...Yanire Fernández ...

 

Ese es mi nombre y estas son mis fotografías…

 

Y digo esto porque hace un par de días me avisaron del robo que estaba sufriendo desde hace un año y yo sin enterarme. Una tipa de Paraguay que vive en Chile se estaba haciendo famosilla a costa de mis fotos. Las ponía un marquito horrendo y su nombre debajo. Tan solo con eso ya pensabas que eran de tu propiedad?

 

Le ofrecieron incluso exposiciones, y poniendo excusas estúpidas e incluso inventándose un grave accidente conseguía no tener que exponer nunca esas fotos. Fotos que lógicamente NO tenía en una calidad óptima…

En fin, me ahorraré los detalles, porque no merece la pena.

Agradezco a las personas que lo descubrieron y me lo hicieron saber.

  

Cosas como estas no van a obligarme ni a poner marcas de agua ni hacer privada mi galería, simplemente porque no me da la gana!

 

This might be one of the dumbest solutions to stopping hiccups but the Twinkletoes Twins, Alistair and Algernon, thought it would stop Algernon's hiccups. It didn't but it did require a change of trousers.

 

We're Here looks at Dumb today.

wire, paper from book page, ink

Invented in Canada, the best screw in the world

sdr

Mot inventé issu de 3 mots: 'straat' = rue, 'woord' = mot, 'naar' pour 'habitant de' (Gentenaar = Gantois)

Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.

 

Today however, on this fine summer day, we are following Lettice as she and Gerald head south-west through the London streets in Gerald’s little Morris*. Taking the Brompton Road, they drive through Belgravia and then Chelsea as Brompton Road becomes Fulham Road. They drive past the Brompton Cemetery and through the historic centre of Walham Green before going on through Fulham, finally turning south along the Fulham High Street. Passing the Hurlingham Club along the banks of the Thames they continue to go south.

 

As Gerald drives his Morris over the Thames on Putney Bridge, Lettice glances around her. “I thought you were taking me to buy a new hat, Gerald.”

 

“I am Lettice darling.” he replies good naturedly.

 

“But this isn’t Bond Street. Far from it, in fact.” she counters as they reach the south side of the bridge, and she takes in a semi-circle of tall two and three storey Victorian and Edwardian brick buildings to their right and the crenelled tower of a stone church on their left. “Where are you taking me?”

 

“For a woman who has lived in London for nearly two years, you haven’t strayed far from Mayfair, have you Lettuce Leaf?” Gerald observes with a smirk.

 

“Don’t call me that Gerald! You know how I hate it! If you weren’t driving this car, “ scowls Lettice. “I’d hit you with my handbag.”

 

“Think of this like your own personal tour of Putney.”

 

“Putney?” Lettice’s eyes grow wide. “You’re taking me to a hatters in Putney?”

 

“Don’t be such an elitist Lettuce Leaf.”

 

Sulking in her seat, clutching her handbag with her arms folded across her chest she mutters, “That’s rich coming from you, the man who bemoans middle-class money paying for the acquisition of his frocks.”

 

“Just sit back, relax and enjoy the view, darling.” Gerald replies breezily as he turns off the Putney High Street and into a tree lined avenue which Lettice reads as being Hazlewell Road.

 

The pair drive in silence for a little while, Gerald concentrating on where they are going and Lettice looking at the view as Gerald suggested from her vantage point in the passenger seat alongside him.

 

“The houses seem awfully samey here, don’t you think?” she asks as they pass double storey Edwardian villa after double storey Edwardian villa made of red brick with bay windows, set in neat gardens behind privet hedges or low brick fences.

 

“No more than Pimlico,” Gerald observes. “Just newer is all.”

 

Gerald’s Morris finally pulls up in front of one such Edwardian villa. Lettice looks out of her door at it. The villa looks exactly the same as all the others on that side of the street: red brick with crenelled bay windows upstairs and down to either side of a porticoed door. In fact, the portico is one of the few differences that distinguish it from its neighbours either side. It has an arched portico which matches the arch in the lunette above the white painted front door, whereas its neighbours have square porticos with crenelling that matches that along the tops of the bay windows. Two banks of chimneypots at either side of the villa rise from the steeply hipped roof of shingles and a central attic balconette with French doors is flanked by oriel windows.

 

“Now, I want you to be good, Lettuce Leaf!” Gerald cautions his friend with a wagging finger encapsulated by his Dents driving glove**. “This is the home of Harriet Milford. Her father was a family solicitor. He died last year, leaving her an orphan. The house he left to her, but with no other real inheritance. With no income, so to speak, she has taken in lodgers.”

 

Lettice screws up her face in horror. “Lodgers! You’ve brought me to a lodging ho…”

 

“I said behave, Lettuce Leaf!” Gerald scolds her, arching his eyebrows. “I haven’t finished talking yet. Mr. Milford believed in education, but sadly only for boys. He wasn’t expecting to pass away before his daughter married, so without any employable skills, she’s turned her hand to what she can do.”

 

“And how did you come to meet this, Harriet Milford?” Lettice asks, her mouth a thin red lipsticked line of disapproval with turned down ends.

 

“She and I frequent the same haberdashers. After running into one another several times, I finally asked her what she did to buy so much ribbon and so many artificial flowers. And that was when she told me that having no real skill other than sewing, after her father died, as well as take in lodgers, she has turned her hand to millinery to make end meet.”

 

“I hope, my dear Gerald, that you aren’t expecting me to buy a hat from her out of pity.”

 

“Not at all, my dear. I’ve been here a number of times now, to take tea with Harriet, and I can assure you that her hat making skills rival that of Madame Gwendolyn. Already she has gained quite a reputation amongst the local ladies.”

 

Lettice snorts dismissively at the thought of the middle-class matrons of Putney and their choices of millinery.

 

Undeterred, Gerald continues, “Since Sadie has forbidden you to wear a hat from Selfridges to Leslie’s wedding, and I can’t say I disagree…”

 

“My hats from Sel…”

 

“I still haven’t finished!” Gerald interrupts his friend. “Since Sadie won’t let you wear a Selfridges hat to the wedding, and I won’t sit next to you at the wedding breakfast if you do, and you won’t go back to Madame Gwendolyn, I thought Harriet’s hat making skills would be the perfect solution. Now, come.” He puts his hand on the handle of his door and pushes it down, opening it slightly. He pauses just before getting out and turns back to his friend. “And remember to behave.”

 

“I always behave, Gerald!” Lettice defends herself as she opens her own door and steps out onto the sunny footpath.

