adapted to a wide range of habitats, from coastal environments to high elevations.
The genus Lotus is currently undergoing extensive taxonomic revision. Species native to the Americas have been moved into other genera, such as Acmispon and Hosackia, as in the second edition of The Jepson Manual.
The aquatic plant commonly known as the Indian or sacred lotus is Nelumbo nucifera, a species not closely related to Lotus.
Most species have leaves with five leaflets; two of these are at the extreme base of the leaf, with the other three at the tip of a naked midrib. This gives the appearance of a pair of large stipules below a "petiole" bearing a trefoil of three leaflets – in fact, the true stipules are minute, soon falling or withering. Some species have pinnate leaves with up to 15 leaflets. The flowers are in clusters of three to ten together at the apex of a stem with some basal leafy bracts; they are pea-flower shaped, usually vivid yellow, but occasionally orange or red. The seeds develop in three or four straight, strongly diverging pods, which together make a shape reminiscent of the diverging toes of a small bird, leading to the common name "bird's-foot".
The genus Lotus is taxonomically complex. It has at times been divided into subgenera and split into segregate genera, but with no consistent consensus. P.H. Raven in 1971 is said to have been the first to suggest that the "New World" (American) and "Old World" (African and Eurasian) species did not belong in the same genus. A molecular phylogenetic study in 2000 based on nuclear ribosomal ITS sequences confirmed this view. The New World species have been divided between the genera Hosackia s.str., Ottleya, Acmispon and Syrmatium. A 2006 study, primarily concerned with Old World Lotus species and hence with limited sampling of the American genera, found that they were all monophyletic. The study also supported the view that Dorycnium and Tetragonolobus are not distinct from Lotus at the generic level. More species were added to the 2006 results in 2008, but did not alter the broad conclusions reached before. Clades were identified within Lotus s.str., some of which were significantly different from the sections into which the genus had been divided. However, resolution was incomplete. The results of the analysis were presented in terms of clades and complexes.
Lotus species are used as food plants by the larvae of some Lepidoptera species. Several species are cultivated for forage, including L. corniculatus, L. glaber, and L. pedunculatus. They can produce toxic cyanogenic glycosides which can be potentially toxic to livestock, but also produce tannins, which are a beneficial anti-bloating compound.
Species in this genus can fix nitrogen from the air courtesy of their root nodules, making them useful as a cover crop. The nodulating symbionts are Bradyrhizobium and Mesorhizobium bacteria. Scientific research for crop improvement and understanding the general biology of the genus is focused on L. japonicus, which is currently the subject of a full genome sequencing project, and is considered a model organism.
Some species, such as L. berthelotii from the Canary Islands, are grown as ornamental plants. L. corniculatus is an invasive species in some regions of North America and Australia.
Carton art work 2019 by Thierry Geoffroy / periode Venice Biennale
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Ralph Rugoff has declared: «May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).»
ALBANIA
Maybe the cosmos is not so extraordinary
Commissioner: Ministry of Culture Republic of Albania. Curator: Alicia Knock.
Exhibitor: Driant Zeneli.
ALGERIA***
Time to shine bright
Commissioner/Curator: Hellal Mahmoud Zoubir, National Council of Arts and Letters Ministry of Culture. Exhibitors: Rachida Azdaou, Hamza Bounoua, Amina Zoubir, Mourad Krinah, Oussama Tabti.
Venue: Fondamenta S. Giuseppe, 925
ANDORRA
The Future is Now / El futur és ara
Commissioner: Eva Martínez, “Zoe”. Curators: Ivan Sansa, Paolo De Grandis.
Exhibitor: Philippe Shangti.
Venue: Istituto Santa Maria della Pietà, Castello 3701
ANTIGUA & BARBUDA
Find Yourself: Carnival and Resistance
Commissioner: Daryll Matthew, Minister of Sports, Culture, National Festivals and the Arts. Curator: Barbara Paca with Nina Khrushcheva. Exhibitors: Timothy Payne, Sir Gerald Price, Joseph Seton, and Frank Walter; Intangible Cultural, Heritage Artisans and Mas Troup.
Venue: Centro Culturale Don Orione Artigianelli, Dorsoduro 919
ARGENTINA
El nombre de un país / The name of a country
Commissioner: Sergio Alberto Baur Ambasciatore. Curator: Florencia Battiti. Exhibitor: Mariana Telleria.
Venue: Arsenale
ARMENIA (Republic of)
Revolutionary Sensorium
Commissioner: Nazenie Garibian, Deputy Minister. Curator: Susanna Gyulamiryan.
Exhibitors: "ArtlabYerevan" Artistic Group (Gagik Charchyan, Hovhannes Margaryan, Arthur Petrosyan, Vardan Jaloyan) and Narine Arakelian.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
AUSTRALIA
ASSEMBLY
Commissioner: Australia Council for the Arts. Curator: Juliana Engberg. Exhibitor: Angelica Mesiti.
Venue: Giardini
AUSTRIA
Discordo Ergo Sum
Commissioner: Arts and Culture Division of the Federal Chancellery of Austria.
Curator: Felicitas Thun-Hohenstein. Exhibitor: Renate Bertlmann.
Venue: Giardini
AZERBAIJAN (Republic of )
Virtual Reality
Commissioner: Mammad Ahmadzada, Ambassador of the Republic of Azerbaijan.
Curators: Gianni Mercurio, Emin Mammadov. Exhibitors: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva.
Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949
BANGLADESH (People’s Republic of)
Thirst
Commissioner: Liaquat Ali Lucky. Curators: Mokhlesur Rahman, Viviana Vannucci.
Exhibitors: Bishwajit Goswami, Dilara Begum Jolly, Heidi Fosli, Nafis Ahmed Gazi, Franco Marrocco, Domenico Pellegrino, Preema Nazia Andaleeb, Ra Kajol, Uttam Kumar karmaker.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
BELARUS (Republic of)
Exit / Uscita
Commissioner: Siarhey Kryshtapovich. Curator: Olga Rybchinskaya. Exhibitor: Konstantin Selikhanov.
Venue: Spazio Liquido, Sestiere Castello 103, Salizada Streta
BELGIUM
Mondo Cane
Commissioner: Fédération Wallonie-Bruxelles. Curator: Anne-Claire Schmitz.
Exhibitor: Jos de Gruyter & Harald Thys.
Venue: Giardini
BOSNIA and HERZEGOVINA
ZENICA-TRILOGY
Commissioner: Senka Ibrišimbegović, Ars Aevi Museum for Contemporary Art Sarajevo.
Curators: Anja Bogojević, Amila Puzić, Claudia Zini. Exhibitor: Danica Dakić.
Venue: Palazzo Francesco Molon Ca’ Bernardo, San Polo 2184/A
BRAZIL
Swinguerra
Commissioner: José Olympio da Veiga Pereira, Fundação Bienal de São Paulo.
Curator: Gabriel Pérez-Barreiro. Exhibitor: Bárbara Wagner & Benjamin de Burca.
Venue: Giardini
BULGARIA
How We Live
Commissioner: Iaroslava Boubnova, National Gallery in Sofia. Curator: Vera Mlechevska.
Exhibitors: Rada Boukova , Lazar Lyutakov.
Venue: Palazzo Giustinian Lolin, San Marco 2893
CANADA
ISUMA
Commissioner: National Gallery of Canada. Curators: Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer, Candice Hopkins. Exhibitors: Isuma (Zacharias Kunuk, Norman Cohn, Paul Apak, Pauloosie Qulitalik).
Venue: Giardini
CHILE
Altered Views
Commissioner: Varinia Brodsky, Ministry of Cultures, Arts and Heritage.
Curator: Agustín Pérez. Rubio. Exhibitor: Voluspa Jarpa.
Venue: Arsenale
CHINA (People’s Republic of)
Re-睿
Commissioner: China Arts and Entertainment Group Ltd. (CAEG).
Curator: Wu Hongliang. Exhibitors: Chen Qi, Fei Jun, He Xiangyu, Geng Xue.
Venue: Arsenale
CROATIA
Traces of Disappearing (In Three Acts)
Commissioner: Ministry of Culture of the Republic of Croatia. Curator: Katerina Gregos.
Exhibitor: Igor Grubić.
Venue: Calle Corner, Santa Croce 2258
CUBA
Entorno aleccionador (A Cautionary Environment)
Commissioner: Norma Rodríguez Derivet, Consejo Nacional de Artes Plásticas.
Curator: Margarita Sanchez Prieto. Exhibitors: Alejandro Campins, Alex Hérnandez, Ariamna Contino and Eugenio Tibaldi. Venue: Isola di San Servolo
CYPRUS (Republic of)
Christoforos Savva: Untimely, Again
Commissioner: Louli Michaelidou. Curator: Jacopo Crivelli Visconti. Exhibitor: Christoforos Savva.
Venue: Associazione Culturale Spiazzi, Castello 3865
CZECH (Republic) and SLOVAK (Republic)
Stanislav Kolíbal. Former Uncertain Indicated
Commissioner: Adam Budak, National Gallery Prague. Curator: Dieter Bogner.
Exhibitor: Stanislav Kolibal.
Venue: Giardini
DOMINICAN (Republic) *
Naturaleza y biodiversidad en la República Dominicana
Commissioner: Eduardo Selman, Minister of Culture. Curators: Marianne de Tolentino, Simone Pieralice, Giovanni Verza. Exhibitors: Dario Oleaga, Ezequiel Taveras, Hulda Guzmán, Julio Valdez, Miguel Ramirez, Rita Bertrecchi, Nicola Pica, Marraffa & Casciotti.
Venue: Palazzo Albrizzi Capello, Cannaregio 4118 – Sala della Pace
EGYPT
khnum across times witness
Commissioner: Ministry of Culture. Curator: Ahmed Chiha.
Exhibitors: Islam Abdullah, Ahmed Chiha, Ahmed Abdel Karim.
Venue: Giardini
ESTONIA
Birth V
Commissioner: Maria Arusoo, Centre of Contemporary Arts of Estonia. Curators: Andrew Berardini, Irene Campolmi, Sarah Lucas, Tamara Luuk. Exhibitor: Kris Lemsalu.
Venue: c/o Legno & Legno, Giudecca 211
FINLAND (Alvar Aalto Pavilion)
A Greater Miracle of Perception
Commissioner: Raija Koli, Director Frame Contemporary Art Finland.
Curators: Giovanna Esposito Yussif, Bonaventure Soh Bejeng Ndikung, Christopher Wessels. Exhibitors: Miracle Workers Collective (Maryan Abdulkarim, Khadar Ahmed, Hassan Blasim, Giovanna Esposito Yussif, Sonya Lindfors, Bonaventure Soh Bejeng Ndikung, Outi Pieski, Leena Pukki, Lorenzo Sandoval, Martta Tuomaala, Christopher L. Thomas, Christopher Wessels, Suvi West).
Venue: Giardini
FRANCE
Deep see blue surrounding you / Vois ce bleu profond te fondre
Commissioner: Institut français with the Ministry for Europe and Foreign Affairs and the Ministry of Culture. Curator: Martha Kirszenbaum. Exhibitor: Laure Prouvost.
Venue: Giardini
GEORGIA
REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation
Commissioner: Ana Riaboshenko. Curator: Margot Norton. Exhibitor: Anna K.E.
Venue: Arsenale
GERMANY
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office, Germany. Curator: Franciska Zólyom. Exhibitor: Natascha Süder Happelmann.
Venue: Giardini
GHANA ***
Ghana Freedom
Commissioner: Ministry of Tourism, Arts and Culture. Curator: Nana Oforiatta Ayim.
Exhibitors: Felicia Abban, John Akomfrah, El Anatsui, Lynette Yiadom Boakye, Ibrahim Mahama, Selasi Awusi Sosu.
Venue: Arsenale
GREAT BRITAIN
Cathy Wilkes
Commissioner: Emma Dexter. Curator: Zoe Whitley. Exhibitor: Cathy Wilkes.
Venue: Giardini
GREECE
Mr Stigl
Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan Organization of Museums of Visual Arts of Thessaloniki - MOMus).
Curator: Katerina Tselou. Exhibitors: Panos Charalambous, Eva Stefani, Zafos Xagoraris.
Venue: Giardini
GRENADA
Epic Memory
Commissioner: Susan Mains. Curator: Daniele Radini Tedeschi.
Exhibitors: Amy Cannestra, Billy Gerard Frank, Dave Lewis, Shervone Neckles, Franco Rota Candiani, Roberto Miniati, CRS avant-garde.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
GUATEMALA
Interesting State
Commissioner: Elder de Jesús Súchite Vargas, Minister of Culture and Sports of Guatemala. Curator: Stefania Pieralice. Exhibitors: Elsie Wunderlich, Marco Manzo.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
HAITI
THE SPECTACLE OF TRAGEDY
Commissioner: Ministry of Culture and Communication.
Curator: Giscard Bouchotte. Exhibitor: Jean Ulrick Désert.
Venue: Circolo Ufficiali Marina, Calle Seconda de la Fava, Castello 2168
HUNGARY
Imaginary Cameras
Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.
Curator: Zsuzsanna Szegedy-Maszák. Exhibitor: Tamás Waliczky.
Venue: Giardini
ICELAND
Chromo Sapiens – Hrafnhildur Arnardóttir / Shoplifter
Commissioner: Eiríkur Þorláksson, Icelandic Ministry of Education, Science and Culture.
Curator: Birta Gudjónsdóttir. Exhibitor: Hrafnhildur Arnardóttir / Shoplifter.
Venue: Spazio Punch, Giudecca 800
INDIA
Our time for a future caring
Commissioner: Adwaita Gadanayak National Gallery of Modern Art.
Curator: Roobina Karode, Director & Chief Curator, Kiran Nadar Museum of Art. Exhibitors: Atul Dodiya, Ashim Purkayastha, GR Iranna, Jitish Kallat, Nandalal Bose, Rummana Hussain, Shakuntala Kulkarni.
Venue: Arsenale
INDONESIA
Lost Verses
Commissioner: Ricky Pesik & Diana Nazir, Indonesian Agency for Creative Economy.
Curator: Asmudjo Jono Irianto. Exhibitors: Handiwirman Saputra and Syagini Ratna Wulan.
Venue: Arsenale
IRAN (Islamic Republic of)
of being and singing
Commissioner: Hadi Mozafari, General Manager of Visual Arts Administration of Islamic Republic of Iran. Curator: Ali Bakhtiari.
Exhibitors: Reza Lavassani, Samira Alikhanzadeh, Ali Meer Azimi.
Venue: Fondaco Marcello, San Marco 3415
IRAQ
Fatherland
Commissioner: Fondazione Ruya. Curators: Tamara Chalabi, Paolo Colombo.
Exhibitor: Serwan Baran.
Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052
IRELAND
The Shrinking Universe
Commissioner: Culture Ireland. Curator: Mary Cremin. Exhibitor: Eva Rothschild.
Venue: Arsenale
ISRAEL
Field Hospital X
Commissioner: Michael Gov, Arad Turgeman. Curator: Avi Lubin. Exhibitor: Aya Ben Ron.
Venue: Giardini
ITALY
Commissioner: Federica Galloni, Direttore Generale Arte e Architettura Contemporanee e Periferie Urbane, Ministero dei Beni e delle Attività Culturali. Curator: Milovan Farronato.
Exhibitors: Enrico David, Liliana Moro, Chiara Fumai.
Venue: Padiglione Italia, Tese delle Vergini, Arsenale
IVORY COAST
The Open Shadows of Memory
Commissioner: Henri Nkoumo. Curator: Massimo Scaringella. Exhibitors: Ernest Dükü, Ananias Leki Dago, Valérie Oka, Tong Yanrunan.
Venue: Castello Gallery, Castello 1636/A
JAPAN
Cosmo-Eggs
Commissioner: The Japan Foundation. Curator: Hiroyuki Hattori. Exhibitors: Motoyuki Shitamichi, Taro Yasuno, Toshiaki Ishikura, Fuminori Nousaku.
Venue: Giardini
KIRIBATI
Pacific Time - Time Flies
Commissioner: Pelea Tehumu, Ministry of Internal Affairs. Curators: Kautu Tabaka, Nina Tepes. Exhibitors: Kaeka Michael Betero, Daniela Danica Tepes, Kairaken Betio Group; Teroloang Borouea, Neneia Takoikoi, Tineta Timirau, Teeti Aaloa, Kenneth Ioane, Kaumai Kaoma, Runita Rabwaa, Obeta Taia, Tiribo Kobaua, Tamuera Tebebe, Rairauea Rue, Teuea Kabunare, Tokintekai Ekentetake, Katanuti Francis, Mikaere Tebwebwe, Terita Itinikarawa, Kaeua Kobaua, Raatu Tiuteke, Kaeriti Baanga, Ioanna Francis, Temarewe Banaan, Aanamaria Toom, Einako Temewi, Nimei Itinikarawa, Teniteiti Mikaere, Aanibo Bwatanita, Arin Tikiraua.
Venue: European Cultural Centre, Palazzo Mora, Strada Nuova 3659
KOREA (Republic of)
History Has Failed Us, but No Matter
Commissioner: Arts Council Korea. Curator: Hyunjin Kim. Exhibitors: Hwayeon Nam, siren eun young jung, Jane Jin Kaisen.
Venue: Giardini
KOSOVO (Republic of)
Family Album
Commissioner: Arta Agani. Curator: Vincent Honore. Exhibitor: Alban Muja.
Venue: Arsenale
LATVIA
Saules Suns
Commissioner: Dace Vilsone. Curators: Valentinas Klimašauskas, Inga Lāce.
Exhibitor: Daiga Grantiņa.
Venue: Arsenale
LITHUANIA
Sun & Sea (Marina)
Commissioner: Rasa Antanavičıūte. Curator: Lucia Pietroiusti.
Exhibitors: Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite.
Venue: Magazzino No. 42, Marina Militare, Arsenale di Venezia, Fondamenta Case Nuove 2738c
LUXEMBOURG (Grand Duchy of)
Written by Water
Commissioner: Ministry of Culture of Luxembourg.
Curator: Kevin Muhlen. Exhibitor: Marco Godinho.
Venue: Arsenale
NORTH MACEDONIA (Republic of )
Subversion to Red
Commissioner: Mira Gakina. Curator: Jovanka Popova. Exhibitor: Nada Prlja.
Venue: Palazzo Rota Ivancich, Castello 4421
MADAGASCAR ***
I have forgotten the night
Commissioner: Ministry of Communication and Culture of the Republic of Madagascar. Curators: Rina Ralay Ranaivo, Emmanuel Daydé.
Exhibitor: Joël Andrianomearisoa.
Venue: Arsenale
MALAYSIA ***
Holding Up a Mirror
Commissioner: Professor Dato’ Dr. Mohamed Najib Dawa, Director General of Balai Seni Negara (National Art Gallery of Malaysia), Ministry of Tourism, Arts and Culture of Malaysia. Curator: Lim Wei-Ling. Exhibitors: Anurendra Jegadeva, H.H.Lim, Ivan Lam, Zulkifli Yusoff.
Venue: Palazzo Malipiero, San Marco 3198
MALTA
Maleth / Haven / Port - Heterotopias of Evocation
Commissioner: Arts Council Malta. Curator: Hesperia Iliadou Suppiej. Exhibitors: Vince Briffa, Klitsa Antoniou, Trevor Borg.
Venue: Arsenale
MEXICO
Actos de Dios / Acts of God
Commissioner: Gabriela Gil Verenzuela. Curator: Magalí Arriola. Exhibitor: Pablo Vargas Lugo.
Venue: Arsenale
MONGOLIA
A Temporality
Commissioner: The Ministry of Education, Culture, Science and Sports of Mongolia.
Curator: Gantuya Badamgarav. Exhibitor: Jantsankhorol Erdenebayar with the participation of traditional Mongolian throat singers and Carsten Nicolai (Alva Noto).
Venue: Bruchium Fermentum, Calle del Forno, Castello 2093-2090
MONTENEGRO
Odiseja / An Odyssey
Commissioner: Nenad Šoškić. Curator: Petrica Duletić. Exhibitor: Vesko Gagović.
Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE (Republic of)
The Past, the Present and The in Between
Commissioner: Domingos do Rosário Artur. Curator: Lidija K. Khachatourian.
Exhibitors: Gonçalo Mabunda, Mauro Pinto, Filipe Branquinho.
Venue: Palazzo Mora, Strada Nova, 3659
NETHERLANDS (The)
The Measurement of Presence
Commissioner: Mondriaan Fund. Curator: Benno Tempel. Exhibitors: Iris Kensmil, Remy Jungerman. Venue: Giardini
NEW ZEALAND
Post hoc
Commissioner: Dame Jenny Gibbs. Curators: Zara Stanhope and Chris Sharp.