 

Gerald walks around the front of the car and joins Lettice on the footpath. “Shall we?” he proffers his arm to his friend, which she accepts.

 

They step up to the black painted wrought iron gate flanked by two capped red brick pillars. Gerald opens the gate and together they walk in and up the garden path snaking across a well clipped lawn. Standing beneath the arched portico, Lettice can hear the notes of an oboe being played through one of the oriel windows open above. “That will be Cyril.” Gerald remarks as he depresses the doorbell next to the front door. The hollow ring that resounds through the hallway within is answered by a pair of scuttling footsteps as the front door is flung open exuberantly.

 

“Gerry darling!” gasps a young woman around Lettice’s age who throws her arms enthusiastically and perhaps a little overly familiarly around Gerald’s neck.

 

Lettice feels a momentary pang of jealousy in her stomach as she sees Gerald return Harriet’s enthusiastic embrace in a way that she thought only she and Gerald shared. With a quick flutter of her eyelashes, she dismisses the thought, but the pang in her stomach does not go away.

 

“Hullo Hattie darling!” He holds her at arm’s length. “My you do look well.”

 

“I sold another two hats yesterday, so I’m tickled pink, Gerry darling!” she gushes with a girlish giggle and a proud smile.

 

Lettice tries to force a cough. At the sound of Lettice gently clearing her throat, the spell between Gerald and Harriet is broken and Gerald quickly returns his attentions to Lettice. “Harriet, may I present my childhood chum, the Honourable Lettice Chetwynd. Lettice, Miss Harriet Milford.”

 

Lettice takes in Harriet’s appearance from the top of her head to the tip of her toes. Looking more closely at her Lettice decides that she is actually possibly a year or two younger than she and Gerald are, with mousy brown hair cut into a soft bob. Her floral cotton frock with its drop waist and side flounces must surely be home made, yet it is obviously made well as it sits on her slender figure every bit as smartly as Lettice’s outfit, which has been expertly cut for her by Gerald. Her shoes show the wear of a few years and her stockings have been carefully mended. She looks across at Lettice with a pretty face, free of makeup. Her brown eyes are like deep pools, clear and bright, and they are framed by naturally long lashes.

 

“How do you do, Miss Chetwynd.” Harriet says in a polite and well bred voice.

 

“How do you do, Miss Milford.” she replies, returning Harriet’s open smile with a polite one of her own.

 

“Tut, tut, Hattie!” Gerald says, reaching across and plucking a piece of red cotton off Harriet’s shoulder, which Lettice finds an uncomfortably intimate gesture. Holding it out in front of Harriet he continues, “You mustn’t be answering the door wearing loose threads.” He smiles cheekily.

 

“Oh I’m busy making a new hat to replenish my stocks.” Harriet replies, blushing as she lowers her lids, and holds out her hands to accept the trailing thread of red. “Please, come this way Miss Chetwynd,” she adds, ushering Lettice and Gerald into the house. “You know the way Gerry darling.”

 

“Gerry darling?” Lettice queries quietly with a cocked eyebrow and a mirthful smile as she slips past the blushing Gerald and follows her hostess across the threshold into the black and white tiled hallway stuffed with Edwardian vestibule furniture.

 

“Please make yourself comfortable in here, Miss Chetwynd,” Harriet says, flinging open the first door on the left side of the hallway and indicating with an extended arm for Lettice to enter. “I’ll be like Polly and pop the kettle on. Back in a jiffy*** my dears!” And with scuttling footsteps she disappears into the gloom of the house further down the hallway.

 

Walking into the room as she has been told, Lettice gazes around it. Noting the flouncy Edwardian settee an matching armchair by the fire she remarks, “This is obviously the parlour.” Noticing a sewing machine sitting in the bay window where it can get the best light she adds, “Or was.”

 

It is then, as Gerald indicates with an open gesture to what must once have been a tea table, that Lettice sees several beautifully fashioned hats propped on wooden hatstands basking in the diffused light coming through the lace scrim curtains of the bay window. She gasps at the sight of them and immediately walks up to scrutinise them more closely. Two are made of straw and one of felt. The felt hat is dyed a dramatic turquoise colour and is trimmed with fine braid, garlands of ribbons and feathers dyed to match the shade of the felt. One of the straw hats is dyed a romantic shade of soft mauve, whilst the other remains its natural colour. The mauve hat’s romance is added to by a mixture of artificial flowers and clusters of ribbons woven expertly around the brim. The other hat is plainer with less decoration, yet its restrained treatment makes it every bit as elegant as the mauve hat. None of them would look out of place at Ascot or a tea party at Buckingham Palace.

 

Lettice thumbs the may green ribbon of the plain straw hat thoughtfully. “These are exquisite, Gerald.”

 

“I knew you’d like Hattie’s work.” Gerald sighs with satisfaction.

 

*Morris Motors Limited was a privately owned British motor vehicle manufacturing company established in 1919. With a reputation for producing high-quality cars and a policy of cutting prices, Morris's business continued to grow and increase its share of the British market. By 1926 its production represented forty-two per cent of British car manufacturing. Amongst their more popular range was the Morris Cowley which included a four-seat tourer which was first released in 1920.

 

**Dents is a British company that crafts luxury leather gloves, handbags, small leather goods. Dents is known for its hand cutting, sewing, and stitching techniques, which are still practised today on some limited top end products, most merchandise being purchased from third-party factories. Dents was established in Worcester in 1777 as a manufacturer of fine leather gloves by John Dent (1751–1811). It is possibly Britain's oldest existing fashion manufacturer. Dent's sons, John and William, helped the company expand throughout the Eighteenth and Nineteenth Centuries. In 1845, mechanical sewing was introduced to the company to assist craftspeople. The company has a modern factory in Warminster, Wiltshire, having been present in the town since 1937.

 

***The expression in a jiffy was in use as early as 1780. It is a colloquial English expression for “in a short amount of time.” The origins of jiffy are unknown, though there are theories. One suggestion is that it comes from British thieves’ slang for “lightning,” hence very fast. An early instance appears in 1780 edition of Town and Country Magazine: “Most of the limbs of the law do every thing in a jiffy”.

 

Contrary to popular belief, fashion at the beginning of the Roaring 20s did not feature the iconic cloche hat as a commonly worn head covering. Although invented by French milliner Caroline Reboux in 1908, the cloche hat did not start to gain popularity until 1922, so even though this story is set in that year, picture hats, a hangover from the pre-war years, were still de rigueur in fashionable society and whilst Lettice is fashionable, she and many other fashionable women still wore the more romantic picture hat. Although nowhere near as wide, heavy, voluminous or as ornate as the hats worn by women between the turn of the Twentieth Century and the Great War, the picture hats of the 1920s were still wide brimmed, although they were generally made of straw or some lightweight fabric and were decorated with a more restrained touch.

 

This rather cluttered and chaotic scene of a drawing room cum workroom may look real to you, but believe it or not, it is made up entirely with pieces from my 1:12 miniatures collection, including pieces from my childhood.

 

Fun things to look for in this tableau include:

 

1:12 size miniature hats made to such exacting standards of quality and realism such as these are often far more expensive than real hats are. When you think that it would sit comfortably on the tip of your index finger, yet it could cost in excess of $150.00 or £100.00, it is an extravagance. American artists seem to have the monopoly on this skill and some of the hats that I have seen or acquired over the years are remarkable. The natural yellow straw hat with green trim and the mauve dyed straw hat with mauve and green trim were both made by the same unknown artisan in America. The aqua hat behind the two straw hats was made by an unknown British artisan. All three hats were acquired through auctions on E-Bay. The hat stands the hats rest on are all part of a larger collection I bought from an American miniature collector Marilyn Bickel. The multi coloured feathers in the earthenware vase on the table behind the hats also belonged to Marilyn Bickel.

 

The copies of Weldon’s Dressmaker and the Lady’s World Fancy Work Book are 1:12 size miniatures made by the British miniature artisan Ken Blythe. Most of the books I own that he has made may be opened to reveal authentic printed interiors. In some cases, you can even read the words, depending upon the size of the print! I have quite a large representation of Ken Blythe’s work in my collection, but so little of his real artistry is seen because the books that he specialised in making are usually closed, sitting on shelves or closed on desks and table surfaces. In this case, the magazines are non-opening, however what might amaze you is that all Ken Blythe’s books and magazines are authentically replicated 1:12 scale miniatures of real volumes. To create something so authentic to the original in such detail and so clearly, really does make this a miniature artisan piece. Ken Blythe’s work is highly sought after by miniaturists around the world today and command high prices at auction for such tiny pieces, particularly now that he is no longer alive. I was fortunate enough to acquire pieces from Ken Blythe prior to his death about four years ago, as well as through his estate via his daughter and son-in-law. His legacy will live on with me and in my photography which I hope will please his daughter.

 

The spools of ribbon, the tape measure, the silver sewing scissors in the shape of a stork and the box of embroidery threads I acquired from Kathleen Knight’s Dolls’ House in the United Kingdom.

 

The table on which all these items stand is a Queen Anne lamp table which I was given for my seventh birthday. It is one of the very first miniature pieces of furniture I was ever given as a child.

 

The sewing machine to the left of the photo, I bought from Melody Jane’s Doll House Suppliers in the United Kingdom. It is made with extreme attention to detail, complete with a painted black metal body, authentic sewing mechanisms and a worksurface “inlaid” with mother-of-pearl.

 

The round white metal sewing tin on the sewing machine’s surface is another artisan piece I have had since I was a young teenager. If you look closely you will see it contains a black velvet pin cushion, a pair of sewing scissors, needles, threads and two thimbles. Considering this is a 1:12 artisan miniature, imagine how minute the thimbles are! This I bought from a high street shop that specialised in dolls and doll house furnishings. It does have a lid which features artificial flowers and is trimmed with braid, but I wanted to show off the contents of the tin in this image, so it does not feature.

 

The spools of red, yellow, orange and blue cottons come from various online shops who sell dollhouse miniatures.

 

The salon chair drawn up to the sewing machine is part of a Marie Antionette suite with pretty floral upholstery which has been made by the high-end miniatures manufacturer, Creal.

 

Harriet’s family photos seen cluttering the mantlepiece and the bookshelf in the background are all real photos, produced to high standards in 1:12 size on photographic paper by Little Things Dollhouse Miniatures in Lancashire. The frames are almost all from Melody Jane’s Dollhouse Suppliers in the United Kingdom and are made of metal with glass in each.

 

The porcelain clock on the mantlepiece is made by M.W. Reutter Porzellanfabrik in Germany, who specialise in making high quality porcelain miniatures.

 

The Edwardian mantlepiece is made of moulded plaster and was acquired from Kathleen Knight’s Doll’s House in the United Kingdom.

 

The bookshelf in the background comes from Babette’s Miniatures, who have been making miniature dolls’ furnishings since the late eighteenth century.

 

The paintings and prints on the walls all come from Kathleen Knight’s Doll’s House in the United Kingdom.

OLYMPUS DIGITAL CAMERA

Poohsticks Bridge, made famous by A.A.Milne, in the Ashdown Forest, Sussex.

Poohsticks was invented by English author A.A. Milne for his son Christopher Robin Milne. The game first came to prominence upon Milne's description in his 1928 book The House at Pooh Corner,as well as the 1983 Disney animated featurette Winnie the Pooh and a Day for Eeyore. As first depicted, protagonist Pooh accidentally drops a pine cone into a river from a bridge and, after observing how it appeared on the other side of the bridge, devises the rules for Poohsticks, later playing the game with the other characters, Christopher Robin, Tigger, and Eeyore.

 

Milne first played the game at a bridge located in Ashdown Forest, close to the village of Upper Hartfield, East Sussex, England. Built in 1907 and originally called Posingford Bridge, it is considered to be the bridge on which Milne and his son first played the game. However, it is uncertain whether the game was first played at the bridge and then written into the story, or vice versa. The bridge maintained the public's interest and a campaign to rebuild it in the late seventies was considered important enough to feature on the BBC Nine O'Clock News. The bridge was subsequently reopened by Christopher Robin Milne and officially renamed as Poohsticks Bridge. (wikipedia)

Inventing New Vices.

 

Adminisztratív szabályok fordítása holttestek zsebek regény válogatás sokoldalú visszautasítás elért stílus megértése költészet dokumentált művek,

постоянные взносы гипотеза театральная перемена игра сардоническая остроумие творческие позы неуважение этикет напыщенный юмор инверсии слов,

ordres tortueux fausses imputations lecture agréable conceptions audacieuses drames délibérés tempête stress conversations profondes développements d'idées,

إدخال أخطاء المواد المنقحة على غرار سنوات الثوم يتنفس دراسات لاحقة تسخر من ظلال اللحظات المأساوية بتعليمات مختلفة,

crimes incomuns líderes cegos aforismos épicos partes filosóficas sentidos predominantes modernos depenar paixões removidas exaltação visões,

強引なトーン多彩な印象わかりやすい意見暗いパッセージ繰り返し画像勇気のステップ劇的なナンセンス明白ななぞなぞジョーカー学者笑う喜び.