Exhibitor: Dane Mitchell.
Venue: Palazzina Canonica, Riva Sette Martiri
NORDIC COUNTRIES (FINLAND - NORWAY - SWEDEN)
Weather Report: Forecasting Future
Commissioner: Leevi Haapala / Museum of Contemporary Art Kiasma / Finnish National Gallery, Katya García-Antón / Office for Contemporary Art Norway (OCA), Ann-Sofi Noring / Moderna Museet. Curators: Leevi Haapala, Piia Oksanen. Exhibitors: Ane Graff, Ingela Ihrman, nabbteeri.
Venue: Giardini
PAKISTAN ***
Manora Field Notes
Commissioner: Syed Jamal Shah, Pakistan National Council of the Arts, PNCA.
Curator: Zahra Khan. Exhibitor: Naiza Khan.
Venue: Tanarte, Castello 2109/A and Spazio Tana, Castello 2110-2111
PERU
“Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle
Commissioner: Armando Andrade de Lucio. Curator: Gustavo Buntinx. Exhibitors: Christian Bendayán, Otto Michael (1859-1934), Manuel Rodríguez Lira (1874-1933), Segundo Candiño Rodríguez, Anonymous popular artificer.
Venue: Arsenale
PHILIPPINES
Island Weather
Commissioner: National Commission for Culture and the Arts (NCCA) / Virgilio S. Almario.
Curator: Tessa Maria T. Guazon. Exhibitor: Mark O. Justiniani.
Venue: Arsenale
POLAND
Flight
Commissioner: Hanna Wroblewska. Curators: Łukasz Mojsak, Łukasz Ronduda.
Exhibitor: Roman Stańczak.
Venue: Giardini
PORTUGAL
a seam, a surface, a hinge or a knot
Commissioner: Directorate-General for the Arts. Curator: João Ribas. Exhibitor: Leonor Antunes.
Venue: Fondazione Ugo e Olga Levi Onlus, Palazzo Giustinian Lolin, San Marco 2893
ROMANIA
Unfinished Conversations on the Weight of Absence
Commissioner: Attila Kim. Curator: Cristian Nae. Exhibitor: Belu-Simion Făinaru, Dan Mihălțianu, Miklós Onucsán.
Venues: Giardini and New Gallery of the Romanian Institute for Culture and Humanistic Research (Campo Santa Fosca, Palazzo Correr, Cannaregio 2214)
RUSSIA
Lc 15:11-32
Commissioner: Semyon Mikhailovsky. Curator: Mikhail Piotrovsky. Exhibitors: Alexander Sokurov, Alexander Shishkin-Hokusai.
Venue: Giardini
SAN MARINO (Republic of)
Friendship Project International
Commissioner: Vito Giuseppe Testaj. Curator: Vincenzo Sanfo. Exhibitors: Gisella Battistini, Martina Conti, Gabriele Gambuti, Giovanna Fra, Thea Tini, Chen Chengwei, Li Geng, Dario Ortiz, Tang Shuangning, Jens W. Beyrich, Xing Junqin, Xu de Qi, Sebastián.
Venue: Palazzo Bollani, Castello 3647; Complesso dell’Ospedaletto, Castello 6691
SAUDI ARABIA
After Illusion بعد توهم
Commissioner: Misk Art Insitute. Curator: Eiman Elgibreen. Exhibitor: Zahrah Al Ghamdi.
Venue: Arsenale
SERBIA
Regaining Memory Loss
Commissioner: Vladislav Scepanovic. Curator: Nicoletta Lambertucci. Exhibitor: Djordje Ozbolt.
Venue: Giardini
SEYCHELLES (Republic of)
Drift
Commissioner: Galen Bresson. Curator: Martin Kennedy.
Exhibitors: George Camille and Daniel Dodin.
Venue: Palazzo Mora, Strada Nova, 3659
SINGAPORE
Music For Everyone: Variations on a Theme
Commissioner: Rosa Daniel, Chief Executive Officer, National Arts Council (NAC).
Curator: Michelle Ho. Exhibitor: Song-Ming Ang.
Venue: Arsenale
SLOVENIA (Republic of)
Here we go again... SYSTEM 317
A situation of the resolution series
Commissioner: Zdenka Badovinac, Director Moderna galerija / Museum of Modern Art, Ljubljana. Curator: Igor Španjol. Exhibitor: Marko Peljhan.
Venue: Arsenale
SOUTH AFRICA (Republic of)
The stronger we become
Commissioner: Titi Nxumalo, Console Generale. Curators: Nkule Mabaso, Nomusa Makhubu. Exhibitors: Dineo Seshee Bopape, Tracey Rose, Mawande Ka Zenzile.
Venue: Arsenale
SPAIN
Perforated by Itziar Okariz and Sergio Prego
Commissioner: AECID Agencia Espanola de Cooperacion Internacional Para El Desarrollo. Ministerio de Asuntos Exteriores, Union Europea y Cooperacion. Curator: Peio Aguirre.
Exhibitors: Itziar Okariz, Sergio Prego.
Venue: Giardini
SWITZERLAND
Moving Backwards
Commissioner: Swiss Arts Council Pro-Helvetia: Marianne Burki, Sandi Paucic, Rachele Giudici Legittimo. Curator: Charlotte Laubard. Exhibitors: Pauline Boudry/Renate Lorenz.
Venue: Giardini
SYRIAN ARAB (Republic)
Syrian Civilization is still alive
Commissioner/Curator: Emad Kashout. Exhibitors: Abdalah Abouassali, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia, Giuseppe Biasio.
Venue: Isola di San Servolo; Chiesetta della Misericordia, Campo dell'Abbazia, Cannaregio
THAILAND
The Revolving World
Commissioner: Vimolluck Chuchat, Office of Contemporary Art and Culture, Ministry of Culture, Thailand. Curator: Tawatchai Somkong. Exhibitors: Somsak Chowtadapong, Panya Vijinthanasarn, Krit Ngamsom.
Venue: In Paradiso 1260, Castello
TURKEY
We, Elsewhere
Commissioner: IKSV. Curator: Zeynep Öz. Exhibitor: İnci Eviner.
Venue: Arsenale
UKRAINE
The Shadow of Dream cast upon Giardini della Biennale
Commissioner: Svitlana Fomenko, First Deputy Minister of Culture. Curators: Open group (Yurii Biley, Pavlo Kovach, Stanislav Turina, Anton Varga). Exhibitors: all artists of Ukraine.
Venue: Arsenale
UNITED ARAB EMIRATES
Nujoom Alghanem: Passage
Commissioner: Salama bint Hamdan Al Nahyan Foundation.
Curators: Sam Bardaouil and Till Fellrath. Exhibitor: Nujoom Alghanem.
Venue: Arsenale
UNITED STATES OF AMERICA
Martin Puryear: Liberty
Commissioner/Curator: Brooke Kamin Rapaport. Exhibitor: Martin Puryear.
Venue: Giardini
URUGUAY
“La casa empática”
Commissioner: Alejandro Denes. Curators: David Armengol, Patricia Bentancur.
Exhibitor: Yamandú Canosa.
Venue: Giardini
VENEZUELA (Bolivarian Republic of)
Metaphore of three windows
Venezuela: identity in time and space
Commissioner/Curator: Oscar Sottillo Meneses. Exhibitors: Natalie Rocha Capiello, Ricardo García, Gabriel López, Nelson Rangelosky.
Venue: Giardini
ZIMBABWE (Republic of)
Soko Risina Musoro (The Tale without a Head)
Commissioner: Doreen Sibanda, National Gallery of Zimbabwe. Curator: Raphael Chikukwa. Exhibitors: Georgina Maxim, Neville Starling , Cosmas Shiridzinomwa, Kudzanai Violet Hwami.
Venue: Istituto Provinciale per L’infanzia “Santa Maria Della Pietà”. Calle della Pietà Castello n. 3701 (ground floor)
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invited artist :
Lawrence Abu Hamdan (Jordan / Beirut)
Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),
Darren Bader (USA),Nairy Baghramian (Iran / Germany,
Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,
Christoph Büchel (Switzerland / Iceland,
Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA
Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,
Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)
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other Biennale :(Biennials ) :Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
وینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism
Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia
Ralph Rugoff Ralph_Rugoff #RalphRugoff RalphRugoff 2019
pavilion giardini artcontemporain contemporary kunst modern #artcontemporain art artsenal gallery gallerie museum
artist curator commissaire country contemporary ultracontemporary art kunst perfomance sport jogging emergency room urgency panic saving artist role responsability
#art #artist #artistic #artists #arte #artwork
Thierry Geoffroy / Colonel
Graffitiwear - Outfit includes the top, panties, resizable mesh bows and BOM socks. 85L Valentines Special.
> Maitreya
> Legacy
> Reborn
> Gen.X Curvy
> Kupra
> Erika
marketplace.secondlife.com/p/Graffitiwear-Paramour-DEMO/2...
Carton art work 2019 by Thierry Geoffroy / periode Venice Biennale
www.emergencyrooms.org/biennalist.html
www.emergencyrooms.org/formats.html
more here about the Biennale :
Ralph Rugoff has declared: «May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).»
ALBANIA
Maybe the cosmos is not so extraordinary
Commissioner: Ministry of Culture Republic of Albania. Curator: Alicia Knock.
Exhibitor: Driant Zeneli.
ALGERIA***
Time to shine bright
Commissioner/Curator: Hellal Mahmoud Zoubir, National Council of Arts and Letters Ministry of Culture. Exhibitors: Rachida Azdaou, Hamza Bounoua, Amina Zoubir, Mourad Krinah, Oussama Tabti.
Venue: Fondamenta S. Giuseppe, 925
ANDORRA
The Future is Now / El futur és ara
Commissioner: Eva Martínez, “Zoe”. Curators: Ivan Sansa, Paolo De Grandis.
Exhibitor: Philippe Shangti.
Venue: Istituto Santa Maria della Pietà, Castello 3701
ANTIGUA & BARBUDA
Find Yourself: Carnival and Resistance
Commissioner: Daryll Matthew, Minister of Sports, Culture, National Festivals and the Arts. Curator: Barbara Paca with Nina Khrushcheva. Exhibitors: Timothy Payne, Sir Gerald Price, Joseph Seton, and Frank Walter; Intangible Cultural, Heritage Artisans and Mas Troup.
Venue: Centro Culturale Don Orione Artigianelli, Dorsoduro 919
ARGENTINA
El nombre de un país / The name of a country
Commissioner: Sergio Alberto Baur Ambasciatore. Curator: Florencia Battiti. Exhibitor: Mariana Telleria.
Venue: Arsenale
ARMENIA (Republic of)
Revolutionary Sensorium
Commissioner: Nazenie Garibian, Deputy Minister. Curator: Susanna Gyulamiryan.
Exhibitors: "ArtlabYerevan" Artistic Group (Gagik Charchyan, Hovhannes Margaryan, Arthur Petrosyan, Vardan Jaloyan) and Narine Arakelian.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
AUSTRALIA
ASSEMBLY
Commissioner: Australia Council for the Arts. Curator: Juliana Engberg. Exhibitor: Angelica Mesiti.
Venue: Giardini
AUSTRIA
Discordo Ergo Sum
Commissioner: Arts and Culture Division of the Federal Chancellery of Austria.
Curator: Felicitas Thun-Hohenstein. Exhibitor: Renate Bertlmann.
Venue: Giardini
AZERBAIJAN (Republic of )
Virtual Reality
Commissioner: Mammad Ahmadzada, Ambassador of the Republic of Azerbaijan.
Curators: Gianni Mercurio, Emin Mammadov. Exhibitors: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva.
Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949
BANGLADESH (People’s Republic of)
Thirst
Commissioner: Liaquat Ali Lucky. Curators: Mokhlesur Rahman, Viviana Vannucci.
Exhibitors: Bishwajit Goswami, Dilara Begum Jolly, Heidi Fosli, Nafis Ahmed Gazi, Franco Marrocco, Domenico Pellegrino, Preema Nazia Andaleeb, Ra Kajol, Uttam Kumar karmaker.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
BELARUS (Republic of)
Exit / Uscita
Commissioner: Siarhey Kryshtapovich. Curator: Olga Rybchinskaya. Exhibitor: Konstantin Selikhanov.
Venue: Spazio Liquido, Sestiere Castello 103, Salizada Streta
BELGIUM
Mondo Cane
Commissioner: Fédération Wallonie-Bruxelles. Curator: Anne-Claire Schmitz.
Exhibitor: Jos de Gruyter & Harald Thys.
Venue: Giardini
BOSNIA and HERZEGOVINA
ZENICA-TRILOGY
Commissioner: Senka Ibrišimbegović, Ars Aevi Museum for Contemporary Art Sarajevo.
Curators: Anja Bogojević, Amila Puzić, Claudia Zini. Exhibitor: Danica Dakić.
Venue: Palazzo Francesco Molon Ca’ Bernardo, San Polo 2184/A
BRAZIL
Swinguerra
Commissioner: José Olympio da Veiga Pereira, Fundação Bienal de São Paulo.
Curator: Gabriel Pérez-Barreiro. Exhibitor: Bárbara Wagner & Benjamin de Burca.
Venue: Giardini
BULGARIA
How We Live
Commissioner: Iaroslava Boubnova, National Gallery in Sofia. Curator: Vera Mlechevska.
Exhibitors: Rada Boukova , Lazar Lyutakov.
Venue: Palazzo Giustinian Lolin, San Marco 2893
CANADA
ISUMA
Commissioner: National Gallery of Canada. Curators: Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer, Candice Hopkins. Exhibitors: Isuma (Zacharias Kunuk, Norman Cohn, Paul Apak, Pauloosie Qulitalik).
Venue: Giardini
CHILE
Altered Views
Commissioner: Varinia Brodsky, Ministry of Cultures, Arts and Heritage.
Curator: Agustín Pérez. Rubio. Exhibitor: Voluspa Jarpa.
Venue: Arsenale
CHINA (People’s Republic of)
Re-睿
Commissioner: China Arts and Entertainment Group Ltd. (CAEG).
Curator: Wu Hongliang. Exhibitors: Chen Qi, Fei Jun, He Xiangyu, Geng Xue.
Venue: Arsenale
CROATIA
Traces of Disappearing (In Three Acts)
Commissioner: Ministry of Culture of the Republic of Croatia. Curator: Katerina Gregos.
Exhibitor: Igor Grubić.
Venue: Calle Corner, Santa Croce 2258
CUBA
Entorno aleccionador (A Cautionary Environment)
Commissioner: Norma Rodríguez Derivet, Consejo Nacional de Artes Plásticas.
Curator: Margarita Sanchez Prieto. Exhibitors: Alejandro Campins, Alex Hérnandez, Ariamna Contino and Eugenio Tibaldi. Venue: Isola di San Servolo
CYPRUS (Republic of)
Christoforos Savva: Untimely, Again
Commissioner: Louli Michaelidou. Curator: Jacopo Crivelli Visconti. Exhibitor: Christoforos Savva.
Venue: Associazione Culturale Spiazzi, Castello 3865
CZECH (Republic) and SLOVAK (Republic)
Stanislav Kolíbal. Former Uncertain Indicated
Commissioner: Adam Budak, National Gallery Prague. Curator: Dieter Bogner.
Exhibitor: Stanislav Kolibal.
Venue: Giardini
DOMINICAN (Republic) *
Naturaleza y biodiversidad en la República Dominicana
Commissioner: Eduardo Selman, Minister of Culture. Curators: Marianne de Tolentino, Simone Pieralice, Giovanni Verza. Exhibitors: Dario Oleaga, Ezequiel Taveras, Hulda Guzmán, Julio Valdez, Miguel Ramirez, Rita Bertrecchi, Nicola Pica, Marraffa & Casciotti.
Venue: Palazzo Albrizzi Capello, Cannaregio 4118 – Sala della Pace
EGYPT
khnum across times witness
Commissioner: Ministry of Culture. Curator: Ahmed Chiha.
Exhibitors: Islam Abdullah, Ahmed Chiha, Ahmed Abdel Karim.
Venue: Giardini
ESTONIA
Birth V
Commissioner: Maria Arusoo, Centre of Contemporary Arts of Estonia. Curators: Andrew Berardini, Irene Campolmi, Sarah Lucas, Tamara Luuk. Exhibitor: Kris Lemsalu.
Venue: c/o Legno & Legno, Giudecca 211
FINLAND (Alvar Aalto Pavilion)
A Greater Miracle of Perception
Commissioner: Raija Koli, Director Frame Contemporary Art Finland.
Curators: Giovanna Esposito Yussif, Bonaventure Soh Bejeng Ndikung, Christopher Wessels. Exhibitors: Miracle Workers Collective (Maryan Abdulkarim, Khadar Ahmed, Hassan Blasim, Giovanna Esposito Yussif, Sonya Lindfors, Bonaventure Soh Bejeng Ndikung, Outi Pieski, Leena Pukki, Lorenzo Sandoval, Martta Tuomaala, Christopher L. Thomas, Christopher Wessels, Suvi West).
Venue: Giardini
FRANCE
Deep see blue surrounding you / Vois ce bleu profond te fondre
Commissioner: Institut français with the Ministry for Europe and Foreign Affairs and the Ministry of Culture. Curator: Martha Kirszenbaum. Exhibitor: Laure Prouvost.
Venue: Giardini
GEORGIA
REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation
Commissioner: Ana Riaboshenko. Curator: Margot Norton. Exhibitor: Anna K.E.
Venue: Arsenale
GERMANY
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office, Germany. Curator: Franciska Zólyom. Exhibitor: Natascha Süder Happelmann.
Venue: Giardini
GHANA ***
Ghana Freedom
Commissioner: Ministry of Tourism, Arts and Culture. Curator: Nana Oforiatta Ayim.
Exhibitors: Felicia Abban, John Akomfrah, El Anatsui, Lynette Yiadom Boakye, Ibrahim Mahama, Selasi Awusi Sosu.
Venue: Arsenale
GREAT BRITAIN
Cathy Wilkes
Commissioner: Emma Dexter. Curator: Zoe Whitley. Exhibitor: Cathy Wilkes.
Venue: Giardini
GREECE
Mr Stigl
Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan Organization of Museums of Visual Arts of Thessaloniki - MOMus).
Curator: Katerina Tselou. Exhibitors: Panos Charalambous, Eva Stefani, Zafos Xagoraris.
Venue: Giardini
GRENADA
Epic Memory
Commissioner: Susan Mains. Curator: Daniele Radini Tedeschi.
Exhibitors: Amy Cannestra, Billy Gerard Frank, Dave Lewis, Shervone Neckles, Franco Rota Candiani, Roberto Miniati, CRS avant-garde.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
GUATEMALA
Interesting State
Commissioner: Elder de Jesús Súchite Vargas, Minister of Culture and Sports of Guatemala. Curator: Stefania Pieralice. Exhibitors: Elsie Wunderlich, Marco Manzo.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
HAITI
THE SPECTACLE OF TRAGEDY
Commissioner: Ministry of Culture and Communication.
Curator: Giscard Bouchotte. Exhibitor: Jean Ulrick Désert.
Venue: Circolo Ufficiali Marina, Calle Seconda de la Fava, Castello 2168
HUNGARY
Imaginary Cameras
Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.
Curator: Zsuzsanna Szegedy-Maszák. Exhibitor: Tamás Waliczky.
Venue: Giardini
ICELAND
Chromo Sapiens – Hrafnhildur Arnardóttir / Shoplifter
Commissioner: Eiríkur Þorláksson, Icelandic Ministry of Education, Science and Culture.
Curator: Birta Gudjónsdóttir. Exhibitor: Hrafnhildur Arnardóttir / Shoplifter.
Venue: Spazio Punch, Giudecca 800
INDIA
Our time for a future caring
Commissioner: Adwaita Gadanayak National Gallery of Modern Art.
Curator: Roobina Karode, Director & Chief Curator, Kiran Nadar Museum of Art. Exhibitors: Atul Dodiya, Ashim Purkayastha, GR Iranna, Jitish Kallat, Nandalal Bose, Rummana Hussain, Shakuntala Kulkarni.
Venue: Arsenale
INDONESIA
Lost Verses
Commissioner: Ricky Pesik & Diana Nazir, Indonesian Agency for Creative Economy.
Curator: Asmudjo Jono Irianto. Exhibitors: Handiwirman Saputra and Syagini Ratna Wulan.
Venue: Arsenale
IRAN (Islamic Republic of)
of being and singing
Commissioner: Hadi Mozafari, General Manager of Visual Arts Administration of Islamic Republic of Iran. Curator: Ali Bakhtiari.
Exhibitors: Reza Lavassani, Samira Alikhanzadeh, Ali Meer Azimi.