Steve.D.Hammond.

"If a June night could talk, it would probably boast it invented romance."

Bern Williams

 

Follow me on: Facebook - Flickriver - Tumblr. - Twitter

© Copyright Natalie Panga - All rights reserved. EXPLORED June 16, 2013.

My Explored images

.Sark

Ѧƕᴕɚᶓ - ϔ - Ϣҙӄѧɕ the thinker sat beneath a shade fungus in the nest valley and contemplated the Brood Queen as she continued her ceaseless task of perpetuating the species. Every few moments her ovipositor flung forward and threw, along a precise arc, a glistening pink ootheca into a seething pit of slime, split egg casings and writhing larvae.

 

A breeze picked up, just strong enough to push one of the flying oothecae a little off course and it landed at the raised edge of the larvae pit. It teetered, as if deciding which way to fall, then toppled away from the safety of the pit and further into the valley, bouncing as it rolled. It came to rest, hard, abrubtly against a rock and split neatly in half (the panicking larva blindly lolloping in the drying dust), and the two halves continued to roll away. And they rolled...

 

And rolled, and rolled. "Hmm," thought Ѧƕᴕɚᶓ - ϔ - Ϣҙӄѧɕ. She stood a while, smoothed back an antenna, and then began to run down, laughing and whooping, in the direction the egg casings had gone.

 

Built for FebRovery 2014.

Explore:Feb 13, 2009 # 7

 

La Coca-Cola (anche nota come Coke soprattutto negli Stati Uniti o semplicemente come Coca in Italia) è una bibita industriale analcolica, alla quale il caramello che vi è contenuto conferisce un colore scuro.

 

La bibita, che è la più venduta al mondo, deve il suo nome al fatto che nella sua ricetta sono tutt'ora impiegati, tra le altre sostanze, estratti provenienti dalle noci di cola ed estratti dalle foglie della pianta di coca, privati delle sostanze (alcaloidi) psicotrope.

 

Con lo stesso nome viene spesso indicata anche la casa produttrice della bevanda, la The Coca-Cola Company.

 

Fu inventata dal farmacista statunitense John Stith Pemberton l'8 maggio 1886 ad Atlanta, inizialmente come rimedio per il mal di testa. Il primo nome che venne dato alla bevanda fu "Pemberton's French Wine Coca". Quella di Pemberton era una variazione del cosiddetto "vino di coca" (o Vin Mariani), una miscela di vino e foglie di coca che aveva avuto largo successo in Europa quando era stata creata dal farmacista còrso Angelo Mariani. All'alcol venne sostituito un estratto delle noci di cola, una pianta tropicale reputata non dannosa per la salute. Dall'uso combinato dei due ingredienti principali, la coca e la cola, la bibita acquisì il nome attuale. Quando anche la coca venne bandita (dalla pianta si estrae infatti la cocaina), venne scartato l'alcaloide dagli estratti dalle foglie di coca, mentre la cola (in noci) continuò a essere utilizzata come fonte di caffeina.

 

Nonostante la scoperta, Pemberton accumulò forti debiti e per appena 550 dollari vendette formula e diritti della Coca-Cola ad Asa Candler, uomo d'affari che aveva intuito il potenziale della bevanda e compreso l'importanza della pubblicità per diffonderla e per sbaragliare la concorrenza.

 

Dopo la quotazione in borsa dell'azienda nel 1919, la Coca-Cola iniziò la sua diffusione mondiale negli anni venti, trasformandosi in un 'business' di grandi dimensioni, gestito dalla The Coca-Cola Company con sede a New York, e che comprende ulteriori bibite (meglio note col nome di bevande gassate) quali la Fanta, la Sprite e altre.

 

Nel 1927 la Coca-Cola viene importata anche in Italia. Nel 1960 comparve la prima Coca-Cola in lattina, mentre nel 1980 quella in bottiglia PET.

 

La bibita è disponibile nella maggioranza dei luoghi di ristorazione del mondo, ed è la bevanda per eccellenza nei fast-food.

 

Il marchio è stato più volte indicato da numerose ricerche come il più conosciuto al mondo.[1] La maggior rivale della Coca-Cola è la Pepsi, ma ne esistono moltissime imitazioni.

 

La Coca-Cola vanta diversi luoghi legati interamente al marchio, tra i quali un museo ad Atlanta, sede della compagnia, e alcuni negozi di merchandising, i World of Coca-Cola di New York e Las Vegas.

 

Formula :

 

Le foglie della qualità Eritroxylum novogranatense, coltivate legalmente in Perù, sono poi esportate in New Jersey, dove la Stephan Chemical Company, sotto l'egida della DEA, l'ente antinarcotici statunitense, provvede a ottenere l'estratto aromatico decocainizzato, la cui produzione è interamente acquistata dalla The Coca-Cola Company; si tratterebbe dell'aroma denominato "7X" (o anche merchandise #7, ossia "aroma numero 7"), su cui l'azienda ha sempre mantenuto il più stretto riserbo. Comunque sia, la ricetta completa (e neanche la ricetta in parte) della Coca-Cola non è mai stata rivelata in modo ufficiale. È sicuramente cambiata più volte nel tempo, per allinearsi alle legislazioni nazionali dei vari paesi in cui viene prodotta e/o commercializzata; la formula viene quindi modificata in base al progresso di società e cultura, non esente da operazioni di cost saving, a partire dagli anni novanta ( Wikipedia )

 

------------------------------------------------------------------------------------------------------------------

  

Coca-Cola is a carbonated soft drink sold in stores, restaurants and vending machines worldwide (The Coca-Cola Company claims that it is sold in over 200 countries . It is produced by The Coca-Cola Company in Atlanta, Georgia and is often referred to simply as Coke or (in European and American countries) as Cola or Pop. Originally intended as a patent medicine when it was invented in the late 19th century by John Pemberton, Coca-Cola was bought out by businessman Asa Griggs Candler, whose marketing tactics led Coke to its dominance of the world soft drink market throughout the 20th century.

 

The company produces concentrate, which is then sold to various licensed Coca-Cola bottlers throughout the world. The bottlers, who hold territorially exclusive contracts with the company, produce finished product in cans and bottles from the concentrate in combination with filtered water and sweeteners. The bottlers then sell, distribute and merchandise Coca-Cola in cans and bottles to retail stores and vending machines. Such bottlers include Coca-Cola Enterprises, which is the largest single Coca-Cola bottler in North America and western Europe. The Coca-Cola Company also sells concentrate for fountain sales to major restaurants and food service distributors.

 

The Coca-Cola Company has, on occasion, introduced other cola drinks under the Coke brand name. The most common of these is Diet Coke, which has become a major diet cola. However, others exist, including Caffeine-Free Coca-Cola, Diet Coke Caffeine-Free, Cherry Coke, Coca-Cola Zero, Vanilla Coke and special editions with lemon and with lime and even with coffee.

 

In response to consumer insistence on a more natural product, the company is in the process of phasing out E211, or sodium benzoate, the controversial additive linked to DNA damage and hyperactivity in children, of Diet Coke. The company has stated that it plans to remove the controversial additive from its other products — including Sprite, and Oasis - as soon as a satisfactory alternative is discovered.

 

The exact formula of Coca-Cola is a famous trade secret. The original copy of the formula is held in SunTrust Bank's main vault in Atlanta. Its predecessor, the Trust Company, was the underwriter for the Coca-Cola Company's initial public offering in 1919. A popular myth states that only two executives have access to the formula, with each executive having only half the formula.The truth is that while Coca-Cola does have a rule restricting access to only two executives, each knows the entire formula and others, in addition to the prescribed duo, have known the formulation process. ( Wikipedia )

     

Yo no inventé el tiempo,

no inventé estos laberintos,

este transcurrir transversal de la existencia...

ahora busco retazos,

reconstruyo paisajes para acomodar el rumbo.

No inventé nada,

lo digo y con mis manos dibujo un lamento...

no inventé nada

y apenas son humo o piedra o palabra o ala.

Yo no ínventé nada... así es esto del tiempo.

Jeu original des 176 emoji dessinés par Shigetaka Kurita

 

Exposition MOMA - Fondation Louis Vuitton

 

La collection du Museum of Modern Art (MoMA), à New York, s'est enrichi en 2016 de 176 pièces quelque peu particulières : une collection de carrés de douze pixels de côté. Il s’agit de la première série d’émoticônes (emoji en japonais), créés par le designer Shigetaka Kurita, qui les a conçus entre 1998 et 1999.

 

A l’époque, M. Kurita travaille pour l’opérateur de téléphonie japonais NTT Docomo, qui développe i-mode, un service Web pour téléphones. Le service ne peut transmettre que de faibles quantités de données, et les écrans des téléphones ne permettent de toute façon l’affichage que d’un faible nombre de caractères. M. Kurita propose alors de créer des images schématisées de petite taille : ce seront les 176 émoticônes originelles.

 

Le succès est immédiat, et les autres opérateurs japonais copient très rapidement le concept. En dehors de l’archipel, il faudra cependant attendre 2010, et l’arrivée des émoticônes dans le standard Unicode, pour qu’ils connaissent un succès véritablement planétaire.

 

« Les emoji de Shigetaka Kurita sont de puissantes manifestations de la capacité du design à modeler le comportement humain, explique le musée. Le design d’une chaise dicte notre posture ; de même, le format d’une communication électronique donne une forme particulière à notre voix. Les collections du MoMA sont remplies d’exemples d’innovations en matière de design qui ont radicalement modifié notre monde, du téléphone à l’ordinateur personnel en passant par le signe@. »

 

Article Le Monde - 27/10/2016

   

this is all kirsty's fault.

 

1. my name is not really crack jackson jr.

 

in my first year in college, i made a play called 'tex and ned'. as the director, i called myself crack jackson, after a character in a crazy story i had written some time before. the show began with music from the soundtrack to the monkees' film head, 'swami with strings', which cuts directly to teri garr's line -

 

'suck it before the venom reaches my heart'

 

- upon which point, i, tex, hurled myself through the newspaper-covered walls of the living room set, throwing up handfuls of flour to simulate dust, and proceeded to argue with the other character, ned, for roughly twenty minutes of stage time. we ate raw eggs, delivered long speeches about the futility of war, and beat the shit out of each other on numerous occasions. the only other character's job was to throw a brick through the window, then appear at the end, waving, as we danced offstage to the strains of 'beetles bones n smokin stones' by captain beefheart. it was insane, beckett-lite nuttiness and we all should have known better.

 

a few years ago, a friend of mine whose name is frank decided to start a website called 'crack jackson' in honour of this fallen comrade. it doesn't exist anymore, but it was fun while it lasted. he also joined flickr, and called himself crack jackson. he was the one who introduced me to film photography, and to this site. so when i joined, i called myself junior.

 

and now you know.

 

4. it's not important to most people, but i dearly love ice. i have lots of ice in pretty much every beverage i drink, apart from tea and coffee - unless i'm in america, in which case i'll have ice in them as well. america knows how to serve ice. in ireland, you're given approximately two lumps of ice per beverage if you're lucky, so i always make sure to ask for an extra glass full of ice, and i use it, too.

 

i also deeply love pickles. not the sweet ones - i love the sour dill pickles you get as a side with sandwiches in dark delis in los feliz, ca. you can't get them in ireland, and that makes me sad. on my last trip to america i tried to smuggle out a jar of pickles in my carry-on luggage, but they were discovered by a prickly customs guy and never returned. i like to think the customs guy went home, placed the jar of pickles on the family table, and said, 'pickles, for my family'. and his family all came and embraced him, touched by this gesture, and they sat and broke bread and drank wine and ate the pickles with some savoury side dishes. then it will all have been worthwhile.

 

9. for work, i have had to learn how to:

 

ride a horse, drive an army jeep at high speed, fence, walk a 30 foot high tightrope, have non-poisonous snakes dropped on me, invade iraq, play the double bass, theoretically invent time travel (not as easy as it sounds)

 

i have had to pretend to be:

 

a serial killer, the king of france, a soldier in the first world war, a soldier in the second gulf war, a misunderstood zombie, a cajun cowboy, a russian journalist, a french priest, a turkish trapeze artist, an annoying american kid who gets mangled by a large evil roaming monster

 

i have pretended to die of:

 

drowning, suffocation, suicide, gunshot wounds, being chopped in two, being mangled by a large evil roaming monster

 

5. i sometimes worry that i am never going to take a good shot ever again. i'm worrying about it right now.