Venue: Fondaco Marcello, San Marco 3415
IRAQ
Fatherland
Commissioner: Fondazione Ruya. Curators: Tamara Chalabi, Paolo Colombo.
Exhibitor: Serwan Baran.
Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052
IRELAND
The Shrinking Universe
Commissioner: Culture Ireland. Curator: Mary Cremin. Exhibitor: Eva Rothschild.
Venue: Arsenale
ISRAEL
Field Hospital X
Commissioner: Michael Gov, Arad Turgeman. Curator: Avi Lubin. Exhibitor: Aya Ben Ron.
Venue: Giardini
ITALY
Commissioner: Federica Galloni, Direttore Generale Arte e Architettura Contemporanee e Periferie Urbane, Ministero dei Beni e delle Attività Culturali. Curator: Milovan Farronato.
Exhibitors: Enrico David, Liliana Moro, Chiara Fumai.
Venue: Padiglione Italia, Tese delle Vergini, Arsenale
IVORY COAST
The Open Shadows of Memory
Commissioner: Henri Nkoumo. Curator: Massimo Scaringella. Exhibitors: Ernest Dükü, Ananias Leki Dago, Valérie Oka, Tong Yanrunan.
Venue: Castello Gallery, Castello 1636/A
JAPAN
Cosmo-Eggs
Commissioner: The Japan Foundation. Curator: Hiroyuki Hattori. Exhibitors: Motoyuki Shitamichi, Taro Yasuno, Toshiaki Ishikura, Fuminori Nousaku.
Venue: Giardini
KIRIBATI
Pacific Time - Time Flies
Commissioner: Pelea Tehumu, Ministry of Internal Affairs. Curators: Kautu Tabaka, Nina Tepes. Exhibitors: Kaeka Michael Betero, Daniela Danica Tepes, Kairaken Betio Group; Teroloang Borouea, Neneia Takoikoi, Tineta Timirau, Teeti Aaloa, Kenneth Ioane, Kaumai Kaoma, Runita Rabwaa, Obeta Taia, Tiribo Kobaua, Tamuera Tebebe, Rairauea Rue, Teuea Kabunare, Tokintekai Ekentetake, Katanuti Francis, Mikaere Tebwebwe, Terita Itinikarawa, Kaeua Kobaua, Raatu Tiuteke, Kaeriti Baanga, Ioanna Francis, Temarewe Banaan, Aanamaria Toom, Einako Temewi, Nimei Itinikarawa, Teniteiti Mikaere, Aanibo Bwatanita, Arin Tikiraua.
Venue: European Cultural Centre, Palazzo Mora, Strada Nuova 3659
KOREA (Republic of)
History Has Failed Us, but No Matter
Commissioner: Arts Council Korea. Curator: Hyunjin Kim. Exhibitors: Hwayeon Nam, siren eun young jung, Jane Jin Kaisen.
Venue: Giardini
KOSOVO (Republic of)
Family Album
Commissioner: Arta Agani. Curator: Vincent Honore. Exhibitor: Alban Muja.
Venue: Arsenale
LATVIA
Saules Suns
Commissioner: Dace Vilsone. Curators: Valentinas Klimašauskas, Inga Lāce.
Exhibitor: Daiga Grantiņa.
Venue: Arsenale
LITHUANIA
Sun & Sea (Marina)
Commissioner: Rasa Antanavičıūte. Curator: Lucia Pietroiusti.
Exhibitors: Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite.
Venue: Magazzino No. 42, Marina Militare, Arsenale di Venezia, Fondamenta Case Nuove 2738c
LUXEMBOURG (Grand Duchy of)
Written by Water
Commissioner: Ministry of Culture of Luxembourg.
Curator: Kevin Muhlen. Exhibitor: Marco Godinho.
Venue: Arsenale
NORTH MACEDONIA (Republic of )
Subversion to Red
Commissioner: Mira Gakina. Curator: Jovanka Popova. Exhibitor: Nada Prlja.
Venue: Palazzo Rota Ivancich, Castello 4421
MADAGASCAR ***
I have forgotten the night
Commissioner: Ministry of Communication and Culture of the Republic of Madagascar. Curators: Rina Ralay Ranaivo, Emmanuel Daydé.
Exhibitor: Joël Andrianomearisoa.
Venue: Arsenale
MALAYSIA ***
Holding Up a Mirror
Commissioner: Professor Dato’ Dr. Mohamed Najib Dawa, Director General of Balai Seni Negara (National Art Gallery of Malaysia), Ministry of Tourism, Arts and Culture of Malaysia. Curator: Lim Wei-Ling. Exhibitors: Anurendra Jegadeva, H.H.Lim, Ivan Lam, Zulkifli Yusoff.
Venue: Palazzo Malipiero, San Marco 3198
MALTA
Maleth / Haven / Port - Heterotopias of Evocation
Commissioner: Arts Council Malta. Curator: Hesperia Iliadou Suppiej. Exhibitors: Vince Briffa, Klitsa Antoniou, Trevor Borg.
Venue: Arsenale
MEXICO
Actos de Dios / Acts of God
Commissioner: Gabriela Gil Verenzuela. Curator: Magalí Arriola. Exhibitor: Pablo Vargas Lugo.
Venue: Arsenale
MONGOLIA
A Temporality
Commissioner: The Ministry of Education, Culture, Science and Sports of Mongolia.
Curator: Gantuya Badamgarav. Exhibitor: Jantsankhorol Erdenebayar with the participation of traditional Mongolian throat singers and Carsten Nicolai (Alva Noto).
Venue: Bruchium Fermentum, Calle del Forno, Castello 2093-2090
MONTENEGRO
Odiseja / An Odyssey
Commissioner: Nenad Šoškić. Curator: Petrica Duletić. Exhibitor: Vesko Gagović.
Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE (Republic of)
The Past, the Present and The in Between
Commissioner: Domingos do Rosário Artur. Curator: Lidija K. Khachatourian.
Exhibitors: Gonçalo Mabunda, Mauro Pinto, Filipe Branquinho.
Venue: Palazzo Mora, Strada Nova, 3659
NETHERLANDS (The)
The Measurement of Presence
Commissioner: Mondriaan Fund. Curator: Benno Tempel. Exhibitors: Iris Kensmil, Remy Jungerman. Venue: Giardini
NEW ZEALAND
Post hoc
Commissioner: Dame Jenny Gibbs. Curators: Zara Stanhope and Chris Sharp.
Exhibitor: Dane Mitchell.
Venue: Palazzina Canonica, Riva Sette Martiri
NORDIC COUNTRIES (FINLAND - NORWAY - SWEDEN)
Weather Report: Forecasting Future
Commissioner: Leevi Haapala / Museum of Contemporary Art Kiasma / Finnish National Gallery, Katya García-Antón / Office for Contemporary Art Norway (OCA), Ann-Sofi Noring / Moderna Museet. Curators: Leevi Haapala, Piia Oksanen. Exhibitors: Ane Graff, Ingela Ihrman, nabbteeri.
Venue: Giardini
PAKISTAN ***
Manora Field Notes
Commissioner: Syed Jamal Shah, Pakistan National Council of the Arts, PNCA.
Curator: Zahra Khan. Exhibitor: Naiza Khan.
Venue: Tanarte, Castello 2109/A and Spazio Tana, Castello 2110-2111
PERU
“Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle
Commissioner: Armando Andrade de Lucio. Curator: Gustavo Buntinx. Exhibitors: Christian Bendayán, Otto Michael (1859-1934), Manuel Rodríguez Lira (1874-1933), Segundo Candiño Rodríguez, Anonymous popular artificer.
Venue: Arsenale
PHILIPPINES
Island Weather
Commissioner: National Commission for Culture and the Arts (NCCA) / Virgilio S. Almario.
Curator: Tessa Maria T. Guazon. Exhibitor: Mark O. Justiniani.
Venue: Arsenale
POLAND
Flight
Commissioner: Hanna Wroblewska. Curators: Łukasz Mojsak, Łukasz Ronduda.
Exhibitor: Roman Stańczak.
Venue: Giardini
PORTUGAL
a seam, a surface, a hinge or a knot
Commissioner: Directorate-General for the Arts. Curator: João Ribas. Exhibitor: Leonor Antunes.
Venue: Fondazione Ugo e Olga Levi Onlus, Palazzo Giustinian Lolin, San Marco 2893
ROMANIA
Unfinished Conversations on the Weight of Absence
Commissioner: Attila Kim. Curator: Cristian Nae. Exhibitor: Belu-Simion Făinaru, Dan Mihălțianu, Miklós Onucsán.
Venues: Giardini and New Gallery of the Romanian Institute for Culture and Humanistic Research (Campo Santa Fosca, Palazzo Correr, Cannaregio 2214)
RUSSIA
Lc 15:11-32
Commissioner: Semyon Mikhailovsky. Curator: Mikhail Piotrovsky. Exhibitors: Alexander Sokurov, Alexander Shishkin-Hokusai.
Venue: Giardini
SAN MARINO (Republic of)
Friendship Project International
Commissioner: Vito Giuseppe Testaj. Curator: Vincenzo Sanfo. Exhibitors: Gisella Battistini, Martina Conti, Gabriele Gambuti, Giovanna Fra, Thea Tini, Chen Chengwei, Li Geng, Dario Ortiz, Tang Shuangning, Jens W. Beyrich, Xing Junqin, Xu de Qi, Sebastián.
Venue: Palazzo Bollani, Castello 3647; Complesso dell’Ospedaletto, Castello 6691
SAUDI ARABIA
After Illusion بعد توهم
Commissioner: Misk Art Insitute. Curator: Eiman Elgibreen. Exhibitor: Zahrah Al Ghamdi.
Venue: Arsenale
SERBIA
Regaining Memory Loss
Commissioner: Vladislav Scepanovic. Curator: Nicoletta Lambertucci. Exhibitor: Djordje Ozbolt.
Venue: Giardini
SEYCHELLES (Republic of)
Drift
Commissioner: Galen Bresson. Curator: Martin Kennedy.
Exhibitors: George Camille and Daniel Dodin.
Venue: Palazzo Mora, Strada Nova, 3659
SINGAPORE
Music For Everyone: Variations on a Theme
Commissioner: Rosa Daniel, Chief Executive Officer, National Arts Council (NAC).
Curator: Michelle Ho. Exhibitor: Song-Ming Ang.
Venue: Arsenale
SLOVENIA (Republic of)
Here we go again... SYSTEM 317
A situation of the resolution series
Commissioner: Zdenka Badovinac, Director Moderna galerija / Museum of Modern Art, Ljubljana. Curator: Igor Španjol. Exhibitor: Marko Peljhan.
Venue: Arsenale
SOUTH AFRICA (Republic of)
The stronger we become
Commissioner: Titi Nxumalo, Console Generale. Curators: Nkule Mabaso, Nomusa Makhubu. Exhibitors: Dineo Seshee Bopape, Tracey Rose, Mawande Ka Zenzile.
Venue: Arsenale
SPAIN
Perforated by Itziar Okariz and Sergio Prego
Commissioner: AECID Agencia Espanola de Cooperacion Internacional Para El Desarrollo. Ministerio de Asuntos Exteriores, Union Europea y Cooperacion. Curator: Peio Aguirre.
Exhibitors: Itziar Okariz, Sergio Prego.
Venue: Giardini
SWITZERLAND
Moving Backwards
Commissioner: Swiss Arts Council Pro-Helvetia: Marianne Burki, Sandi Paucic, Rachele Giudici Legittimo. Curator: Charlotte Laubard. Exhibitors: Pauline Boudry/Renate Lorenz.
Venue: Giardini
SYRIAN ARAB (Republic)
Syrian Civilization is still alive
Commissioner/Curator: Emad Kashout. Exhibitors: Abdalah Abouassali, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia, Giuseppe Biasio.
Venue: Isola di San Servolo; Chiesetta della Misericordia, Campo dell'Abbazia, Cannaregio
THAILAND
The Revolving World
Commissioner: Vimolluck Chuchat, Office of Contemporary Art and Culture, Ministry of Culture, Thailand. Curator: Tawatchai Somkong. Exhibitors: Somsak Chowtadapong, Panya Vijinthanasarn, Krit Ngamsom.
Venue: In Paradiso 1260, Castello
TURKEY
We, Elsewhere
Commissioner: IKSV. Curator: Zeynep Öz. Exhibitor: İnci Eviner.
Venue: Arsenale
UKRAINE
The Shadow of Dream cast upon Giardini della Biennale
Commissioner: Svitlana Fomenko, First Deputy Minister of Culture. Curators: Open group (Yurii Biley, Pavlo Kovach, Stanislav Turina, Anton Varga). Exhibitors: all artists of Ukraine.
Venue: Arsenale
UNITED ARAB EMIRATES
Nujoom Alghanem: Passage
Commissioner: Salama bint Hamdan Al Nahyan Foundation.
Curators: Sam Bardaouil and Till Fellrath. Exhibitor: Nujoom Alghanem.
Venue: Arsenale
UNITED STATES OF AMERICA
Martin Puryear: Liberty
Commissioner/Curator: Brooke Kamin Rapaport. Exhibitor: Martin Puryear.
Venue: Giardini
URUGUAY
“La casa empática”
Commissioner: Alejandro Denes. Curators: David Armengol, Patricia Bentancur.
Exhibitor: Yamandú Canosa.
Venue: Giardini
VENEZUELA (Bolivarian Republic of)
Metaphore of three windows
Venezuela: identity in time and space
Commissioner/Curator: Oscar Sottillo Meneses. Exhibitors: Natalie Rocha Capiello, Ricardo García, Gabriel López, Nelson Rangelosky.
Venue: Giardini
ZIMBABWE (Republic of)
Soko Risina Musoro (The Tale without a Head)
Commissioner: Doreen Sibanda, National Gallery of Zimbabwe. Curator: Raphael Chikukwa. Exhibitors: Georgina Maxim, Neville Starling , Cosmas Shiridzinomwa, Kudzanai Violet Hwami.
Venue: Istituto Provinciale per L’infanzia “Santa Maria Della Pietà”. Calle della Pietà Castello n. 3701 (ground floor)
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invited artist :
Lawrence Abu Hamdan (Jordan / Beirut)
Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),
Darren Bader (USA),Nairy Baghramian (Iran / Germany,
Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,
Christoph Büchel (Switzerland / Iceland,
Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA
Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,
Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)
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other Biennale :(Biennials ) :Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
وینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism
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Ralph Rugoff Ralph_Rugoff #RalphRugoff RalphRugoff 2019
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Thierry Geoffroy / Colonel
Wrecks in Quail Island's Ship Graveyard include:
the Belle Isle (c.1857) - in the foreground; the Darra (c.1865) - left rear; and the three-masted Australian barquentine Frank Guy (c.1875) - right rear.
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Frank Guy
Displacement: 195 tons
Length: 38 metres
Ship's company: 9
Type: Three-masted schooner or barquentine
1875, Aug.: Built by Francis Guy at Batemans Bay, New South Wales and first registered at the port of Sydney.
1875, Oct.15: Under the command of Edwin Cain, the 2mth.old vessel with a cargo of timber was stranded on Waikanae Beach on the SW coast of the North Island. A Court of Inquiry found the master did not take sufficient pains to ascertain his true position when running in for an anchorage. Both Cain and the first mate were warned to be more cautious in future. She subsequently had a long career as a timber carrier in NZ waters.
1929: Frank Guy arrived in Lyttelton, and was converted to a coal hulk.
1932: Beached at Quail Island in Lyttelton Harbour.
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Note: there is however some doubt over the correct identity of this vessel. The wreck at Quail island has an all-metal hull, not 'wooden' as stated in records about the 1875 vessel built in Batemans Bay, NSW.
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Snowdonia, or Eryri is a mountainous region and national park in North Wales. It contains all 15 mountains in Wales over 3000 feet high, including the country's highest, Snowdon (Yr Wyddfa), which is 1,085 metres (3,560 ft) tall. These peaks are all part of the Snowdon, Glyderau, and Carneddau ranges in the north of the region. The shorter Moelwynion and Moel Hebog ranges lie immediately to the south.
The national park has an area of 823 square miles (2,130 km2) (the fourth-largest in the UK), and covers most of central and southern Gwynedd and the western part of Conwy County Borough. This is much larger than the area traditionally considered Snowdonia, and in addition to the five ranges above includes the Rhinogydd, Cadair Idris, and Aran ranges and the Dyfi Hills. It also includes most of the coast between Porthmadog and Aberdyfi. The park was the first of the three national parks of Wales to be designated, in October 1951, and the third in the UK after the Peak District and Lake District, which were established in April and May 1951 respectively. The park received 3.89 million visitors in 2015.
The name Snowdon means 'snow hill' and is derived from the Old English elements snāw and dūn, the latter meaning 'hill'. Snowdonia is simply taken from the name of the mountain.
The origins of Eryri are less clear. Two popular interpretations are that the name is related to eryr, 'eagle', and that it means 'highlands' and is related to the Latin oriri ('to rise'). Although eryri is not any direct form of the word eryr in the meaning 'eagle', it is a plural form of eryr in the meaning 'upland'.
Before the boundaries of the national park were designated, "Snowdonia" was generally used to refer to a smaller upland area of northern Gwynedd centred on the Snowdon massif. The national park covers an area more than twice that size, extending south into the Meirionnydd area.
This difference is apparent in books published before 1951. In George Borrow's 1907 Wild Wales he states that "Snowdon or Eryri is no single hill, but a mountainous region, the loftiest part of which is called Y Wyddfa", making a distinction between the summit of the mountain and the surrounding massif. The Mountains of Snowdonia by H. Carr & G. Lister (1925) defines "Eryri" as "composed of the two cantrefs of Arfon and Arllechwedd, and the two commotes of Nant Conwy and Eifionydd", which corresponds to Caernarfonshire with the exception of southwest Llŷn and the Creuddyn Peninsula. In Snowdonia: The National Park of North Wales (1949), F. J. North states that "When the Committee delineated provisional boundaries, they included areas some distance beyond Snowdonia proper".
Snowdonia National Park, also known as Eryri National Park in English and Parc Cenedlaethol Eryri in Welsh, was established in October 1951. It was the third national park in the United Kingdom, following the Peak District and Lake District in April and May of the same year. It covers 827 square miles (2,140 km2) in the counties of Gwynedd and Conwy, and has 37 miles (60 km) of coastline.
The park is governed by the Snowdonia National Park Authority, which has 18 members: 9 appointed by Gwynedd, 3 by Conwy, and 6 by the Welsh Government to represent the national interest. The authority's main offices are at Penrhyndeudraeth.
The park authority used Snowdonia and Snowdon when referring to the national park and mountain in English until February 2023, when it resolved to primarily use the Welsh names, Eryri and Yr Wyddfa. There will be a transitional period of approximately two years in which the authority will continue to use the English names in parentheses — for example "Yr Wyddfa (Snowdon)" — where the context requires.
Unlike national parks in other countries, national parks in the UK are made up of both public and private lands under a central planning authority. The makeup of land ownership in the national park is as follows:
More than 26,000 people live within the park, of whom 58.6% could speak Welsh in 2011. While most of the land is either open or mountainous land, there is a significant amount of agricultural activity within the park.
The national park does not include the town of Blaenau Ffestiniog, which forms a unique non-designated enclave within the park boundaries. The town was deliberately excluded from the park when it was established because of its slate quarrying industry. The boundaries of the Peak District National Park exclude the town of Buxton and its adjacent limestone quarries for a similar reason.
The geology of Snowdonia is key to the area's character. Glaciation during a succession of ice ages, has carved from a heavily faulted and folded succession of sedimentary and igneous rocks, a distinctive rocky landscape. The last ice age ended only just over 11,500 years ago, leaving a legacy of features attractive to visitors but which have also played a part in the development of geological science and continue to provide a focus for educational visits. Visiting Cwm Idwal in 1841 Charles Darwin realised that the landscape was the product of glaciation. The bedrock dates largely from the Cambrian and Ordovician periods with intrusions of Ordovician and Silurian age associated with the Caledonian Orogeny. There are smaller areas of Silurian age sedimentary rocks in the south and northeast and of Cenozoic era strata on the Cardigan Bay coast though the latter are concealed by more recent deposits. Low grade metamorphism of Cambrian and Ordovician mudstones has resulted in the slates, the extraction of which once formed the mainstay of the area's economy.
The principal ranges of the traditional Snowdonia are the Snowdon massif itself, the Glyderau, the Carneddau, the Moelwynion and the Moel Hebog range. All of Wales' 3000ft mountains are to be found within the first three of these massifs and are most popular with visitors. To their south within the wider national park are the Rhinogydd and the Cadair Idris and Aran Fawddwy ranges. Besides these well-defined areas are a host of mountains which are less readily grouped though various guidebook writers have assigned them into groups such as the 'Arenigs', the 'Tarrens' and the 'Dyfi hills'.