 

13. i went to the stanley kubrick archives in london recently. you get to ask for whatever you want.

 

'maybe some random stuff from 'the shining'?'

 

so i got to hold the photo at the end of the film with jack at the overlook halloween ball in 1921. pre-photoshop, it's remarkably done, and the negative is also there, where you can see the circle of jack's head immaculately replaced over the original head.

 

'some random photos from 'full metal jacket'?'

 

so i got hundreds of shots of toy soldiers playing out scenes in a toy vietnam. SK storyboarded shots in this way. i never knew that before.

 

and so on. it's well worth going to. here's a doc on the boxes..

 

8. i am inspired by so many people on flickr it's not fair to make a list. but flickr people who have changed the way i think about photography include gary isaacs, jordi gual, edwardolive, quizz, lucy_nka, hello suckers, the amazing greek photographers (minas, yannis, fragitsa, philby), the incredible mike garlington, brett walker, kirsty, piotr, billy gomez (please read his 'tagged' post. it's the best, ever), noah k, derrickT, paula, solecism, rob_fuel, susan, ansel, ceci, chiara, parallax(e), thank u very little, this fleeting life, dave g, hugh_c, elena and solarina to name but a few. [p/script - rip rob fuel*]

 

10. i've just realised my favourite actor is teri garr. coincidentally, she is also my favourite actress as well.

 

6. i have about 1000 VHS tapes gathering dust in my parents' house, mainly taped from the tv, including, for some godforsaken reason, 'under the rainbow', the unwatchable chevy chase/carrie fisher making-of 'wizard of oz' movie. i can't throw any of them away, for fear that someday i may need to see one of them. [p/script - I have thrown a lot of them away. this is progress, right?)

 

14. i am living under the fundamentally absurd belief that scientists will invent a cure for death within my lifetime, and therefore none of us will ever die. this will lead to overcrowding, naturally enough, but i'm assuming they'll work out something for that too.

 

7. i have been given the money to direct another short film, which will hopefully shoot in early april. it's about a young woman with autism who attempts suicide, and as part of her recovery is brought to the west of ireland to learn how to surf. it's going to be the most difficult and exciting thing i've ever done.

 

2. i like using photoshop in my photos. sometimes i use too much photoshop. it's hard not to, once you get started.

 

12. i develop my black and white photos with a changing bag, and diafine/fixer. there is still a quiet thrill in taking out the wet reel to see if the shots came out or not. i ordered c-61 to do colour as well, but it never came, and i breathed a frustrated, empty sigh.

 

3. i sometimes use my flickr page for work. and some of my friends and family know about it. so this is not really the place for me to open my heart. i'll just say that i am really close to my parents and my brother and they are amazing, supportive people and i love them to bits.

 

15. my philosophy can be summed up in two simple phrases, and i didn't dream it in a dream either - eat good food as often as you can, and be nice to people.

 

16. 'he'd kill us if he got the chance'

 

boom *

The size of a 40.000 year old tooth from the Denisova cave indicates a very tall individual, and artefacts found tell about

an unbelievable modern technology - including high speed drilling. The first kings of Egypt were called Gods, but they lived with the people and helped them to develop their civilisation. Many of the granite and basalt artefacts found in Egypt can only have been done by high speed drilling. Were these divine kings in fact Denisova hominins? Did they underestimate how fragile the eco-balance of our environment is, did they trigger a worldwide catastrophe that "capsized" the Earth and wiped them out?

Remnants of a previously unknown hominin, distinct from both early modern humans and Neanderthals,

were a few years ago found in the Denisova cave of southern Siberia: Denisova hominins. The bones and also artefacts excavated at the same level were carbon dated to around 40.000 BP. The scientists say these Denisovans had "modern technology and ornaments, including a very beautiful bracelet". Our archaic cousins the Denisova Hominins

A catastrophe in form of a flood that, according to the legends wiped out the Egyptian civilization that was developed by divine kings (Gods), shall have taken place more than 30.000 years ago. The finger bone, the large tooth and the artefacts found in the Denisova cave in the north-east Altai Mountains region are also dated to be more than 30.000 years old. The small bone belonged to a very young girl. A small bracelet of polished stone was also found, and since it was found in the same layer and dated to the same age; it might have belonged to her.

We can only speculate why the young girl was in the cave. Could it be that she was seeking shelter from a coming catastrophe, might be brought there by her mother or father? Or that she was washed into the cave by the raging wave of a tsunami - even if the cave today is 600 meters above sea level?

It seems that the first rulers of Egypt had a technology that was even more advanced than we have today; we are in fact unable to replicate many of the artefacts found. And it still is an open question how they managed to construct the Great Pyramid with its incredible precision and up to 70 ton's stones.

The archaeologists say that the ancient Egyptians used simple tools like bronze chisels and stone hammers but many of the items found, like basalt jars and also the so called sarcophagus in the Great Pyramid, cannot be made without high speed drilling with drill-bits harder than basalt and granite. The artefacts found in the Denisova cave, the bracelet with pendant, the eyed needles and other ornaments, also witness of a superior technology - and believe it or not: They had used hight speed drilling!

Not us homo sapien sapien

We do not know how the Denisova hominines looked but as mentioned: A tooth found in the cave was very large, so they might have been very tall. We know that people in the area surrounding the Altai Mountains in the 6th to 3rd centuries BC had a very advanced technology; a race of white skinned, blond, blue eyed and very tall people with Caucasian features and long skulls.

The divine kings, the "Gods", of Egypt were often depicted as white skinned, blond, blue eyed and very tall people with Caucasian features and a long skull. Were the "Gods" of the ancient Egyptian king-lists in fact Denisovans? Not us homo sapien sapien but our archaic cousins the Denisova Hominins?

We do not yet know what the Denisova hominins looked like but a Denisovan tooth found in the cave is the largest archaic homo species tooth found. Were the Denisovans the giants of the legends all over the world? Where they the first kings of Egypt - the divine Pharaohs? Did they have an advanced technology that later got lost, might be together with the Denisovans themselves, in a world wide catastrophe?

 

Global warming

Professor Gregory Ryskin at Northwestern University in Illinois, USA, has found that the long-term changes in the Earth's main magnetic field are possibly induced by our oceans' circulation. We know that global warming already has raised the temperatures of the oceans of the world and some scientists have proposed that this could disrupt thermohaline circulation (THC), which is a massive, worldwide system of ocean currents. We have already seen a change in some ocean currents, so a change in our Earth's magnetic field might already be happening! Might be this is why our magnetic poles are moving much more rapid than before! Scary stuff - because this could also mean a change in the Earth's gravity - and changes in gravitational forces will certainly affect the tectonic plates and with the continents on them. Might be this is the reason why we also experience more earthquakes than before?! Might be we should take Hapgood's conclusions and Heyerdahl's warning serious?

Did the Egyptian "capsize" the world - did they have technologies that could contribute to a sudden and rapid polar change? Might be because of and a change in the Earths gravity and/or magnetic field? Well, some say that the ancient Egyptians used the pyramids to create a unique form of energy. That they by paying special attention to celestial events, they could have used natural forces like static electricity, the Earth's magnetic field, and lightning.

Electric phenomenon

Sir William Seimens, a famous German born English inventor, travelled to Egypt and visited the Great Pyramid. While they were standing on the top, the guide remarked that when he raised his hand with his fingers spread, it caused an intense ringing noise in his ears. Sir William ventured a few tests, one by raising his arm with his index finger pointing, which he claimed caused a prickling sensation. He then drank some wine from a metallic cup which gave him a distinct shock. He was convinced he was witnessing some sort of electric phenomenon and instantly put this to the test by assembling a makeshift Leyden Jar, an apparatus for the storage of static electricity, by wrapping moistened newspaper around the wine bottle. The static charge at the peak of the pyramid was so high that sparks began to stream from the bottle. The guide was so shocked that he accused Sir William of witchcraft and tried to grab the bottle, but an electrical jolt knocked him unconscious.

A power plant?

Master craftsman and engineer Christopher Dunn argues that based on his measurements of Egyptian monuments, ancient stonecutting achieved a high-precision accuracy surpassing modern accuracy standards in building. He asked himself what was the power source that fuelled such a civilization and after twenty years of research, Dunn reveals that the Great Pyramid of Giza was actually a electrical power plant. Based on the technology of harmonic resonance, he claims that the pyramid was a large acoustical device! By its size and dimensions, this crystal edifice created a harmonic resonance with the Earth and converted Earth's vibrational energies to microwave radiation. He shows in his books and articles how the pyramid's numerous chambers and passageways were positioned with the deliberate precision to maximize its acoustical qualities.

Inventor Michael F. Praamsma partly agrees but he says that the Great Pyramid at Giza was "a sophisticated acoustical sound chamber that was used as a technique to generate natural sounds to create an elevated frequency environment confined to a single resonant physical cavity". He claims that the Great Pyramid was systematically and competently sealed, and that this was "a sign it was decommissioned and intended to be of use again at a future day, when the awakened humanity would restore it competently to its rightful function, unfortunately history went another way."

A California researcher, Peter Grandics, has shown how an antenna, modeled on the Great Pyramid of Giza, can transfer the power of atmospheric electrostatic discharge impulses into a resonant circuit that converts the random impulses into an alternating current as a potential source of renewable electric power. Thousands of terawatts of power are generated in the troposphere by thunderstorms and a pyramidal structure, with its optimal geometry and construction, can act as a suitable charge sink, capturing this electric.

A biological engineer named John Burke argues that the movement of underground water in limestone aquifers below monuments produces an electric current via friction and the rich magnetic dolomite content of the stone. Burke measured positive ground current at Silbury hill in England, an ancient pyramidal mound composed of chalk and clay that lies on top of such limestone bedrock riddled with zig zagging aquifers filled with rainwater. Such tunnels and water caverns lie beneath the Giza plateau as well. Abd'El Hakim Awyan, a native Egyptian archaeologist, attests to swimming in such tunnels during his youth on the Giza plateau.

Electric torches?

Another alternative theory is that the pyramids were wireless power plants used to generate electricity and for wireless communication. On the internet you will find a video where it is speculated that the Great Pyramid may have been powered by the Ark of the Covenant. The person behind the video is saying that murals inside tombs and temples show that the ancient Egyptians were using handheld electric torches powered by cable free power sources. It is believed that the so called sarcophagus inside the Great Pyramid has the exact dimensions, according to the Christian bible, to house the Ark of Covenant: That the pyramid with a capstone of gold and the covenant in place was a kind of super capacitor the could produce and store electric energy. It is also theorized that Moses stole the Ark of Covenant from the pyramid and took it with him out of Egypt. This should be the main reason for the downfall of the Egyptian pharaohs; without the electrics power their own power dwindled. This should have happened at the time of the pharaoh Ramses II.

Three engineers; Erica Miller, Sean Sloan and Gregg Wilson all agree on one theory: That the Great Pyramid acted as a huge nuclear breeder reactor, which produced Plutonium fuel by mediating uranium isotopes in water. Supposedly, the King's Chamber was flooded with a water pump, and the sarcophagus was packed with uranium ore.

Frenchman Antoine Bovis stumbled upon dead cats and mice that had been disposed of in the trash cans inside the Great Pyramid, and they were perfectly mummified - apparently automatically, without putrefying or giving off a stench. When Bovis returned to France he built a scale model of Khufu's monument, deposited a dead cat inside - and the Giza phenomenon repeated itself, the cat mummified without rotting. Karl Drbal of Czechoslovakia researched this further and said that this was due to the pyramid's special cavity that resonated with cosmic microwaves concentrated in the earth's magnetic field. He also hypothesized that the same concept would work for rusted shavers, and claimed the sharpness of the tools returned after lacing them in a scale model of the pyramid. Stanford Research Institute, however, carrying out experiments in the Great Pyramid, and found that biological samples deteriorated at normal rates within the structure.

Energy grid

Some researchers say that it not by chance that the Great Pyramid was built where it was. They propose that the Earth has a planetary energetic grid that operates through geometric patterns called Sacred Geometry. Grids meet at various intersecting points forming a grid or matrix. These grid points shall be found at some of the strongest power places on the planet. A planetary grid map outlined by the Russian team of Goncharov, Morozov and Makarov has an overall organization anchored to the north and south axial poles and the Great Pyramid at Giza.

It is said that the ancient people, including the Egyptians, knew that wherever the earth's energy gathered into a vortex was a sacred place. Very simular is the theory that the Earth has as net of electromagnetic lines, and that the intersecting points of the network, the knots, are influenced by underground veins of water as well as magnetic forces emanating naturally from the Earth. The ancient Egyptians are said to have been able to move and/or anchor the energy lines by pushing metal rods into the ground before they built a temple or pyramid - they shall have called it "piercing the snake".