Snowdon's summit at 1085 metres (3560 feet) is the highest in Wales and the highest in Britain south of the Scottish Highlands. At 905 metres (2970 feet) Aran Fawddwy is the highest in Wales outside of northern Snowdonia; Cadair Idris, at 893 metres (2930 feet), is next in line.
Rivers draining the area empty directly into Cardigan Bay are typically short and steep. From north to south they include the Glaslyn and Dwyryd which share a common estuary, the Mawddach and its tributaries the Wnion and the Eden, the smaller Dysynni and on the park's southern margin the Dyfi. A series of rivers drain to the north coast. Largest of these is the Conwy on the park's eastern margin which along with the Ogwen drains into Conwy Bay. Further west the Seiont and Gwyrfai empty into the western end of the Menai Strait. A part of the east of the national park is within the upper Dee (Dyfrydwy) catchment and includes Bala Lake, the largest natural waterbody in Wales. A fuller list of the rivers and tributaries within the area is found at List of rivers of Wales.
There are few natural waterbodies of any size in Wales; Snowdonia is home to most. Besides Bala Lake, a few lakes occupy glacial troughs including Llyn Padarn and Llyn Peris at Llanberis and Tal-y-llyn Lake south of Cadair Idris. Llyn Dinas, Llyn Gwynant, and Llyn Cwellyn to the south and west of Snowdon feature in this category as do Llyn Cowlyd and Llyn Ogwen on the margins of the Carneddau. There are numerous small lakes occupying glacial cirques owing to the former intensity of glacial action in Snowdonia. Known generically as tarns, examples include Llyn Llydaw, Glaslyn and Llyn Du'r Arddu on Snowdon, Llyn Idwal within the Glyderau and Llyn Cau on Cadair Idris.
There are two large wholly man-made bodies of water in the area, Llyn Celyn and Llyn Trawsfynydd whilst numerous of the natural lakes have had their levels artificially raised to different degrees. Marchlyn Mawr reservoir and Ffestiniog Power Station's Llyn Stwlan are two cases where natural tarns have been dammed as part of pumped storage hydro-electric schemes. A fuller list of the lakes within the area is found at List of lakes of Wales. In 2023, the park standardised its Welsh language lake names, to be also used in English.
The national park meets the Irish Sea coast within Cardigan Bay between the Dovey estuary in the south and the Dwyryd estuary. The larger part of that frontage is characterised by dune systems, the largest of which are Morfa Dyffryn and Morfa Harlech. These two locations have two of the largest sand/shingle spits in Wales. The major indentations of the Dovey, the Mawddach and Dwyryd estuaries, have large expanses of intertidal sands and coastal marsh which are especially important for wildlife: see #Natural history. The northern tip of the national park extends to the north coast of Wales at Penmaen-bach Point, west of Conwy, where precipitous cliffs have led to the road and railway negotiating the spot in tunnels.
There are only three towns within the park boundary, though there are several more immediately beyond it. Dolgellau is the most populous followed by Bala on the eastern boundary and then Harlech overlooking Tremadog Bay. More populous than these is the town of Blaenau Ffestiniog, which is within an exclave, that is to say it is surrounded by the national park but excluded from it, whilst the towns of Tywyn and Barmouth on the Cardigan Bay coast are within coastal exclaves. Llanrwst in the east, Machynlleth in the south and Porthmadog and Penrhyndeudraeth in the west are immediately beyond the boundary but still identified with the park; indeed the last of these hosts the headquarters of the Snowdonia National Park Authority. Similarly the local economies of the towns of Conwy, Bethesda, and Llanberis in the north are inseparably linked to the national park as they provide multiple visitor services. The lower terminus of the Snowdon Mountain Railway is at Llanberis. Though adjacent to it, Llanfairfechan and Penmaenmawr are less obviously linked to the park.
There are numerous smaller settlements within the national park: prominent amongst these are the eastern 'gateway' village of Betws-y-Coed, Aberdyfi on the Dovey (Dyfi) estuary and the small village of Beddgelert each of which attract large numbers of visitors. Other sizeable villages are Llanuwchllyn at the southwest end of Bala Lake (Llyn Tegid), Dyffryn Ardudwy, Corris, Trawsfynydd, Llanbedr, Trefriw and Dolwyddelan.
Six primary routes serve Snowdonia, the busiest of which is the A55, a dual carriageway which runs along the north coast and provides strategic road access to the northern part of the national park. The most important north–south route within the park is the A470 running from the A55 south past Betws-y-Coed to Blaenau Ffestiniog to Dolgellau. It exits the park a few miles to the southeast near Mallwyd. From Dolgellau, the A494 runs to Bala whilst the A487 connects with Machynlleth. The A487 loops around the northwest of the park from Bangor via Caernarfon to Porthmadog before turning in land to meet the A470 east of Maentwrog. The A5 was built as a mail coach road by Thomas Telford between London and Holyhead; it enters the park near Pentrefoelas and leaves it near Bethesda. Other A class roads provide more local links; the A493 down the Dovey valley from Machynlleth and up the coast to Tywyn then back up the Mawddach valley to Dolgellau, the A496 from Dolgellau down the north side of the Mawddach to Barmouth then north up the coast via Harlech to Maentwrog. The A4212 connecting Bala with Trawsfynydd is relatively modern having been laid out in the 1960s in connection with the construction of Llyn Celyn. Three further roads thread their often twisting and narrow way through the northern mountains; A4085 links Penrhyndeudraeth with Caernarfon, the A4086 links Capel Curig with Caernarfon via Llanberis and the A498 links Tremadog with the A4086 at Pen-y-Gwryd. Other roads of note include that from Llanuwchllyn up Cwm Cynllwyd to Dinas Mawddwy via the 545 metre (1788') high pass of Bwlch y Groes, the second highest tarmacked public road in Wales and the minor road running northwest and west from Llanuwchllyn towards Bronaber via the 531 metre (1742') high pass of Bwlch Pen-feidiog.
The double track North Wales Coast Line passes along the northern boundary of the park between Conwy and Bangor briefly entering it at Penmaen-bach Point where it is in tunnel. Stations serve the communities of Conwy, Penmaenmawr, Llanfairfechan and Bangor. The single-track Conwy Valley Line runs south from Llandudno Junction, entering the park north of Betws-y-coed which is served by a station then west up the Lledr valley by way of further stations at Pont-y-pant, Dolwyddelan and Roman Bridge. After passing through a tunnel the passenger line now terminates at Blaenau Ffestiniog railway station. Prior to 1961 the route continued as the Bala and Ffestiniog Railway via Trawsfynydd to Bala joining another former route along the Dee valley which ran southwest via Dolgellau to join the still extant coastal Cambrian Line south of Barmouth. The Pwllheli branch of the Cambrian Line splits from the Aberystwyth branch at Dovey Junction and continues via stations at Aberdovey, Tywyn, Tonfanau, Llwyngwril, Fairbourne and Morfa Mawddach to Barmouth where it crosses the Mawddach estuary by the Grade II* listed wooden Barmouth Bridge, a structure which also provides for walkers and cyclists. Further stations serve Llanaber, Tal-y-bont, Dyffryn Ardudwy, Llanbedr, Pensarn and Llandanwg before reaching Harlech. Tygwyn, Talsarnau and Llandecwyn stations are the last before the line exits the park as it crosses the Dwyryd estuary via Pont Briwet and turns westwards bound for Pwllheli via Penrhyndeudraeth, Porthmadog and Criccieth.
Many sections of dismantled railway are now used by walking and cycling routes and are described elsewhere. The Bala Lake Railway is a heritage railway which has been established along a section of the former mainline route between Bala and Llanuwchllyn. Other heritage railways occupy sections of former mineral lines, often narrow gauge and are described in a separate section.
The national park is served by a growing bus network, branded Sherpa'r Wyddfa (formerly Snowdon Sherpa). Together with the TrawsCymru network of buses this provides a car-free option to tourists and locals wishing to travel across the National Park.
The network was relaunched in July 2022 with a new brand, Sherpa'r Wyddfa, to reflect the National Park's new push for the promotion of Welsh place names. As such the publicity and websites for the newly branded service only use these Welsh names, even for English language users.
Snowdonia is one of the wettest parts of the United Kingdom; Crib Goch in Snowdonia is the wettest spot in the United Kingdom, with an average rainfall of 4,473 millimetres (176.1 in) a year over the 30-year period prior to the mid-2000s. (There is a rainfall gauge at 713 metres, 2340' on the slopes below Crib Goch.)
The earliest evidence for human occupation of the area dates from around 4000–3000 BCE with extensive traces of prehistoric field systems evident in the landscape. Within these are traces of irregular enclosures and hut circles. There are burial chambers of Neolithic and Bronze Age such as Bryn Cader Faner and Iron Age hillforts such as Bryn y Castell near Ffestiniog.
The region was finally conquered by the Romans by AD 77–78. Remains of Roman marching camps and practice camps are evident. There was a Roman fort and amphitheatre at Tomen y Mur. Roads are known to have connected with Segontium (Caernarfon) and Deva Victrix (Chester) and include the northern reaches of Sarn Helen.
There are numerous memorial stones of Early Christian affinity dating from the post-Roman period. The post-Roman hillfort of Dinas Emrys also dates to this time. Churches were introduced to the region in the 5th and 6th centuries. Llywelyn the Great and Llywelyn ap Gruffudd had various stone castles constructed to protect their borders and trade routes. Edward I built several castles around the margins including those at Harlech and Conwy for military and administrative reasons. Most are now protected within a World Heritage Site. Some of Snowdonia's many stone walls date back to this period too. In the Middle Ages, the title Prince of Wales and Lord of Snowdonia (Tywysog Cymru ac Arglwydd Eryri) was used by Llywelyn ap Gruffudd; his grandfather Llywelyn Fawr used the title Prince of north Wales and Lord of Snowdonia.
The 18th century saw the start of industrial exploitation of the area's resources, assisted by the appearance in the late part of the century of turnpike trusts making it more accessible. The engineer Thomas Telford left a legacy of road and railway construction in and around Snowdonia. A new harbour at Porthmadog linked to slate quarries at Ffestiniog via a narrow gauge railway. At its peak in the 19th century the slate industry employed around 12,000 men. A further 1000 were employed in stone quarrying at Graiglwyd and Penmaenmawr. Mining for copper, iron and gold was undertaken during the 18th and 19th centuries, leaving a legacy of mine and mill ruins today. Ruins of the gold industry are found at Cefn Coch on the Dolmelynllyn estate.
The Snowdonia Society is a registered charity formed in 1967; it is a voluntary group of people with an interest in the area and its protection.
Amory Lovins led the successful 1970s opposition to stop Rio Tinto digging up the area for a massive mine.
The park's entire coastline is a Special Area of Conservation, which runs from the Llŷn Peninsula down the mid-Wales coast, the latter containing valuable sand dune systems.
The park's natural forests are of the mixed deciduous type, the commonest tree being the Welsh oak. Birch, ash, mountain-ash and hazel are also common. The park also contains some large (planted) coniferous forested areas such as Gwydir Forest near Betws-y-Coed, although some areas, once harvested, are now increasingly being allowed to regrow naturally.
Northern Snowdonia is the only place in Britain where the Snowdon lily (Gagea serotina), an arctic–alpine plant, is found and the only place in the world where the Snowdonia hawkweed Hieracium snowdoniense grows.
One of the major problems facing the park in recent years has been the growth of Rhododendron ponticum. This fast-growing invasive species has a tendency to take over and stifle native species. It can form massive towering growths and has a companion fungus that grows on its roots producing toxins that are poisonous to any local flora and fauna for a seven-year period after the Rhododendron infestations have been eradicated. As a result, there are a number of desolate landscapes.
Mammals in the park include otters, polecats, feral goats, and pine martens. Birds include raven, red-billed chough, peregrine, osprey, merlin and the red kite. The rainbow-coloured Snowdon beetle (Chrysolina cerealis) is only found in northern Snowdonia.
Snowdonia has a particularly high number of protected sites in respect of its diverse ecology; nearly 20% of its total area is protected by UK and European law. Half of that area was set aside by the government under the European Habitats Directive as a Special Area of Conservation. There are a large number of Sites of special scientific interest (or 'SSSIs'), designated both for fauna and flora but also in some cases for geology. Nineteen of these sites are managed as national nature reserves by Natural Resources Wales. The park also contains twelve Special Areas of Conservation (or 'SACs'), three Special Protection Areas (or 'SPAs') and three Ramsar sites. Some are wholly within the park boundaries, others straddle it to various degrees.
There are numerous SSSIs within the park, the most extensive of which are Snowdonia, Migneint-Arenig-Dduallt, Morfa Harlech, Rhinog, Berwyn, Cadair Idris, Llyn Tegid, Aber Mawddach / Mawddach Estuary, Dyfi, Morfa Dyffryn, Moel Hebog, Coedydd Dyffryn Ffestiniog and Coedydd Nanmor.
The following NNRs are either wholly or partly within the park: Allt y Benglog, Y Berwyn (in multiple parts), Cader Idris, Ceunant Llennyrch, Coed Camlyn, Coed Cymerau, Coed Dolgarrog, Coed Ganllwyd, Coed Gorswen, Coed Tremadog, Coedydd Aber, Coedydd Maentwrog (in 2 parts), Coed y Rhygen, Cwm Glas Crafnant, Cwm Idwal, Hafod Garregog, Morfa Harlech, Rhinog and Snowdon.
The twelve SACs are as follows: Snowdonia SAC which covers much of the Carneddau, Glyderau, and the Snowdon massif, Afon Gwyrfai a Llyn Cwellyn, Corsydd Eifionydd / Eifionydd Fens (north of Garndolbenmaen), the Coedydd Derw a Safleoedd Ystlumod Meirion / Meirionydd Oakwoods and Bat Sites - a series of sites between Tremadog, Trawsfynydd, and Ffestiniog and Beddgelert and extending up the Gwynant. It also includes many of the oakwoods of the Mawddach and its tributaries. Afon Eden – Cors Goch Trawsfynydd, Rhinog, Cadair Idris (in 2 parts), Migneint-Arenig-Dduallt, River Dee and Afon Dyfrdwy a Llyn Tegid (Wales), Mwyngloddiau Fforest Gwydir / Gwydyr Forest Mines (north of Betws-y-Coed) and a part of the Berwyn a Mynyddoedd De Clwyd / Berwyn and South Clwyd Mountains SAC. The Pen Llyn a'r Sarnau / Lleyn Peninsula and the Sarnau SAC covers the entire Cardigan Bay coastline of the park and the sea area and extends above the high water mark at Morfa Harlech, Mochras and around the Dovey and Mawddach estuaries.
The three SPAs are Dovey Estuary / Aber Dyfi (of which a part is within the park), Berwyn (of which a part is within the park) and Migneint-Arenig-Dduallt.
The three designated Ramsar sites are the Dyfi Biosphere (Cors Fochno and Dyfi), Cwm Idwal and Llyn Tegid (Bala Lake).
The area's economy was traditionally centred upon farming and from the early 19th century increasingly on mining and quarrying. Tourism has become an increasingly significant part of Snowdonia's economy during the 20th and 21st centuries.
The extensive farming of sheep remains central to Snowdonia's farming economy.
Significant sections of the park were afforested during the 20th century for timber production. Major conifer plantations include Dyfi Forest, Coed y Brenin Forest between Dolgellau and Trawsfynydd, Penllyn Forest south of Bala, Beddgelert Forest and Gwydyr (or Gwydir) Forest near Betws-y-Coed which is managed as a forest park by Natural Resources Wales.
The region was once the most important producer of slate in the world. Some production continues but at a much reduced level from its peak. The park boundaries are drawn such that much of the landscape affected by slate quarrying and mining lies immediately outside of the designated area.
Construction of a nuclear power station beside Llyn Trawsfynydd began in 1959 with the first power produced in 1965. The site was operational until 1991 though it continues as an employer during its decommissioning phase. Pumped storage hydroelectric schemes are in operation at Llanberis and Ffestiniog.
Research indicates that there were 3.67 million visitors to Snowdonia National Park in 2013, with approximately 9.74 million tourist days spent in the park during that year. Total tourist expenditure was £433.6 million in 2013.
Many of the hikers in the area concentrate on Snowdon itself. It is regarded as a fine mountain, but at times gets very crowded; in addition the Snowdon Mountain Railway runs to the summit.
The other high mountains with their boulder-strewn summits as well as Tryfan, one of the few mountains in the UK south of Scotland whose ascent needs hands as well as feet are also very popular. However, there are also some spectacular walks in Snowdonia on the lower mountains, and they tend to be relatively unfrequented. Among hikers' favourites are Y Garn (east of Llanberis) along the ridge to Elidir Fawr; Mynydd Tal-y-Mignedd (west of Snowdon) along the Nantlle Ridge to Mynydd Drws-y-Coed; Moelwyn Mawr (west of Blaenau Ffestiniog); and Pen Llithrig y Wrach north of Capel Curig. Further south are Y Llethr in the Rhinogydd, and Cadair Idris near Dolgellau.
The park has 1,479 miles (2,380 km) of public footpaths, 164 miles (264 km) of public bridleways, and 46 miles (74 km) of other public rights of way. A large part of the park is also covered by right to roam laws.
The Wales Coast Path runs within the park between Machynlleth and Penrhyndeudraeth, save for short sections of coast in the vicinity of Tywyn and Barmouth which are excluded from the park. It touches the park boundary again at Penmaen-bach Point on the north coast. An inland alternative exists between Llanfairfechan and Conwy, wholly within the park. The North Wales Path, which predates the WCP, enters the park north of Bethesda and follows a route broadly parallel to the north coast visiting Aber Falls and the Sychnant Pass before exiting the park on the descent from Conwy Mountain. The Cambrian Way is a long-distance trail between Cardiff and Conwy that stays almost entirely within the national park from Mallwyd northwards. It was officially recognised in 2019, and is now depicted on Ordnance Survey maps.
The use of the English names for the area has been divisive, with an increase in protests against their use since 2020; these led to the national park authority deciding to use Welsh names as far as legally possible in November 2022. An early example of pressure to deprecate Snowdon and Snowdonia was a 2003 campaign by Cymuned, inspired by campaigns to refer to Ayers Rock as Uluru and Mount Everest as Qomolangma.
In 2020 an e-petition calling for the removal of the English names was put forward to the Senedd, but rejected as responsibility lies with the national park authority. In 2021 an e-petition on the same topic attracted more than 5,300 signatures and was presented to the national park authority.
On 28 April 2021 Gwynedd councillor John Pughe Roberts put forward a motion to use the Welsh names exclusively, calling this a "question of respect for the Welsh language". The motion was not considered and delayed, as the national park authority already appointed a "Welsh Place Names Task and Finish Group" to investigate the issue. The park authority however cannot compel other bodies and/or individuals to stop using the English names, with the proposals facing some criticism.
In May 2021, following the dismissal of the motion, YouGov conducted a poll on Snowdon's name. 60% of Welsh adults supported the English name Snowdon, compared to 30% wanting the Welsh name Yr Wyddfa. Separating by language, 59% of Welsh speakers preferred the Welsh name, but 37% of these still wanted Snowdon to be used as well. 69% of non-Welsh speakers firmly supported Snowdon as the Mountain's name. The proposals to rename Snowdon are usually accompanied with proposals to rename Snowdonia.
On 16 November 2022, Members of the Snowdonia National Park Authority committee voted to use the Welsh names Yr Wyddfa and Eryri to refer to the mountain and the national park, rather than the English names, in materials produced by the authority. The national park authority described the decision as "decisive action" and the authority's head of culture heritage stated that Welsh place names were part of the area's "special qualities" and that other public bodies, English-language press and filming companies have used the Welsh-language names. Before the decision the park had already prioritised the Welsh names by using them first and giving the English names in parentheses. The name "Snowdonia" cannot be abandoned entirely, as it is set in law and so must be used in statutory documents. The authority announced a review of the authority's branding in 2023 to adapt to the new approach to Welsh place names.
Gwynedd is a county in the north-west of Wales. It borders Anglesey across the Menai Strait to the north, Conwy, Denbighshire, and Powys to the east, Ceredigion over the Dyfi estuary to the south, and the Irish Sea to the west. The city of Bangor is the largest settlement, and the administrative centre is Caernarfon. The preserved county of Gwynedd, which is used for ceremonial purposes, includes the Isle of Anglesey.
Gwynedd is the second largest county in Wales but sparsely populated, with an area of 979 square miles (2,540 km2) and a population of 117,400. After Bangor (18,322), the largest settlements are Caernarfon (9,852), Bethesda (4,735), and Pwllheli (4,076). The county has the highest percentage of Welsh speakers in Wales, at 64.4%, and is considered a heartland of the language.
The geography of Gwynedd is mountainous, with a long coastline to the west. Much of the county is covered by Snowdonia National Park (Eryri), which contains Wales's highest mountain, Snowdon (Yr Wyddfa; 3,560 feet, 1,090 m). To the west, the Llŷn Peninsula is flatter and renowned for its scenic coastline, part of which is protected by the Llŷn AONB. Gwynedd also contains several of Wales's largest lakes and reservoirs, including the largest, Bala Lake (Llyn Tegid).
The area which is now the county has played a prominent part in the history of Wales. It formed part of the core of the Kingdom of Gwynedd and the native Principality of Wales, which under the House of Aberffraw remained independent from the Kingdom of England until Edward I's conquest between 1277 and 1283. Edward built the castles at Caernarfon and Harlech, which form part of the Castles and Town Walls of King Edward in Gwynedd World Heritage Site. During the Industrial Revolution the slate industry rapidly developed; in the late nineteenth century the neighbouring Penrhyn and Dinorwic quarries were the largest in the world, and the Slate Landscape of Northwest Wales is now a World Heritage Site. Gwynedd covers the majority of the historic counties of Caernarfonshire and Merionethshire.
In the past, historians such as J. E. Lloyd assumed that the Celtic source of the word Gwynedd meant 'collection of tribes' – the same root as the Irish fine, meaning 'tribe'. Further, a connection is recognised between the name and the Irish Féni, an early ethnonym for the Irish themselves, related to fían, 'company of hunting and fighting men, company of warriors under a leader'. Perhaps *u̯en-, u̯enə ('strive, hope, wish') is the Indo-European stem. The Irish settled in NW Wales, and in Dyfed, at the end of the Roman era. Venedotia was the Latin form, and in Penmachno there is a memorial stone from c. AD 500 which reads: Cantiori Hic Iacit Venedotis ('Here lies Cantiorix, citizen of Gwynedd'). The name was retained by the Brythons when the kingdom of Gwynedd was formed in the 5th century, and it remained until the invasion of Edward I. This historical name was revived when the new county was formed in 1974.
Gwynedd was an independent kingdom from the end of the Roman period until the 13th century, when it was conquered by England. The modern Gwynedd was one of eight Welsh counties created on 1 April 1974 under the Local Government Act 1972. It covered the entirety of the historic counties of Anglesey and Caernarfonshire, and all of Merionethshire apart from Edeirnion Rural District (which went to Clwyd); and also a few parishes of Denbighshire: Llanrwst, Llansanffraid Glan Conwy, Eglwysbach, Llanddoged, Llanrwst and Tir Ifan.
The county was divided into five districts: Aberconwy, Arfon, Dwyfor, Meirionnydd and Anglesey.
The Local Government (Wales) Act 1994 abolished the 1974 county (and the five districts) on 1 April 1996, and its area was divided: the Isle of Anglesey became an independent unitary authority, and Aberconwy (which included the former Denbighshire parishes) passed to the new Conwy County Borough. The remainder of the county was constituted as a principal area, with the name Caernarfonshire and Merionethshire, as it covers most of the areas of those two historic counties. As one of its first actions, the Council renamed itself Gwynedd on 2 April 1996. The present Gwynedd local government area is governed by Gwynedd Council. As a unitary authority, the modern entity no longer has any districts, but Arfon, Dwyfor and Meirionnydd remain as area committees.
The pre-1996 boundaries were retained as a preserved county for a few purposes such as the Lieutenancy. In 2003, the boundary with Clwyd was adjusted to match the modern local government boundary, so that the preserved county now covers the two local government areas of Gwynedd and Anglesey. Conwy county borough is now entirely within Clwyd.
A Gwynedd Constabulary was formed in 1950 by the merger of the Anglesey, Caernarfonshire and Merionethshire forces. A further amalgamation took place in the 1960s when Gwynedd Constabulary was merged with the Flintshire and Denbighshire county forces, retaining the name Gwynedd. In one proposal for local government reform in Wales, Gwynedd had been proposed as a name for a local authority covering all of north Wales, but the scheme as enacted divided this area between Gwynedd and Clwyd. To prevent confusion, the Gwynedd Constabulary was therefore renamed the North Wales Police.
The Snowdonia National Park was formed in 1951. After the 1974 local authority reorganisation, the park fell entirely within the boundaries of Gwynedd, and was run as a department of Gwynedd County Council. After the 1996 local government reorganisation, part of the park fell under Conwy County Borough, and the park's administration separated from the Gwynedd council. Gwynedd Council still appoints nine of the eighteen members of the Snowdonia National Park Authority; Conwy County Borough Council appoints three; and the Welsh Government appoints the remaining six.
There has been considerable inwards migration to Gwynedd, particularly from England. According to the 2021 census, 66.6% of residents had been born in Wales whilst 27.1% were born in England.
The county has a mixed economy. An important part of the economy is based on tourism: many visitors are attracted by the many beaches and the mountains. A significant part of the county lies within the Snowdonia National Park, which extends from the north coast down to the district of Meirionnydd in the south. But tourism provides seasonal employment and thus there is a shortage of jobs in the winter.
Agriculture is less important than in the past, especially in terms of the number of people who earn their living on the land, but it remains an important element of the economy.
The most important of the traditional industries is the slate industry, but these days only a small percentage of workers earn their living in the slate quarries.
Industries which have developed more recently include TV and sound studios: the record company Sain has its HQ in the county.
The education sector is also very important for the local economy, including Bangor University and Further Education colleges, Coleg Meirion-Dwyfor and Coleg Menai, both now part of Grŵp Llandrillo Menai.
The proportion of respondents in the 2011 census who said they could speak Welsh.
Gwynedd has the highest proportion of people in Wales who can speak Welsh. According to the 2021 census, 64.4% of the population aged three and over stated that they could speak Welsh,[7] while 64.4% noted that they could speak Welsh in the 2011 census.
It is estimated that 83% of the county's Welsh-speakers are fluent, the highest percentage of all counties in Wales.[9] The age group with the highest proportion of Welsh speakers in Gwynedd were those between ages 5–15, of whom 92.3% stated that they could speak Welsh in 2011.
The proportion of Welsh speakers in Gwynedd declined between 1991 and 2001,[10] from 72.1% to 68.7%, even though the proportion of Welsh speakers in Wales as a whole increased during that decade to 20.5%.
The Annual Population Survey estimated that as of March 2023, 77.0% of those in Gwynedd aged three years and above could speak Welsh.
Notable people
Leslie Bonnet (1902–1985), RAF officer, writer; originated the Welsh Harlequin duck in Criccieth
Sir Dave Brailsford (born 1964), cycling coach; grew up in Deiniolen, near Caernarfon
Duffy (born 1984), singer, songwriter and actress; born in Bangor, Gwynedd
Edward II of England (1284–1327), born in Caernarfon Castle
Elin Fflur (born 1984), singer-songwriter, TV and radio presenter; went to Bangor University
Bryn Fôn (born 1954), actor and singer-songwriter; born in Llanllyfni, Caernarfonshire.
Wayne Hennessey (born 1987), football goalkeeper with 108 caps for Wales; born in Bangor, Gwynedd
John Jones (c. 1530 – 1598), a Franciscan friar, Roman Catholic priest and martyr; born at Clynnog
Sir Love Jones-Parry, 1st Baronet (1832–1891), landowner and politician, co-founder of the Y Wladfa settlement in Patagonia
T. E. Lawrence (1888–1935), archaeologist, army officer and inspiration for Lawrence of Arabia, born in Tremadog
David Lloyd George (1863–1945), statesman and Prime Minister; lived in Llanystumdwy from infancy
Sasha (born 1969), disc jockey, born in Bangor, Gwynedd
Sir Bryn Terfel (born 1965), bass-baritone opera and concert singer from Pant Glas
Sir Clough Williams-Ellis (1883–1978), architect of Portmeirion
Owain Fôn Williams, (born 1987), footballer with 443 club caps; born and raised in Penygroes, Gwynedd.
Hedd Wyn (1887–1917), poet from the village of Trawsfynydd; killed in WWI
Mother and bay otter bonding, Morro Bay California. he sea otter (Enhydra lutris) is a marine mammal native to the coasts of the northern and eastern North Pacific Ocean. Adult sea otters typically weigh between 14 and 45 kg (30 and 100 lb), making them the heaviest members of the weasel family, but among[3] the smallest marine mammals. Unlike most marine mammals, the sea otter's primary form of insulation is an exceptionally thick coat of fur, the densest in the animal kingdom. Although it can walk on land, the sea otter is capable of living exclusively in the ocean.
The sea otter inhabits nearshore environments, where it dives to the sea floor to forage. It preys mostly on marine invertebrates such as sea urchins, various mollusks and crustaceans, and some species of fish. Its foraging and eating habits are noteworthy in several respects. Its use of rocks to dislodge prey and to open shells makes it one of the few mammal species to use tools. In most of its range, it is a keystone species, controlling sea urchin populations which would otherwise inflict extensive damage to kelp forest ecosystems.[4] Its diet includes prey species that are also valued by humans as food, leading to conflicts between sea otters and fisheries.
Sea otters, whose numbers were once estimated at 150,000–300,000, were hunted extensively for their fur between 1741 and 1911, and the world population fell to 1,000–2,000 individuals living in a fraction of their historic range.[5] A subsequent international ban on hunting, sea otter conservation efforts, and reintroduction programs into previously populated areas have contributed to numbers rebounding, and the species occupies about two-thirds of its former range. The recovery of the sea otter is considered an important success in marine conservation, although populations in the Aleutian Islands and California have recently declined or have plateaued at depressed levels. For these reasons, the sea otter remains classified as an endangered species.
Evolution
The sea otter is the heaviest (the giant otter is longer, but significantly slimmer) member of the family Mustelidae,[6] a diverse group that includes the 13 otter species and terrestrial animals such as weasels, badgers, and minks. It is unique among the mustelids in not making dens or burrows, in having no functional anal scent glands,[7] and in being able to live its entire life without leaving the water.[8] The only living member of the genus Enhydra, the sea otter is so different from other mustelid species that, as recently as 1982, some scientists believed it was more closely related to the earless seals.[9] Genetic analysis indicates the sea otter and its closest extant relatives, which include the African speckle-throated otter, Eurasian otter, African clawless otter and Asian small-clawed otter, shared an ancestor approximately 5 million years ago.[10]
Fossil evidence indicates the Enhydra lineage became isolated in the North Pacific approximately 2 million years ago, giving rise to the now-extinct Enhydra macrodonta and the modern sea otter, Enhydra lutris.[11] One related species has been described, Enhydra reevei, from the Pleistocene of East Anglia.[12] The modern sea otter evolved initially in northern Hokkaidō and Russia, and then spread east to the Aleutian Islands, mainland Alaska, and down the North American coast.[13] In comparison to cetaceans, sirenians, and pinnipeds, which entered the water approximately 50, 40, and 20 million years ago, respectively, the sea otter is a relative newcomer to a marine existence.[14] In some respects, though, the sea otter is more fully adapted to water than pinnipeds, which must haul out on land or ice to give birth.[15] The full genome of the northern sea otter (Enhydra lutris kenyoni) was sequenced in 2017 and may allow for examination of the sea otter's evolutionary divergence from terrestrial mustelids.[16]
Taxonomy
Lutrinae
Pteronura (giant otter)
Lontra (4 species)
Enhydra (sea otter)
Hydrictis
(spotted-necked otter)
Lutra (2 species)
Aonyx
(African clawless)
Amblonyx
(Asian small-clawed)
Lutrogale
(smooth-coated)
Cladogram showing relationships between sea otters and other otters[17][18]
The first scientific description of the sea otter is contained in the field notes of Georg Steller from 1751, and the species was described by Carl Linnaeus in his landmark 1758 10th edition of Systema Naturae.[19] Originally named Lutra marina, it underwent numerous name changes before being accepted as Enhydra lutris in 1922.[11] The generic name Enhydra, derives from the Ancient Greek en/εν "in" and hydra/ύδρα "water",[20] meaning "in the water", and the Latin word lutris, meaning "otter".[21] It was formerly sometimes referred to as the "sea beaver".[22]
Subspecies
Three subspecies of the sea otter are recognized with distinct geographical distributions. Enhydra lutris lutris (nominate), the Asian sea otter, ranges across Russia's Kuril Islands northeast of Japan, and the Commander Islands in the northwestern Pacific Ocean. In the eastern Pacific Ocean, E. l. kenyoni, the northern sea otter, is found from Alaska's Aleutian Islands to Oregon and E. l. nereis, the southern sea otter, is native to central and southern California.[23] The Asian sea otter is the largest subspecies and has a slightly wider skull and shorter nasal bones than both other subspecies. Northern sea otters possess longer mandibles (lower jaws) while southern sea otters have longer rostrums and smaller teeth.[24][25]
Description
A sea otter's thick fur makes its body appear plumper on land than in the water.
Skull of a sea otter
The sea otter is one of the smallest marine mammal species, but it is the heaviest mustelid.[8] Male sea otters usually weigh 22 to 45 kg (49 to 99 lb) and are 1.2 to 1.5 m (3 ft 11 in to 4 ft 11 in) in length, though specimens up to 54 kg (119 lb) have been recorded.[26] Females are smaller, weighing 14 to 33 kg (31 to 73 lb) and measuring 1.0 to 1.4 m (3 ft 3 in to 4 ft 7 in) in length.[27] For its size, the male otter's baculum is very large, massive and bent upwards, measuring 150 mm (5+7⁄8 in) in length and 15 mm (9⁄16 in) at the base.[28]
Unlike most other marine mammals, the sea otter has no blubber and relies on its exceptionally thick fur to keep warm.[29] With up to 150,000 strands of hair per square centimetre (970,000/in2), its fur is the densest of any animal.[30] The fur consists of long, waterproof guard hairs and short underfur; the guard hairs keep the dense underfur layer dry.[27] There is an air compartment between the thick fur and the skin where air is trapped and heated by the body.[31] Cold water is kept completely away from the skin and heat loss is limited.[27] However, a potential disadvantage of this form of insulation is compression of the air layer as the otter dives, thereby reducing the insulating quality of fur at depth when the animal forages.[31] The fur is thick year-round, as it is shed and replaced gradually rather than in a distinct molting season.[32] As the ability of the guard hairs to repel water depends on utmost cleanliness, the sea otter has the ability to reach and groom the fur on any part of its body, taking advantage of its loose skin and an unusually supple skeleton.[33] The coloration of the pelage is usually deep brown with silver-gray speckles, but it can range from yellowish or grayish brown to almost black.[34] In adults, the head, throat, and chest are lighter in color than the rest of the body.[34]
The sea otter displays numerous adaptations to its marine environment. The nostrils and small ears can close.[35] The hind feet, which provide most of its propulsion in swimming, are long, broadly flattened, and fully webbed.[36] The fifth digit on each hind foot is longest, facilitating swimming while on its back, but making walking difficult.[37] The tail is fairly short, thick, slightly flattened, and muscular. The front paws are short with retractable claws, with tough pads on the palms that enable gripping slippery prey.[38] The bones show osteosclerosis, increasing their density to reduce buoyancy.[39]
The sea otter presents an insight into the evolutionary process of the mammalian invasion of the aquatic environment, which has occurred numerous times over the course of mammalian evolution.[40] Having only returned to the sea about 3 million years ago,[41] sea otters represent a snapshot at the earliest point of the transition from fur to blubber. In sea otters, fur is still advantageous, given their small nature and division of lifetime between the aquatic and terrestrial environments.[42] However, as sea otters evolve and adapt to spending more and more of their lifetimes in the sea, the convergent evolution of blubber suggests that the reliance on fur for insulation would be replaced by a dependency on blubber. This is particularly true due to the diving nature of the sea otter; as dives become lengthier and deeper, the air layer's ability to retain heat or buoyancy decreases,[31] while blubber remains efficient at both of those functions.[42] Blubber can also additionally serve as an energy source for deep dives,[43] which would most likely prove advantageous over fur in the evolutionary future of sea otters.
The sea otter propels itself underwater by moving the rear end of its body, including its tail and hind feet, up and down,[36] and is capable of speeds of up to 9 kilometres per hour (5.6 mph).[6] When underwater, its body is long and streamlined, with the short forelimbs pressed closely against the chest.[44] When at the surface, it usually floats on its back and moves by sculling its feet and tail from side to side.[45] At rest, all four limbs can be folded onto the torso to conserve heat, whereas on particularly hot days, the hind feet may be held underwater for cooling.[46] The sea otter's body is highly buoyant because of its large lung capacity – about 2.5 times greater than that of similar-sized land mammals[47] – and the air trapped in its fur. The sea otter walks with a clumsy, rolling gait on land, and can run in a bounding motion.[37]
Long, highly sensitive whiskers and front paws help the sea otter find prey by touch when waters are dark or murky.[48] Researchers have noted when they approach in plain view, sea otters react more rapidly when the wind is blowing towards the animals, indicating the sense of smell is more important than sight as a warning sense.[49] Other observations indicate the sea otter's sense of sight is useful above and below the water, although not as good as that of seals.[50] Its hearing is neither particularly acute nor poor.[51]
An adult's 32 teeth, particularly the molars, are flattened and rounded for crushing rather than cutting food.[52] Seals and sea otters are the only carnivores with two pairs of lower incisor teeth rather than three;[53] the adult dental formula is
3.1.3.1
2.1.3.2
.[54] The teeth and bones are sometimes stained purple as a result of ingesting sea urchins.[55] The sea otter has a metabolic rate two or three times that of comparatively sized terrestrial mammals. It must eat an estimated 25 to 38% of its own body weight in food each day to burn the calories necessary to counteract the loss of heat due to the cold water environment.[56][57] Its digestive efficiency is estimated at 80 to 85%,[58] and food is digested and passed in as little as three hours.[29] Most of its need for water is met through food, although, in contrast to most other marine mammals, it also drinks seawater. Its relatively large kidneys enable it to derive fresh water from sea water and excrete concentrated urine.[59]
Behavior
Sensitive vibrissae and forepaws enable sea otters to find prey (like this purple sea urchin) using their sense of touch.
The sea otter is diurnal. It has a period of foraging and eating in the morning, starting about an hour before sunrise, then rests or sleeps in mid-day.[60] Foraging resumes for a few hours in the afternoon and subsides before sunset, and a third foraging period may occur around midnight.[60] Females with pups appear to be more inclined to feed at night.[60] Observations of the amount of time a sea otter must spend each day foraging range from 24 to 60%, apparently depending on the availability of food in the area.[61]
Sea otters spend much of their time grooming, which consists of cleaning the fur, untangling knots, removing loose fur, rubbing the fur to squeeze out water and introduce air, and blowing air into the fur. To casual observers, it appears as if the animals are scratching, but they are not known to have lice or other parasites in the fur.[62] When eating, sea otters roll in the water frequently, apparently to wash food scraps from their fur.[63]
A sea otter grooming itself by rubbing its dense coat.
Foraging
See also: Physiology of underwater diving
The sea otter hunts in short dives, often to the sea floor. Although it can hold its breath for up to five minutes,[35] its dives typically last about one minute and not more than four.[27] It is the only marine animal capable of lifting and turning over rocks, which it often does with its front paws when searching for prey.[63] The sea otter may also pluck snails and other organisms from kelp and dig deep into underwater mud for clams.[63] It is the only marine mammal that catches fish with its forepaws rather than with its teeth.[29]
A sea otter in captivity in Japan, 2015
Under each foreleg, the sea otter has a loose pouch of skin that extends across the chest. In this pouch (preferentially the left one), the animal stores collected food to bring to the surface. This pouch also holds a rock, unique to the otter, that is used to break open shellfish and clams.[64] At the surface, the sea otter eats while floating on its back, using its forepaws to tear food apart and bring it to its mouth. It can chew and swallow small mussels with their shells, whereas large mussel shells may be twisted apart.[65] It uses its lower incisor teeth to access the meat in shellfish.[66] To eat large sea urchins, which are mostly covered with spines, the sea otter bites through the underside where the spines are shortest, and licks the soft contents out of the urchin's shell.[65]
The sea otter's use of rocks when hunting and feeding makes it one of the few mammal species to use tools.[67] To open hard shells, it may pound its prey with both paws against a rock on its chest. To pry an abalone off its rock, it hammers the abalone shell using a large stone, with observed rates of 45 blows in 15 seconds.[27] Releasing an abalone, which can cling to rock with a force equal to 4,000 times its own body weight, requires multiple dives.[27]
Social structure
Sleeping sea otters holding paws at the Vancouver Aquarium[68] are kept afloat by their naturally high buoyancy.
Southern sea otters playing with one another at the Elkhorn Slough National Estuarine Research Reserve.
Although each adult and independent juvenile forages alone, sea otters tend to rest together in single-sex groups called rafts. A raft typically contains 10 to 100 animals, with male rafts being larger than female ones.[69] The largest raft ever seen contained over 2000 sea otters. To keep from drifting out to sea when resting and eating, sea otters may wrap themselves in kelp.[70]
A male sea otter is most likely to mate if he maintains a breeding territory in an area that is also favored by females.[71] As autumn is the peak breeding season in most areas, males typically defend their territory only from spring to autumn.[71] During this time, males patrol the boundaries of their territories to exclude other males,[71] although actual fighting is rare.[69] Adult females move freely between male territories, where they outnumber adult males by an average of five to one.[71] Males that do not have territories tend to congregate in large, male-only groups,[71] and swim through female areas when searching for a mate.[72]
The species exhibits a variety of vocal behaviors. The cry of a pup is often compared to that of a gull.[73] Females coo when they are apparently content; males may grunt instead.[74] Distressed or frightened adults may whistle, hiss, or in extreme circumstances, scream.[73] Although sea otters can be playful and sociable, they are not considered to be truly social animals.[75] They spend much time alone, and each adult can meet its own hunting, grooming, and defense needs.[75]
Reproduction and life cycle
While mating the male bites the nose of the female, often bloodying and scarring it.
Sea otters are polygynous: males have multiple female partners, typically those that inhabit their territory. If no territory is established, they seek out females in estrus. When a male sea otter finds a receptive female, the two engage in playful and sometimes aggressive behavior. They bond for the duration of estrus, or 3 days. The male holds the female's head or nose with his jaws during copulation. Visible scars are often present on females from this behavior.[6][76]
Births occur year-round, with peaks between May and June in northern populations and between January and March in southern populations.[77] Gestation appears to vary from four to twelve months, as the species is capable of delayed implantation followed by four months of pregnancy.[77] In California, sea otters usually breed every year, about twice as often as those in Alaska.[78]
Birth usually takes place in the water and typically produces a single pup weighing 1.4 to 2.3 kilograms (3 lb 1 oz to 5 lb 1 oz).[79] Twins occur in 2% of births; however, usually only one pup survives.[6] At birth, the eyes are open, ten teeth are visible, and the pup has a thick coat of baby fur.[80] Mothers have been observed to lick and fluff a newborn for hours; after grooming, the pup's fur retains so much air, the pup floats like a cork and cannot dive.[81] The fluffy baby fur is replaced by adult fur after about 13 weeks.[19]
A mother floats with her pup on her chest. Georg Steller wrote, "They embrace their young with an affection that is scarcely credible."[82]
Nursing lasts six to eight months in Californian populations and four to twelve months in Alaska, with the mother beginning to offer bits of prey at one to two months.[83] The milk from a sea otter's two abdominal nipples is rich in fat and more similar to the milk of other marine mammals than to that of other mustelids.[84] A pup, with guidance from its mother, practices swimming and diving for several weeks before it is able to reach the sea floor. Initially, the objects it retrieves are of little food value, such as brightly colored starfish and pebbles.[64] Juveniles are typically independent at six to eight months, but a mother may be forced to abandon a pup if she cannot find enough food for it;[85] at the other extreme, a pup may be nursed until it is almost adult size.[79] Pup mortality is high, particularly during an individual's first winter – by one estimate, only 25% of pups survive their first year.[85] Pups born to experienced mothers have the highest survival rates.[86]
Females perform all tasks of feeding and raising offspring, and have occasionally been observed caring for orphaned pups.[87] Much has been written about the level of devotion of sea otter mothers for their pups – a mother gives her infant almost constant attention, cradling it on her chest away from the cold water and attentively grooming its fur.[88] When foraging, she leaves her pup floating on the water, sometimes wrapped in kelp to keep it from floating away;[89] if the pup is not sleeping, it cries loudly until she returns.[90] Mothers have been known to carry their pups for days after the pups' deaths.[82]
Females become sexually mature at around three or four years of age and males at around five; however, males often do not successfully breed until a few years later.[91] A captive male sired offspring at age 19.[79] In the wild, sea otters live to a maximum age of 23 years,[27] with lifespans ranging from 10 to 15 years for males and 15–20 years for females.[92] Several captive individuals have lived past 20 years, and a female at the Seattle Aquarium named Etika died at the age of 28 years.[93] Sea otters in the wild often develop worn teeth, which may account for their apparently shorter lifespans.[94]
Population and distribution
Sea otters live in coastal waters 15 to 23 metres (49 to 75 ft) deep,[95] and usually stay within a kilometre (2⁄3 mi) of the shore.[96] They are found most often in areas with protection from the most severe ocean winds, such as rocky coastlines, thick kelp forests, and barrier reefs.[97] Although they are most strongly associated with rocky substrates, sea otters can also live in areas where the sea floor consists primarily of mud, sand, or silt.[98] Their northern range is limited by ice, as sea otters can survive amidst drift ice but not land-fast ice.[99] Individuals generally occupy a home range a few kilometres long, and remain there year-round.[100]
The sea otter population is thought to have once been 150,000 to 300,000,[22] stretching in an arc across the North Pacific from northern Japan to the central Baja California Peninsula in Mexico. The fur trade that began in the 1740s reduced the sea otter's numbers to an estimated 1,000 to 2,000 members in 13 colonies. Hunting records researched by historian Adele Ogden place the westernmost limit of the hunting grounds off the northern Japanese island of Hokkaido and the easternmost limit off Punta Morro Hermosa about 21+1⁄2 miles (34.6 km) south of Punta Eugenia, Baja California's westernmost headland in Mexico.[101]
In about two-thirds of its former range, the species is at varying levels of recovery, with high population densities in some areas and threatened populations in others. Sea otters currently have stable populations in parts of the Russian east coast, Alaska, British Columbia, Washington, and California, with reports of recolonizations in Mexico and Japan.[102] Population estimates made between 2004 and 2007 give a worldwide total of approximately 107,000 sea otters.[19][103][104][105][106]
Japan
Adele Ogden wrote in The California Sea Otter Trade that western sea otter were hunted "from Yezo northeastward past the Kuril Group and Kamchatka to the Aleutian Chain".[101] "Yezo" refers to the island province of Hokkaido, in northern Japan, where the country’s only confirmed population of western sea otter resides.[1] Sightings have been documented in the waters of Cape Nosappu, Erimo, Hamanaka and Nemuro, among other locations in the region. [107]
Russia
Currently, the most stable and secure part of the western sea otter's range is along the Russian Far East coastline, in the northwestern Pacific waters off of the country (namely Kamchatka and Sakhalin Island), occasionally being seen in and around the Sea of Okhotsk.[108] Before the 19th century, around 20,000 to 25,000 sea otters lived near the Kuril Islands, with more near Kamchatka and the Commander Islands. After the years of the Great Hunt, the population in these areas, currently part of Russia, was only 750.[103] By 2004, sea otters had repopulated all of their former habitat in these areas, with an estimated total population of about 27,000. Of these, about 19,000 are at the Kurils, 2,000 to 3,500 at Kamchatka and another 5,000 to 5,500 at the Commander Islands.[103] Growth has slowed slightly, suggesting the numbers are reaching carrying capacity.[103]
British Columbia
Along the North American coast south of Alaska, the sea otter's range is discontinuous. A remnant population survived off Vancouver Island into the 20th century, but it died out despite the 1911 international protection treaty, with the last sea otter taken near Kyuquot in 1929. From 1969 to 1972, 89 sea otters were flown or shipped from Alaska to the west coast of Vancouver Island. This population increased to over 5,600 in 2013 with an estimated annual growth rate of 7.2%, and their range on the island's west coast extended north to Cape Scott and across the Queen Charlotte Strait to the Broughton Archipelago and south to Clayoquot Sound and Tofino.[109][110] In 1989, a separate colony was discovered in the central British Columbia coast. It is not known if this colony, which numbered about 300 animals in 2004, was founded by transplanted otters or was a remnant population that had gone undetected.[105] By 2013, this population exceeded 1,100 individuals, was increasing at an estimated 12.6% annual rate, and its range included Aristazabal Island, and Milbanke Sound south to Calvert Island.[109] In 2008, Canada determined the status of sea otters to be "special concern".[111][112]
United States
Alaska
Alaska is the central area of the sea otter's range. In 1973, the population in Alaska was estimated at between 100,000 and 125,000 animals.[113] By 2006, though, the Alaska population had fallen to an estimated 73,000 animals.[104] A massive decline in sea otter populations in the Aleutian Islands accounts for most of the change; the cause of this decline is not known, although orca predation is suspected.[114] The sea otter population in Prince William Sound was also hit hard by the Exxon Valdez oil spill, which killed thousands of sea otters in 1989.[63]
Washington
In 1969 and 1970, 59 sea otters were translocated from Amchitka Island to Washington, and released near La Push and Point Grenville. The translocated population is estimated to have declined to between 10 and 43 individuals before increasing, reaching 208 individuals in 1989. As of 2017, the population was estimated at over 2,000 individuals, and their range extends from Point Grenville in the south to Cape Flattery in the north and east to Pillar Point along the Strait of Juan de Fuca.[19]
In Washington, sea otters are found almost exclusively on the outer coasts. They can swim as close as six feet off shore along the Olympic coast. Reported sightings of sea otters in the San Juan Islands and Puget Sound almost always turn out to be North American river otters, which are commonly seen along the seashore. However, biologists have confirmed isolated sightings of sea otters in these areas since the mid-1990s.[19]
Oregon
The last native sea otter in Oregon was probably shot and killed in 1906. In 1970 and 1971, a total of 95 sea otters were transplanted from Amchitka Island, Alaska to the Southern Oregon coast. However, this translocation effort failed and otters soon again disappeared from the state.[115] In 2004, a male sea otter took up residence at Simpson Reef off of Cape Arago for six months. This male is thought to have originated from a colony in Washington, but disappeared after a coastal storm.[116] On 18 February 2009, a male sea otter was spotted in Depoe Bay off the Oregon Coast. It could have traveled to the state from either California or Washington.[117]
California
California's remote areas of coastline sheltered small colonies of sea otters through the fur trade. The 50 that survived in California, which were rediscovered in 1938, have since reproduced to almost 3,000.
The historic population of California sea otters was estimated at 16,000 before the fur trade decimated the population, leading to their assumed extinction. Today's population of California sea otters are the descendants of a single colony of about 50 sea otters located near Bixby Creek Bridge in March 1938 by Howard G. Sharpe, owner of the nearby Rainbow Lodge on Bixby Bridge in Big Sur.[118][119][120] Their principal range has gradually expanded and extends from Pigeon Point in San Mateo County to Santa Barbara County.[121]
Sea otters were once numerous in San Francisco Bay.[122][123] Historical records revealed the Russian-American Company snuck Aleuts into San Francisco Bay multiple times, despite the Spanish capturing or shooting them while hunting sea otters in the estuaries of San Jose, San Mateo, San Bruno and around Angel Island.[101] The founder of Fort Ross, Ivan Kuskov, finding otters scarce on his second voyage to Bodega Bay in 1812, sent a party of Aleuts to San Francisco Bay, where they met another Russian party and an American party, and caught 1,160 sea otters in three months.[124] By 1817, sea otters in the area were practically eliminated and the Russians sought permission from the Spanish and the Mexican governments to hunt further and further south of San Francisco.[125] In 1833, fur trappers George Nidever and George Yount canoed "along the Petaluma side of [the] Bay, and then proceeded to the San Joaquin River", returning with sea otter, beaver, and river otter pelts.[126] Remnant sea otter populations may have survived in the bay until 1840, when the Rancho Punta de Quentin was granted to Captain John B. R. Cooper, a sea captain from Boston, by Mexican Governor Juan Bautista Alvarado along with a license to hunt sea otters, reportedly then prevalent at the mouth of Corte Madera Creek.[127]
In the late 1980s, the USFWS relocated about 140 southern sea otters to San Nicolas Island in southern California, in the hope of establishing a reserve population should the mainland be struck by an oil spill. To the surprise of biologists, the majority of the San Nicolas sea otters swam back to the mainland.[128] Another group of twenty swam 74 miles (119 km) north to San Miguel Island, where they were captured and removed.[129] By 2005, only 30 sea otters remained at San Nicolas,[130] although they were slowly increasing as they thrived on the abundant prey around the island.[128] The plan that authorized the translocation program had predicted the carrying capacity would be reached within five to 10 years.[131] The spring 2016 count at San Nicolas Island was 104 sea otters, continuing a 5-year positive trend of over 12% per year.[132] Sea otters were observed twice in Southern California in 2011, once near Laguna Beach and once at Zuniga Point Jetty, near San Diego. These are the first documented sightings of otters this far south in 30 years.[133]
When the USFWS implemented the translocation program, it also attempted, in 1986, to implement "zonal management" of the Californian population. To manage the competition between sea otters and fisheries, it declared an "otter-free zone" stretching from Point Conception to the Mexican border. In this zone, only San Nicolas Island was designated as sea otter habitat, and sea otters found elsewhere in the area were supposed to be captured and relocated. These plans were abandoned after many translocated otters died and also as it proved impractical to capture the hundreds of otters which ignored regulations and swam into the zone.[134] However, after engaging in a period of public commentary in 2005, the Fish and Wildlife Service failed to release a formal decision on the issue.[130] Then, in response to lawsuits filed by the Santa Barbara-based Environmental Defense Center and the Otter Project, on 19 December 2012 the USFWS declared that the "no otter zone" experiment was a failure, and will protect the otters re-colonizing the coast south of Point Conception as threatened species.[135] Although abalone fisherman blamed the incursions of sea otters for the decline of abalone, commercial abalone fishing in southern California came to an end from overfishing in 1997, years before significant otter moved south of Point Conception. In addition, white abalone (Haliotis sorenseni), a species never overlapping with sea otter, had declined in numbers 99% by 1996, and became the first marine invertebrate to be federally listed as endangered.[136]
Although the southern sea otter's range has continuously expanded from the remnant population of about 50 individuals in Big Sur since protection in 1911, from 2007 to 2010, the otter population and its range contracted and since 2010 has made little progress.[137][138] As of spring 2010, the northern boundary had moved from about Tunitas Creek to a point 2 kilometres (1.2 mi) southeast of Pigeon Point, and the southern boundary has moved along the Gaviota Coast from approximately Coal Oil Point to Gaviota State Park.[139] A toxin called microcystin, produced by a type of cyanobacteria (Microcystis), seems to be concentrated in the shellfish the otters eat, poisoning them. Cyanobacteria are found in stagnant water enriched with nitrogen and phosphorus from septic tank and agricultural fertilizer runoff, and may be flushed into the ocean when streamflows are high in the rainy season.[140][141] A record number of sea otter carcasses were found on California's coastline in 2010, with increased shark attacks an increasing component of the mortality.[142] Great white sharks do not consume relatively fat-poor sea otters but shark-bitten carcasses have increased from 8% in the 1980s to 15% in the 1990s and to 30% in 2010 and 2011.[143]
For southern sea otters to be considered for removal from threatened species listing, the U.S. Fish and Wildlife Service (USFWS) determined that the population should exceed 3,090 for three consecutive years.[137] In response to recovery efforts, the population climbed steadily from the mid-20th century through the early 2000s, then remained relatively flat from 2005 to 2014 at just under 3,000. There was some contraction from the northern (now Pigeon Point) and southern limits of the sea otter's range during the end of this period, circumstantially related to an increase in lethal shark bites, raising concerns that the population had reached a plateau.[144] However, the population increased markedly from 2015 to 2016, with the United States Geological Survey (USGS) California sea otter survey 3-year average reaching 3,272 in 2016, the first time it exceeded the threshold for delisting from the Endangered Species Act (ESA).[132] If populations continued to grow and ESA delisting occurred, southern sea otters would still be fully protected by state regulations and the Marine Mammal Protection Act, which set higher thresholds for protection, at approximately 8,400 individuals.[145] However, ESA delisting seems unlikely due to a precipitous population decline recorded in the spring 2017 USGS sea otter survey count, from the 2016 high of 3,615 individuals to 2,688, a loss of 25% of the California sea otter population.[146]
Mexico
Historian Adele Ogden described sea otters are particularly abundant in "Lower California", now the Baja California Peninsula, where "seven bays...were main centers". The southernmost limit was Punta Morro Hermoso about 21+1⁄2 miles (34.6 km) south of Punta Eugenia, in turn a headland at the southwestern end of Sebastián Vizcaíno Bay, on the west coast of the Baja Peninsula. Otter were also taken from San Benito Island, Cedros Island, and Isla Natividad in the Bay.[101] By the early 1900s, Baja's sea otters were extirpated by hunting. In a 1997 survey, small numbers of sea otters, including pups, were reported by local fishermen, but scientists could not confirm these accounts.[147] However, male and female otters have been confirmed by scientists off shores of the Baja Peninsula in a 2014 study, who hypothesize that otter dispersed there beginning in 2005. These sea otters may have dispersed from San Nicolas Island, which is 300 kilometres (190 mi) away, as individuals have been recorded traversing distances of over 800 kilometres (500 mi). Genetic analysis of most of these animals were consistent with California, i.e. United States, otter origins, however one otter had a haplotype not previously reported, and could represent a remnant of the original native Mexican otter population.[148]
Ecology
Diet
High energetic requirements of sea otter metabolism require them to consume at least 20% of their body weight a day.[31] Surface swimming and foraging are major factors in their high energy expenditure due to drag on the surface of the water when swimming and the thermal heat loss from the body during deep dives when foraging.[149][31] Sea otter muscles are specially adapted to generate heat without physical activity.[150]
Sea otters consume over 100 prey species.[151] In most of its range, the sea otter's diet consists almost exclusively of marine benthic invertebrates, including sea urchins (such as Strongylocentrotus franciscanus and S. purpuratus), fat innkeeper worms, a variety of bivalves such as clams, mussels (such as Mytilus edulis), and scallops (such as Crassadoma gigantea), abalone, limpets (such as Diodora aspera), chitons (such as Katharina tunicata), other mollusks, crustaceans, and snails.[151][152][153] Its prey ranges in size from tiny limpets and crabs to giant octopuses.[151] Where prey such as sea urchins, clams, and abalone are present in a range of sizes, sea otters tend to select larger items over smaller ones of similar type.[151] In California, they have been noted to ignore Pismo clams smaller than 3 inches (76 mm) across.[154]
In a few northern areas, fish are also eaten. In studies performed at Amchitka Island in the 1960s, where the sea otter population was at carrying capacity, 50% of food found in sea otter stomachs was fish.[155] The fish species were usually bottom-dwelling and sedentary or sluggish forms, such as Hemilepidotus hemilepidotus and family Tetraodontidae.[155] However, south of Alaska on the North American coast, fish are a negligible or extremely minor part of the sea otter's diet.[19][156] Contrary to popular depictions, sea otters rarely eat starfish, and any kelp that is consumed apparently passes through the sea otter's system undigested.[157]
The individuals within a particular area often differ in their foraging methods and prey types, and tend to follow the same patterns as their mothers.[158] The diet of local populations also changes over time, as sea otters can significantly deplete populations of highly preferred prey such as large sea urchins, and prey availability is also affected by other factors such as fishing by humans.[19] Sea otters can thoroughly remove abalone from an area except for specimens in deep rock crevices,[159] however, they never completely wipe out a prey species from an area.[160] A 2007 Californian study demonstrated, in areas where food was relatively scarce, a wider variety of prey was consumed. Surprisingly, though, the diets of individuals were more specialized in these areas than in areas where food was plentiful.[128]
As a keystone species
Sea otters control herbivore populations, ensuring sufficient coverage of kelp in kelp forests
Sea otters are a classic example of a keystone species; their presence affects the ecosystem more profoundly than their size and numbers would suggest. They keep the population of certain benthic (sea floor) herbivores, particularly sea urchins, in check.[4] Sea urchins graze on the lower stems of kelp, causing the kelp to drift away and die.[161] Loss of the habitat and nutrients provided by kelp forests leads to profound cascade effects on the marine ecosystem. North Pacific areas that do not have sea otters often turn into urchin barrens, with abundant sea urchins and no kelp forest.[6] Kelp forests are extremely productive ecosystems. Kelp forests sequester (absorb and capture) CO2 from the atmosphere through photosynthesis. Sea otters may help mitigate effects of climate change by their cascading trophic influence[162]
Reintroduction of sea otters to British Columbia has led to a dramatic improvement in the health of coastal ecosystems,[163] and similar changes have been observed as sea otter populations recovered in the Aleutian and Commander Islands and the Big Sur coast of California[164] However, some kelp forest ecosystems in California have also thrived without sea otters, with sea urchin populations apparently controlled by other factors.[164] The role of sea otters in maintaining kelp forests has been observed to be more important in areas of open coast than in more protected bays and estuaries.[164]
Sea otters affect rocky ecosystems that are dominated by mussel beds by removing mussels from rocks. This allows space for competing species and increases species diversity.[164]
Predators
Leading mammalian predators of this species include orcas and sea lions, and bald eagles may grab pups from the surface of the water. Young predators may kill an otter and not eat it.[67] On land, young sea otters may face attack from bears and coyotes. In California, great white sharks are their primary predator.[165] In Katmai National Park, grey wolves have been recorded to hunt and kill sea otters.[166]
Urban runoff transporting cat feces into the ocean brings Toxoplasma gondii, an obligate parasite of felids, which has killed sea otters.[167] Parasitic infections of Sarcocystis neurona are also associated with human activity.[16] According to the U.S. Geological Survey and the CDC, northern sea otters off Washington have been infected with the H1N1 flu virus and "may be a newly identified animal host of influenza viruses".[168]
Relationship with humans
Fur trade
Aleut men in Unalaska in 1896 used waterproof kayak gear and garments to hunt sea otters.
Sea otters have the thickest fur of any mammal, which makes them a common target for many hunters. Archaeological evidence indicates that for thousands of years, indigenous peoples have hunted sea otters for food and fur. Large-scale hunting, part of the Maritime Fur Trade, which would eventually kill approximately one million sea otters, began in the 18th century when hunters and traders began to arrive from all over the world to meet foreign demand for otter pelts, which were one of the world's most valuable types of fur.[22]
In the early 18th century, Russians began to hunt sea otters in the Kuril Islands[22] and sold them to the Chinese at Kyakhta. Russia was also exploring the far northern Pacific at this time, and sent Vitus Bering to map the Arctic coast and find routes from Siberia to North America. In 1741, on his second North Pacific voyage, Bering was shipwrecked off Bering Island in the Commander Islands, where he and many of his crew died. The surviving crew members, which included naturalist Georg Steller, discovered sea otters on the beaches of the island and spent the winter hunting sea otters and gambling with otter pelts. They returned to Siberia, having killed nearly 1,000 sea otters, and were able to command high prices for the pelts.[169] Thus began what is sometimes called the "Great Hunt", which would continue for another hundred years. The Russians found the sea otter far more valuable than the sable skins that had driven and paid for most of their expansion across Siberia. If the sea otter pelts brought back by Bering's survivors had been sold at Kyakhta prices they would have paid for one tenth the cost of Bering's expedition.[170]
Pelt sales (in thousands) in the London fur market – the decline beginning in the 1880s reflects dwindling sea otter populations.[171]
Russian fur-hunting expeditions soon depleted the sea otter populations in the Commander Islands, and by 1745, they began to move on to the Aleutian Islands. The Russians initially traded with the Aleuts inhabitants of these islands for otter pelts, but later enslaved the Aleuts, taking women and children hostage and torturing and killing Aleut men to force them to hunt. Many Aleuts were either murdered by the Russians or died from diseases the hunters had introduced.[172][disputed – discuss] The Aleut population was reduced, by the Russians' own estimate, from 20,000 to 2,000.[173] By the 1760s, the Russians had reached Alaska. In 1799, Tsar Paul I consolidated the rival fur-hunting companies into the Russian-American Company, granting it an imperial charter and protection, and a monopoly over trade rights and territorial acquisition. Under Aleksander I, the administration of the merchant-controlled company was transferred to the Imperial Navy, largely due to the alarming reports by naval officers of native abuse; in 1818, the indigenous peoples of Alaska were granted civil rights equivalent to a townsman status in the Russian Empire.[174]
Other nations joined in the hunt in the south. Along the coasts of what is now Mexico and California, Spanish explorers bought sea otter pelts from Native Americans and sold them in Asia.[172] In 1778, British explorer Captain James Cook reached Vancouver Island and bought sea otter furs from the First Nations people. When Cook's ship later stopped at a Chinese port, the pelts rapidly sold at high prices, and were soon known as "soft gold". As word spread, people from all over Europe and North America began to arrive in the Pacific Northwest to trade for sea otter furs.[175]
Russian hunting expanded to the south, initiated by American ship captains, who subcontracted Russian supervisors and Aleut hunters[176] in what are now Washington, Oregon, and California. Between 1803 and 1846, 72 American ships were involved in the otter hunt in California, harvesting an estimated 40,000 skins and tails, compared to only 13 ships of the Russian-American Company, which reported 5,696 otter skins taken between 1806 and 1846.[177] In 1812, the Russians founded an agricultural settlement at what is now Fort Ross in northern California, as their southern headquarters.[175] Eventually, sea otter populations became so depleted, commercial hunting was no longer viable. It had stopped in the Aleutian Islands, by 1808, as a conservation measure imposed by the Russian-American Company. Further restrictions were ordered by the company in 1834.[178] When Russia sold Alaska to the United States in 1867, the Alaska population had recovered to over 100,000, but Americans resumed hunting and quickly extirpated the sea otter again.[179] Prices rose as the species became rare. During the 1880s, a pelt brought $105 to $165 in the London market, but by 1903, a pelt could be worth as much as $1,125.[79] In 1911, Russia, Japan, Great Britain (for Canada) and the United States signed the Treaty for the Preservation and Protection of Fur Seals, imposing a moratorium on the harvesting of sea otters.[180] So few remained, perhaps only 1,000–2,000 individuals in the wild, that many believed the species would become extinct.[19]
Recovery and conservation
Main article: Sea otter conservation
In the wake of the March 1989 Exxon Valdez oil spill, heavy sheens of oil covered large areas of Prince William Sound.
During the 20th century, sea otter numbers rebounded in about two-thirds of their historic range, a recovery considered one of the greatest successes in marine conservation.[181] However, the IUCN still lists the sea otter as an endangered species, and describes the significant threats to sea otters as oil pollution, predation by orcas, poaching, and conflicts with fisheries – sea otters can drown if entangled in fishing gear.[1] The hunting of sea otters is no longer legal except for limited harvests by indigenous peoples in the United States.[182] Poaching was a serious concern in the Russian Far East immediately after the collapse of the Soviet Union in 1991; however, it has declined significantly with stricter law enforcement and better economic conditions.[108]
The most significant threat to sea otters is oil spills,[67] to which they are particularly vulnerable, since they rely on their fur to keep warm. When their fur is soaked with oil, it loses its ability to retain air, and the animals can quickly die from hypothermia.[67] The liver, kidneys, and lungs of sea otters also become damaged after they inhale oil or ingest it when grooming.[67] The Exxon Valdez oil spill of 24 March 1989 killed thousands of sea otters in Prince William Sound, and as of 2006, the lingering oil in the area continues to affect the population.[183] Describing the public sympathy for sea otters that developed from media coverage of the event, a U.S. Fish and Wildlife Service spokesperson wrote:
As a playful, photogenic, innocent bystander, the sea otter epitomized the role of victim ... cute and frolicsome sea otters suddenly in distress, oiled, frightened, and dying, in a losing battle with the oil.[19]
The small geographic ranges of the sea otter populations in California, Washington, and British Columbia mean a single major spill could be catastrophic for that state or province.[19][57][63] Prevention of oil spills and preparation to rescue otters if one happens is a major focus for conservation efforts. Increasing the size and range of sea otter populations would also reduce the risk of an oil spill wiping out a population.[19] However, because of the species' reputation for depleting shellfish resources, advocates for commercial, recreational, and subsistence shellfish harvesting have often opposed allowing the sea otter's range to increase, and there have even been instances of fishermen and others illegally killing them.[184]
In the Aleutian Islands, a massive and unexpected disappearance of sea otters has occurred in recent decades. In the 1980s, the area was home to an estimated 55,000 to 100,000 sea otters, but the population fell to around 6,000 animals by 2000.[185] The most widely accepted, but still controversial, hypothesis is that killer whales have been eating the otters. The pattern of disappearances is consistent with a rise in predation, but there has been no direct evidence of orcas preying on sea otters to any significant extent.[114]
Another area of concern is California, where recovery began to fluctuate or decline in the late 1990s.[186] Unusually high mortality rates amongst adult and subadult otters, particularly females, have been reported.[106] In 2017 the US Geological Survey found a 3% drop in the sea otter population of the California coast. This number still keeps them on track for removal from the endangered species list, although just barely.[187] Necropsies of dead sea otters indicate diseases, particularly Toxoplasma gondii and acanthocephalan parasite infections, are major causes of sea otter mortality in California.[188] The Toxoplasma gondii parasite, which is often fatal to sea otters, is carried by wild and domestic cats and may be transmitted by domestic cat droppings flushed into the ocean via sewage systems.[188][189] Although disease has clearly contributed to the deaths of many of California's sea otters, it is not known why the California population is apparently more affected by disease than populations in other areas.[188]
Sea otters off the coast of Washington, within the Olympic Coast National Marine Sanctuary
Sea otter habitat is preserved through several protected areas in the United States, Russia and Canada. In marine protected areas, polluting activities such as dumping of waste and oil drilling are typically prohibited.[190] An estimated 1,200 sea otters live within the Monterey Bay National Marine Sanctuary, and more than 500 live within the Olympic Coast National Marine Sanctuary.[191][192]
Economic impact
Some of the sea otter's preferred prey species, particularly abalone, clams, and crabs, are also food sources for humans. In some areas, massive declines in shellfish harvests have been blamed on the sea otter, and intense public debate has taken place over how to manage the competition between sea otters and humans for seafood.[193]
The debate is complicated because sea otters have sometimes been held responsible for declines of shellfish stocks that were more likely caused by overfishing, disease, pollution, and seismic activity.[63][194] Shellfish declines have also occurred in many parts of the North American Pacific coast that do not have sea otters, and conservationists sometimes note the existence of large concentrations of shellfish on the coast is a recent development resulting from the fur trade's near-extirpation of the sea otter.[194] Although many factors affect shellfish stocks, sea otter predation can deplete a fishery to the point where it is no longer commercially viable.[193] Scientists agree that sea otters and abalone fisheries cannot exist in the same area,[193] and the same is likely true for certain other types of shellfish, as well.[185]
Many facets of the interaction between sea otters and the human economy are not as immediately felt. Sea otters have been credited with contributing to the kelp harvesting industry via their well-known role in controlling sea urchin populations; kelp is used in the production of diverse food and pharmaceutical products.[195] Although human divers harvest red sea urchins both for food and to protect the kelp, sea otters hunt more sea urchin species and are more consistently effective in controlling these populations.[196] E. lutris is a controlling predator of the red king crab (Paralithodes camtschaticus) in the Bering Sea, which would otherwise be out of control as it is in its invasive range, the Barents Sea.[197] (Berents otters, Lutra lutra, occupy the same ecological niche and so are believed to help to control them in the Berents but this has not been studied.)[197] The health of the kelp forest ecosystem is significant in nurturing populations of fish, including commercially important fish species.[195] In some areas, sea otters are popular tourist attractions, bringing visitors to local hotels, restaurants, and sea otter-watching expeditions.[195]
Roles in human cultures
Aleut carving of a sea otter hunt
Left: Aleut sea otter amulet in the form of a mother with pup. Above: Aleut carving of a sea otter hunt on a whalebone spear. Both items are on display at the Peter the Great Museum of Anthropology and Ethnography in St. Petersburg. Articles depicting sea otters were considered to have magical properties.[198]
For many maritime indigenous cultures throughout the North Pacific, especially the Ainu in the Kuril Islands, the Koryaks and Itelmen of Kamchatka, the Aleut in the Aleutian Islands, the Haida of Haida Gwaii[199] and a host of tribes on the Pacific coast of North America, the sea otter has played an important role as a cultural, as well as material, resource. In these cultures, many of which have strongly animist traditions full of legends and stories in which many aspects of the natural world are associated with spirits, the sea otter was considered particularly kin to humans. The Nuu-chah-nulth, Haida, and other First Nations of coastal British Columbia used the warm and luxurious pelts as chiefs' regalia. Sea otter pelts were given in potlatches to mark coming-of-age ceremonies, weddings, and funerals.[68] The Aleuts carved sea otter bones for use as ornaments and in games, and used powdered sea otter baculum as a medicine for fever.[200]
Among the Ainu, the otter is portrayed as an occasional messenger between humans and the creator.[201] The sea otter is a recurring figure in Ainu folklore. A major Ainu epic, the Kutune Shirka, tells the tale of wars and struggles over a golden sea otter. Versions of a widespread Aleut legend tell of lovers or despairing women who plunge into the sea and become otters.[202] These links have been associated with the many human-like behavioral features of the sea otter, including apparent playfulness, strong mother-pup bonds and tool use, yielding to ready anthropomorphism.[203] The beginning of commercial exploitation had a great impact on the human, as well as animal, populations. The Ainu and Aleuts have been displaced or their numbers are dwindling, while the coastal tribes of North America, where the otter is in any case greatly depleted, no longer rely as intimately on sea mammals for survival.[204]
Since the mid-1970s, the beauty and charisma of the species have gained wide appreciation, and the sea otter has become an icon of environmental conservation.[186] The round, expressive face and soft, furry body of the sea otter are depicted in a wide variety of souvenirs, postcards, clothing, and stuffed toys.[205]
Aquariums and zoos
Sea otters can do well in captivity, and are featured in over 40 public aquariums and zoos.[206] The Seattle Aquarium became the first institution to raise sea otters from conception to adulthood with the birth of Tichuk in 1979, followed by three more pups in the early 1980s.[207] In 2007, a YouTube video of two sea otters holding paws drew 1.5 million viewers in two weeks, and had over 22 million views as of July 2022.[208] Filmed five years previously at the Vancouver Aquarium, it was YouTube's most popular animal video at the time, although it has since been surpassed. The lighter-colored otter in the video is Nyac, a survivor of the 1989 Exxon Valdez oil spill.[209] Nyac died in September 2008, at the age of 20.[210] Milo, the darker one, died of lymphoma in January 2012.[211]
Current conservation
Sea otters, being a known keystone species, need a humanitarian effort to be protected from endangerment through "unregulated human exploitation".[212] This species has increasingly been impacted by the large oil spills and environmental degradation caused by overfishing and entanglement in fishing gear.[213] Current efforts have been made in legislation: the international Fur Seal Treaty, The Endangered Species Act, IUCN/The World Conservation Union, Convention on international Trade in Endangered Species of Wild Fauna and Flora, and the Marine Mammal Protection Act of 1972. Other conservation efforts are done through reintroduction and zoological parks. Wikipedia
This timelapse includes much of my footage from the great display on the 27th/28th February. The first section from Chapel of Garioch starts in the twilight skies around 1843 and runs through to 2118, catching an active phase from around 2000 to 2030. I used a Canon 450d, with a 28mm lens plus cheap x0.6 convertor to try and get it all in, 30 second exposures. The second sequence is from the Woodend Barn, Banchory, between around 2030 and 2212, capturing the climax of the display between around 2140 and 2200, although I could have done with a wider lens. It was taken with my Canon 40d, Samyang 14mm lens, f2.8, 15 second exposure, ISO 800 between 2029 and 2212. The display was clearly visible on my drive home to Chapel Of Garioch between 2230 and 2330, but I don't think it was anywhere near as bright as the earlier active phases. There was a final burst of acyivity around 0100, caught in the next sequence taken between 2335 and 0115 with a Canon 6d, Sigma 24mm lens, f2.8, ISO 3200, 6 second exposures. the final sequence showes the gradual decay between 0203 and 0309 UTC, A bit rough and ready folks, mainly due to moisture/ice clearing. On any other night this would have been the highlight of the show, but tonight it was just the "dying embers".
Entity Cameron Shape
Includes detailed styling card and full copy/mod shape
Styled in photo with Entity 'Cameron' skin
Full head and body shape compatible with Bento heads - Can be worn with non-bento heads (will not change shape of non-bento heads) maps.secondlife.com/secondlife/Wild%20Orchid%20Main/186/1...
marketplace.secondlife.com/p/Entity-Catwa-Head-Nicole-Sha...
Monster High is an American fashion doll franchise created by Mattel in July, 2010. The characters are inspired by monster movies, sci-fi horror, thriller fiction, and various creatures therefore distinguishing them from most fashion dolls. They were created by Garrett Sander, with illustrations by Kellee Riley.[2]
The Monster High franchise also includes other consumer products such as stationery, bags, key chains, various toys and video games. There are also Monster High TV specials, a web series, a direct to DVD movie, and software. Lisi Harrison is the author of the Monster High books. The characters are depicted as being either related to or as offspring of famous monsters such as Dracula, Frankenstein's Monster, the Mummy, Medusa, the Creature from the Black Lagoon, the Phantom of the Opera, and zombies and more. The characters are usually referred to as ghouls, rather than girls.
The dolls are approximately 27 cm tall. Or about 1 foot tall. Their bodies are made from ABS plastic. Their heads are made from soft PVC. They have various skin tones (blue, green, pink, brown, etc.) Each character has a unique head mold. No Monster High doll has the same shape head. The type of hair the dolls have is saran. The boys hair is either fuzzy or hard colored plastic. Aside from physical attributes, the dolls are quite different in the characterization of their clothes. And they all have their own unique freaky flaw, hair, etc. They might repeat bags and sunglasses. For example, 13 Wishes Howleen has the same bag as the original Clawdeen only that it is a different color. One is gold and another is purple and black. But they are both sisters. Plus, Howleen likes to borrow a lot of Clawdeen's stuff. And Gloom Beach Frankie Stein has the same sunglasses as the Scaris Frankie Stein. One s blue and one is yellow. All of them have various attributes of the monsters they are related to (i.e. fangs, stitches, wolf ears, fins, bandages,snakes, etc.)[3] Although Monster high and Barbie are from the same creator, Mattel, Monster High is starting to become more popular than Barbie.
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Monster High est une franchise américaine de poupées mannequins lancée par Mattel en juillet 2010 aux États-Unis, tirée d'une série de livres du même nom (de Lisi Harrison). Les personnages sont inspirés de personnes assez monstrueuses issues de la littérature fantastique, de la mythologie, ou encore de films cultes. Les Monster High sont toutes des enfants de monstres (Frankie Stein est la fille de Frankenstein, Draculaura est celle de Dracula, Deuce Gorgon est le fils de Méduse...).
La franchise Monster High se décline sur de très nombreux produits comme des vêtements, des bijoux fantaisie et de la papeterie, mais ses principales ventes se font grâce aux poupées mannequins du même nom. Elle s'accompagne également d'épisodes spéciaux pour la télévision et le marché DVD, et d'une web-série.S
Le concept de Monster High met en scène des adolescents tous descendants de créatures plus ou moins célèbres. Certaines poupées sont relookėes.
Les poupées mannequins mesurent une vingtaine de centimètres ; les garçons sont plus grands que les filles, même s'il existe des différences de taille chez certaines poupées (Twyla et Howleen Wolf sont plus petites, Nefera de Nile et Mme. Santête sont plus grandes...). Les corps (qui comptent de nombreuses articulations) sont fabriqués en plastique ABS et les têtes sont en PVC souple. Chaque personnage bénéficie d'un moule différent pour sa tête. Les cheveux sont en saran ou en kanekalon, voire en PVC pour les garçons dont les cheveux sont, pour la plupart des personnages, moulés. Les poupées filles de Monster High peuvent enlever leurs mains et bras mais les garçons ne peuvent enlever que leurs bras. Lagoona Blue, Rochelle Goyle et C.A. Cupid ont des éléments amovibles que les autres poupées n'ont pas (des nageoires pour Lagoona Blue, des ailes pour Rochelle Goyle et C.A. Cupid). Comme les filles ont des chaussures à talons, elles ne peuvent pas bouger leurs pieds, tandis que les garçons ont les pieds articulés.
Chaque personnage est caractérisé par un style vestimentaire et une gamme de couleurs qui se retrouvent dans différentes collections et qui reflètent leur personnalité dans la web-série.
[My Portfotolio] [My Google + ]
thanks to all for visits and faves :)
[My GETTY Images @] [My MOST FAVE on Flickriver] [My RECENT on Fluidr] [My STREAM on Darckr]
www.youtube.com/watch?v=6ZktNItwexo
gabbyjaws.blogspot.com/2024/10/spiderwebs.html
Tiffany Designs Sia Spider Outfit [Mesh] Halloween DEMO + Lara
marketplace.secondlife.com/p/TD-Sia-Spider-Outfit-Mesh-Ha...
★★★ MESH HALLOWEEN OUTFIT★★★
════════════════════════════════════════════════════
➣ Includes:
• Mesh Collar
• Mesh Top
• Mesh Bodysuit
• Mesh Sleeves
• Mesh Headpiece
• Mesh Boots
• Texture HUD Driven
════════════════════════════════════════════════════
➣ Compatible with:
➠ LARA X, Petite
➠ MAITREYA, Petite
➠ LEGACY, Perky, Bombshell
➠ REBORN, Waifus
➠ GENX, Curvy
➠ KUPRA, Kupra Natural Breast
➠ ERIKA
Tiffany Designs
LM: maps.secondlife.com/secondlife/Hilton%20Villas/232/207/22
MP: marketplace.secondlife.com/stores/139726?
Maitreya Lara
Lel EvoX Raven
Guapa Anabel
Yomi Magna hair
NIMU Raven Shape
*PKC* LEL EVOX Dorian Earrings
Includes the Swift Industries bug-out bag for the front rack. All questions answered. Contact capricornworkshop@gmail.com.
This artisan fairy house is handpainted and the exterior includes pebbles, pine cone bits, acorns, real crushed roses and lavender, handmade clay flowers, and many layers of moss. Many!
Scale is 1" = 1' on house and all furnishings and accessories. The house footprint is approximately 17" x 17" and height is approximately 20". The house includes a lazy susan base for easy rotating and play.
The fairy house includes real operable windows and doors and a fish pond with 3 goldfish residing. The exterior lighting is all LED and constructed and hand painted to look like candles. LED lights are used for longevity and safety and the exterior lights all run off of one switch that uses a watch battery.
The rooftop garden includes clay flowers and vegetables, a garden hose and tools, real acorns, crushed flowers, moss, aspen bark and a couple of little mouse visitors.
Exterior furnishings include everything you see in the photos: garden accessories, bird bath with "water", handmade chairs and bench, rabbit hutch, mailbox, bunnies and snoozing kitty.
The interior furniture is all custom made by me and includes: desk and chair set, dining table and chairs set, fireplace, bed, toilet plus all accessories you see in the photos. Each furniture set has its own LED lighting and switch for ease when you want to reorganize your fairy house.
The desk and chair feature two candle lights, plus a handmade acorn "banker's" lamp that really works. The desk displays an assortment of books, newspaper, pencils and a notepad.
The dining table and chair has two candle lights and two dining chairs.
The fireplace includes a handmade acorn oil lamp that really works, plus two candle lights and a fire light. The fireplace displays many fairy treasures including some peppermint sticks, a gerbil home with two gerbils, copper pots, a wine and cheese board, bottle of wine, copper utensils, brass fireplace tools and a stack of logs.
The bed was lovingly created using willow and aspen sticks, burlap, real moss, crushed flowers, acorns and gingham fabric. The bed features 2 candle lights plus a handmade acorn reading lamp that really works. The bookshelf above the bed includes lots of reading material, a postcard and some canned goods :).
The fairy toilet has real "water" inside and features two candle lights, books and toilet paper (with an xtra roll).
This fairy house and furnishings are intended for an older child or adult collector due to lots of small parts.
Thanks for looking :)
Includes Legacy Mesh Body appliers and tintable BOM layers!
Collection of summer briefs to enjoy! ♥
marketplace.secondlife.com/p/Aetron-Mens-Swim-Briefs-Lega...
Dryas octopetala (common names include mountain avens, white dryas, and white dryad) is an arctic-alpine flowering plant in the family Rosaceae. It is a small prostrate evergreen subshrub forming large colonies, and is a popular flower in rock gardens. The specific epithet octopetala derives from the Greek octo (eight) and petalon (petal), referring to the eight petals of the flower, an unusual number in the Rosaceae, where five is the normal number. However flowers with up to 16 petals also occur naturally.
en.wikipedia.org/wiki/Dryas_octopetala
Holtasóley (fræðiheiti: Dryas octopetala) er jurt af rósarætt sem vex á fjöllum og heimskautasvæðum.
Blöðin kallast rjúpnalauf. Þau eru skinnkennd, sígræn og gláandi, dökkgræn að ofan en silfurhvít og gláandi að neðan. Stönglar eru trékenndir. Holtasóley myndar breiður eða flatar þúfur. Blómin eru hvít með átta stórum krónublöðum.
Hárbrúða
Þegar aldin þroskast verður stíll frævunnar að fjaðurhærðum hala. Frævurnar setja svip á jurtina við aldinþroskun og er hún þá nefnd hárbrúða. Holtasóley er mjög harðgerð jurt sem er algeng í mólendi og á heiðum og vex upp í 1000 m.y.s.
Holtasóley er ein of einkennisjurtum á norðurslóðum. Íslendingar völdu holtasóley sem þjóðarblóm í atkvæðagreiðslu 2004. Holtasóley er einnig þjóðarblóm Sama.
The build includes Mephisto rims, Simplex "franken"qrs, Philippe bar-stem, Ad-Hoc pump, Huret suicide front, Lam super dural brakes, Lefol fenders, etc..
The tires look scary, but hold air. The derailleurs are adjusted and shift perfectly, the brakes are adjusted tighter than I like, but that's a personal thing,, wheels are straight and run true, everything works!
Makes me wonder what the owner's last ride was like?
Did he finish the ride feeling like a champion, or in utter disgust because he knew his best days were behind him,,, we'll never know?
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The indoor, on line auction is tomorrow
I'll be working in the shop and won't even check in.
No need to, I had my day today. The weather was perfect,,I sold a bunch of stuff, got to hang with good friends, and I fell in love ,,, what could be better?
Less than a week remains at Wasteland! Hurry over before they close their gates on the October round! Get the Smugglers Hideout Fullpack that includes gorgeous poses from Mysteria, or pick your poison with the Furniture Pack, Decor Pack, or Mysteria Pose Pack!
☣️Out Now @ Wasteland☣️
PANIQ x Mysteria // Smugglers Hideout
LeLutka // Lilly Head
NAR // Uma Skin
Influence // Witch Beauty Nose Deformer
eBody // Reborn Body
VELOUR // Picasso Baby Body Skin
Swallow // Pixie Gauged Ears
Dura // U127 Hair
WarPaint // Regina Brows
Suicidal Unborn // Lizabeta Eyes
Endi // Faded Tips
Sacrilege // Rivian Scar
WarPaint // #IWokeUpLikeThis3
Izzie's // Dark Soul Eyeshadows Eye Veins
Suicidal Unborn // Eyebags
Lilithe // Selene Tattoo
Evermore // Moon Bindi
Ladybird // Paloma Eyeshadow
WarPaint // Gauntly Contour
Violetility // Cupid Septum
OSMIA // River Turtleneck
OSMIA // River Split Hem Jeans
RAWR! // Darkmoon Rings
Quills & Curiosities // Gentleman's Manicure
Semller // Stomper Boots
Anc Ltd // Chemical Sparks
MINIMAL // Broken Building
OMY // Everly AO
Colac. Population 12,300.
In 1837 a group of pastoralists landed near Geelong to explore the hinterlands along the Barwon River for suitable pastoral states. The group include Hugh Murray, Thomas and James Austin from Van Diemen’s Land and others. The Austin brothers arrived in Hobart in 1831.The Austin brothers settled on the Barwon River (Winchelsea) and at Werribee and Hugh Murray settled near Lake Colac on the Barongarook Creek which now enters the lake at the Colac boat ramp by the Botanic Gardens. In 1838 Captain Foster Fyans the Land Commissioner of Geelong took up land here too for a beef property. In Geelong he became the magistrate in 1849 and lived in the town hence the suburb of Fyansford across the Barwon River. Hugh Murray built the Crook and Plaid Inn near his homestead which partially marks the start of Colac as a town in 1844. The town was surveyed that same year and a blacksmith set up for business in 1845 and a general store opened. Usually the beginning of postal service marks the development of a town and Colac had its first Post Office established in 1847. In 1848 a simple Presbyterian chapel opened and it was followed by a police station in 1849, a second hotel and a day school. In 1850 the town progressed further but the gold rushes of 1851 saw labourers leave the town and progress stalled. At this time Colac had a population of 672 people. More residences and a second Presbyterian Church were built in 1853 and a Catholic Church was erected in 1856. The town had a national school, a flour mill and a Methodist Church by 1860. It was an established town.
In the 1865 the Botanical Gardens were started, the first bank opened and the first Shire Hall offices were built. The first town newspaper began, the first Anglican Church was constructed and an Oddfellows Hall built. Although the Botanic Gardens were started at thinks time little happened. Trustees were appointed in 1874 and work finally began. William Guilfoyle of Melbourne Botanic Gardens had a private commission in 1910 to replan the gardens. In 1877 the railway to Colac from Geelong opened. Branch lines opened from Colac to surrounding towns but now all are closed. In 1889 three trains a day left Geelong at 8:45 am, 1:45 pm and 9:15 pm taking about two and a half hours to reach Colac. A few years later an express service was added making four journeys a day. It took less than two hours to do this trip. The town prospered on the back of sheep and their fleeces until the 1890s when dairying became a major industry. The Colac Dairy Company was formed in 1892. The Company closed in 1987 when the factory was taken over by Bonlac Milk Company. After Thomas Austin of Barwon Park estate introduced rabbits in 1857 the district was overrun. To capitalise on this Colac had a rabbit canning factory from 1871 to 1889. As a town Colac is distinctive because it is on the edge of Lake Colac. This freshwater lake has a circumference of 33 kms. It was formed by volcanic activity which created a depression and then lava flows blocked the path of two local rivers southwards forcing them to drain into the depression. It covers almost 2,900 hectares and is relatively shallow with birds nesting in the reeds and commercial eel farming and amateur fishing in the waters. Beyond this lake is Lake Corangamite which is Australia’s largest freshwater lake covering 23,000 hects.
Some heritage listed structures in Colac.
•1 Murray St. Great example of 19th century general store. Balustrade and pediment across roof line. Large windows.
•4 Murray St. The former Post Office. Built in 1876 with additions 1888. Similar to the Shire Office but it has central triple arched entrance with clock, rounded windows on upper floor and no pilasters on ground floor.
•6 Murray St. The impressive symmetrical Italianate Shire Hall built in 1892. It replaced the earlier 1865 Shire hall. It has good classical detailing. It complements the Post Office in style.
•15 Murray St. The former Union Bank has recently been an antiques shop. Built in 1916 by architect Walter Butler who designed matching banks in Shepparton, Yarra etc.
•21 Murray St. The former Regent Theatre opened in 1925. Later became the R.S.L Club rooms. Was the site of the first Wesleyan Methodist Church until a new one was built in 1925 in Skene St.
•28 Murray St. Former National Bank. Mr Alexander Dennis laid the foundation stone in 1884. Built in 1885. Rounded window’s on ground floor, central entrance with small triangular pediment above it.
•At corner of Murray and Hesse St is the former two storey Colonial Bank. It is now a shop. Built in 1881.
•As you turn right into Hesse St on your left is Memorial Square. The World War One memorial- a walk in memorial, was designed by Fredrick Sales in 1924. The Square also has memorials to Andrew Fisher, Cliff Young etc. Opposite the memorial back in Murray St is the two storey offices of the Colac Reformer newspaper established in 1875. This building was refashioned in stripped classical style in 1925 with unusual rounded shell fan decoration. Now Hulm’s Bakery.
•(Detour: at end of the park in Dennis St. you will see the Oddfellows Hall built in 1891 in classical style but the rear part was built in 1870. Further along is the former Fire Station built in 1923. North from the IOOF is Derrinook on the next corner north. This huge Edwardian weatherboard private hospital was erected in 1900 for Dr William Brown. Dr Brown died in 1926 and in 1935 it was converted into flats. End of detour. )
•35 Hesse St. The red brick Freemasons Hall with leadlight window in gable built in 1924. It has a temple like appearance and Arts and Crafts details. Note the masons’ symbols in the cartouche above the window.
•25 Hesse St. St Andrews Presbyterian Church built in 1877. Built in blue basalt stone with freestone quoins and window surrounds etc. Has a typical Presbyterian octagonal tower and spire and a rose window in the end gable. Behind the church is a red brick church hall.
•17 Hesse St. St Johns Anglican Church. It was built in 1870 in red brick with a square corner tower and narrow arched Gothic windows in the street facing gable. Next to it is an Art Deco parish hall and Sunday school room built in 1902 with two side Art Deco wings added in 1933. Designed with cream rendered gables to divide the red brick walls. Two blocks ahead is an entrance to the Botanic Gardens. From here one block to the left along Fyans St. is the Catholic Church 1979. (Original was 1883.) West of the church is the impressive two storey Convent of Mercy and its chapel built in 1889. Return to the town centre along Gellibrand St. at no 14 is the Elms House. This austere single storey villa with bay window and cream brick quoins was built in 1883.
•Corners of Bromfield and Corangamite Streets- two medical surgeries and doctors residences. Glenora built with Art Nouveau features in 1907 and Lislea House built in 1892 Edwardian/Arts and Crafts style.
The small, northern constellation Triangulum harbours this magnificent face-on spiral galaxy, M33. Its popular names include the Pinwheel Galaxy or just the Triangulum Galaxy. M33 is over 50,000 light-years in diameter, third largest in the Local Group of galaxies after the Andromeda Galaxy (M31), and our own Milky Way. About 3 million light-years from the Milky Way, M33 is itself thought to be a satellite of the Andromeda Galaxy and astronomers in these two galaxies would likely have spectacular views of each other's grand spiral star systems. As for the view from planet Earth, this image nicely shows off M33's star clusters and pinkish star forming regions along the galaxy's loosely wound spiral arms. In fact, the cavernous NGC 604 is the brightest star forming region, seen here at about the 2 o'clock position from the galaxy centre.
~~~~~
Telescope: Celestron C11-A XLT Schmidt Cassegrain OTA
Mount: SkyWatcher EQ6-R Pro
Controller: ZWO ASIAIR Pro
Main Camera: ZWO ASI533MC Pro at -10C
Filter: Optolong L-Pro filter
Focuser: ZWO EAF
Guide Camera: ZWO ASI174MM Mini guidecam
Guide via: ZWO OAG
Stacked from:
Lights 60 at 120 seconds, gain 101, temp -10C
Darks 30 at 120 seconds, gain 101, temp -10C
Flat 30 at 100 ms, gain 101, temp -10C
Dark Flat 30 at 100 ms gain 101 temp -10C
Bortle 4 sky.
Integrated the saved frames in Astro Pixel Processor.
Adjusted in Photoshop CS4 and Topaz DeNoise AI
ok, trying to compensate for the lamentable absence of PaD last two days (shame on me!) I thought I would try to give the viewer real value for money and include a free original story to go with the pic, pro bono as they come, but being lazy I engaged an AI dude, ChatGPT to be specific, to write it for me and here it goes, I accept no responsibility for the product, not a single word changed from AI's effort
"In a city where the traffic lights were permanently stuck on yellow, and everyone walked a little sideways just because it felt right, there stood a statue of a lion with a leaf clasped gently in his mouth. The statue's name was Sir Reginald P. Lionhart III, but everyone just called him Reggie. No one knew why a lion would hold a leaf, and frankly, no one questioned the oddities in this town—like the crosswalks that led nowhere or the park benches facing brick walls.
Reggie's leaf wasn't just any leaf; it was a meticulously chosen leaf from the only tree in the city that grew upside down. The roots reached for the sky, and the branches plunged into the earth, defying all botanical logic. One day, the leaf decided it had enough of subterranean life and embarked on an adventure upward, eventually landing squarely into Reggie's open mouth.
Reggie, being a lifelike statue with a keen sense of irony, decided to keep the leaf right there. It was his silent protest against the mundane expectations placed upon stone lions. Holding a leaf was his way of saying, "I contain multitudes."
People started to notice. The local philosopher, who held office hours on the corner between the invisible bookstore and the café that only served imaginary tea, proclaimed that the leaf symbolized the absurdity of existence. "It's a manifestation of our intrinsic desire to find meaning in the meaningless!" he shouted to a crowd of none.
Children began to leave offerings at Reggie's feet: mismatched socks, left-handed gloves, and drawings of three-headed dragons playing saxophones. They felt a kinship with this lion who dared to be different in a world that was already quite different.
One night, a mime—who wasn't actually trapped in an invisible box but liked to pretend he was—approached Reggie. "Why the leaf?" the mime didn't say. Reggie didn't reply, because statues and mimes share an unspoken bond that transcends words.
Meanwhile, the mayor issued a decree that all statues must adhere to the "Statue Code of Conduct," which explicitly forbade the unauthorized holding of foliage. Reggie remained unmoved—literally and metaphorically. The townspeople loved him for it. They started a movement called "Leaf It Be," campaigning for the rights of statues to express themselves.
Amidst all this, the leaf began to sprout tiny wings. Turns out, it wasn't a leaf at all but a caterpillar in disguise, yearning to become a butterfly but accidentally becoming a leaf instead. Reggie didn't mind. He admired the caterpillar’s commitment to its absurd identity crisis.
Eventually, the caterpillar-leaf took flight, leaving Reggie's mouth and soaring into the nonsensical sky, where clouds sometimes floated underground and rain fell upwards. Reggie felt a pang of something that might have been emotion if statues could feel.
In the end, Reggie decided to hold a spoon in his mouth next, just to keep things interesting. The townspeople applauded his new choice, reading all sorts of culinary and existential meanings into it. The philosopher began writing a book titled "The Spoonful of Existence," which no one would read because the pages were all blank.
By the way, did you ever consider that maybe the lion isn't holding the leaf—the leaf is holding the lion? In a world that absurd, anything is possible. Perhaps the real question isn't why the lion has a leaf in his mouth, but why we think a leaf doesn't belong there in the first place."
City Palace, Jaipur, which includes the Chandra Mahal and Mubarak Mahal palaces and other buildings, is a palace complex in Jaipur, the capital of the Rajasthan state, India. It was the seat of the Maharaja of Jaipur, the head of the Kachwaha Rajput clan. The Chandra Mahal palace now houses a museum but the greatest part of it is still a royal residence. The palace complex, which is located northeast of the centre of the grid patterned Jaipur city, incorporates an impressive and vast array of courtyards, gardens and buildings. The palace was built between 1729 and 1732, initially by Sawai Jai Singh II, the ruler of Amber. He planned and built the outer walls, and later additions were made by successive rulers right up to the 20th century.
The palace complex lies in the heart of Jaipur city, to the northeast of the very centre, located at 26.9255°N 75.8236°E. The site for the palace was located on the site of a royal hunting lodge on a plain land encircled by a rocky hill range, five miles south of Amber (city). The history of the city palace is closely linked with the history of Jaipur city and its rulers, starting with Maharaja Sawai Jai Singh II who ruled from 1699-1744. He is credited with initiating construction of the city complex by building the outer wall of the complex spreading over many acres. Initially, he ruled from his capital at Amber, which lies at a distance of 11 kilometres (6.8 mi) from Jaipur. He shifted his capital from Amber to Jaipur in 1727 because of an increase in population and increasing water shortage. He planned Jaipur city in six blocks separated by broad avenues, on the classical basis of principals of Vastushastra and other similar classical treatise under the architectural guidance of Vidyadar Bhattacharya, a man who was initially an accounts-clerk in the Amber treasury and later promoted to the office of Chief Architect by the King.
Hong Kong Government Department
The Hong Kong Police Force | HKP
Police Vehicles, Police Officers, Marine Police, Traffic Police, Police Stations. All Districts, Hong Kong
Special Units & Divisions include Counter Terrorism, Police Tactical Unit (PTU), National Security Bureau, Diplomatic Protection & Security, Commercial Crime, CID, Dog Unit, Wanted & Missing Persons, Cyber Security & Technology Crime Bureau, Organised Crime and Triad Bureau, Narcotics Bureau, Criminal Intelligence, The Bomb Squad (EOD), Public Relations, Criminal Records, Police Training College and the Auxiliary Police etc.
All relevant and extensive information about the Hong Kong Police Force is available on their website
It is very comprehensive, the Hong Kong Police Force has a highly organised structure.
All Hong Kong Police Vehicles use the AM licence plate ie 2 digits and up to 4 numbers | Police vehicles have different colours, normal Police vehicles are white with red and blue stripes, the Police Traffic Division vehicles are white with yellow and blue checkerboard design.
Amazingly the Police Force have their own superstitions as well, the majority of the licence plates on Police Vehicles have lucky number combinations involving the numbers 6,8, and 9 ! Basically 6 means easy life, 8 means wealth and 9 means long life - this is very much Hong Kong Culture. The Police also use unmarked vehicles extensively which are NOT identified by the AM mark.
The Police Museum at 27 Coombe Road at the Peak is also worth a visit, see details on the website listed above.
☛.... and if you want to read about my views on Hong Kong, then go to my blog, link below
✚ www.j3consultantshongkong.com/j3c-blog
☛ Photography is simply a hobby for me, I do NOT sell my images and all of my images can be FREELY downloaded from this site in the original upload image size or 5 other sizes, please note that you DO NOT have to ask for permission to download and use any of my images!