Also what is called lay lines seems to be connected to an ancient grid of a form. According to Wikipedia; "Ley lines are hypothetical alignments of a number of places of geographical interest, such as ancient monuments and megaliths." Archaeologists have documented that the alignments are existing but it is not proved that the ley lines and their intersection points resonate a special psychic or magical energy or that they have electrical or magnetic forces as some writers claim.

Pyramid fortex using a Tesla coil

In addition to all this it is also said that we have high energy spots on the Earth called vortices - and they shall be linked ley lines. A Vortex (plural: vortices) is usually a spinning, often turbulent, flow of fluid but some also include a kind of spinning Earth energy due to its electromagnetic field. Such vortices can be volcanoes, high mountains, hot springs, mineral deposits, deep gorges, rock outcroppings and even in deserts like the Sinai. Ancient sites can also be vortices, like the pyramids of Egypt. Dr. Dee J. Nelson has taken a so called Kirlian photograph of energy spiralling out of the top of a pyramid using a Tesla Coil.

Nikola Tesla - Earthquake Machine

The Tesla Coil was invented by Serbian-American engineer Nikola Tesla (1856 - 1943), one of history's greatest scientists. His coil is an electrical resonant transformer circuit, used to produce high-voltage, low-current, and high frequency alternating-current electricity. Yes, he is best known for inventing the alternating electrical current (AC) used all over the world today, but his patents and theoretical work helped form the basis for radio comunication and many other inventions.

Nikola Tesla was an electrical genius, but he also was responsible for a number of mechanical devices. One of these was his "Earthquake Machine" also known as the Tesla Oscillator. The machine which Tesla tested was no larger than an alarm clock but it is said that when he started to twiddle the machine's frequency-controller in his lab: blocks around chaos reigned as objects fell off shelves, furniture moved across floors, windows shattered, and pipes broke. When the police arrived they found the inventor smashing the resonator to bits with a hammer: "Gentlemen, I am sorry. You are just a trifle too late to witness my experiment. I found it necessary to stop it suddenly and unexpectedly in an unusual way, he said calmly to the astonished officers.

Tesla was convinced that by finding the correct frequency, any structure can be destroyed (an obvious example is the wine glass shattered by an opera singer). He later told a friend that he could split the Earth with one of these devices: "I could set the earth's crust into such a state of vibration that it would rise and fall hundreds of feet, throwing rivers out of their beds, wrecking buildings, and practically destroying civilization".

Tesla and coils

Tesla claimed that the laws of electromagnetics were connected to gravity, and one of his patents was on a flying machine without wings or propellers but based on what he called electrogravitics. Tesla also was working on a generator that basically worked by harnessing the electricity from the air and the ground. He used the natural conductivity of limestone aquifers to generate electrical power. The power ran up the ground into the Tesla coil tower above, which in theory should channel wirelessly transmitted power over great distances. Since Telsa wanted the distribution of the energy to be free, the inventor's sponsor pulled out from funding the scientist's machine before it was completed. Tesla died a poor and disillusioned man.

His research station for transmitting power at Colorado Springs might have a link to the Great Pyramid - a notable harmonic association between the latitude positions of both sites. Coral Castle - 9-ton gate that moves with just a touch of the finger.

Edward Leedskalnin - Coral Castle

Another person that was interested in gravity and electromagnetism was Edward Leedskalnin (1887-1951) - an eccentric Latvian emigrant to the United States. He built the extraordinary monument known as Coral Castle in Florida. Leedskalnin single-handedly and secretly carved and displayed over 1,100 tons of coral rock, the heaviest stone weighing 35 tons. It is a mystery how the tiny man could move all the heavy stones. He claimed to have discovered the secrets of the pyramids, and had found out how the Egyptians and the ancient builders in Peru, Yucatan, and Asia, with only primitive tools, raised and set in place blocks of stone weighing many tons! But he did not want to show

"I have discovered the secrets of the pyramids, and have found out how the Egyptians and the ancient builders in Peru, Yucatan, and Asia, with only primitive tools, raised and set in place blocks of stone weighing many tons!"

- Edward Leedskalninanybody how it was done and worked mostly at night-time. A group of young witnesses claimed to see coral blocks floating through the air "like hydrogen balloons" and another time one of Ed's neighbours found him singing to the stones with his hands placed on their surface as if he were somehow making them lighter.

Ed Leedskalnin disputed contemporary science and believed that "all matter consists of magnets which can produce measurable phenomena, and electricity." Ed would say he had "re-discovered the laws of weight, measurement, and leverage," and that these concepts "involved the relationship of the Earth to celestial alignments."

Researchers have speculated that Ed Leedskalnin learned the secret of levitation and one theory in particular caught the imagination of many. The planetary grid hypothesis postulates that the earth is covered by an invisible web of energy which is concentrated at points of telluric power, the convergence of which create unusual phenomena. Leedskalnin moved the complex from Florida City to Homestead and some suggest this was because Ed realized he had made a mathematical error in his original positioning and moved to an area with greater telluric force.

The famed American psychic Edgar Cayce (1877-1945) said during his readings that the Great Pyramid "was erected by the application of those universal laws and forces of nature which cause iron to float. By the same laws, gravity may be overcome, or neutralized, and stone made to float in air. The Pyramid was thus built by levitation, abetted by song and chanting". He also said that the Great Pyramid was built was built as a hall of initiation around 10,500BC by those who originally came from the civilization of Atlantis.

Levitation by sound

Metal rods that caused the stone to levitate

The current estimates of mainstream science contends that it took a workforce of 4,000 to 5,000 men 20 years to build the Great Pyramid using ropes, pulleys, ramps, ingenuity and brute force. But the 10th century Arab historian, Abul Hasan Ali Al-Masudi had written a 30-volume history of the world and he wrote about how the great stone blocks of the pyramid were transported. First, he said, a "magic papyrus" was placed under the stone to be moved. Then the stone was struck with a metal rod that caused the stone to levitate and move along a path paved with stones and fenced on either side by metal poles. The stone would travel along the path, wrote Al-Masudi, for a distance of about 50 meters and then settle to the ground. The process would then be repeated until the builders had the stone where they wanted it.

An ancient legend tells that The Great Pyramid was built from year 10,490 to 10,390 B.C. That the god Ra made studies of the terrain and took great care in figuring the geometrical location in relation to the Sphinx and the four cardinal points of the compass. The Pyramid was then built by levitation, abetted by song and chanting.

Well, we do not have any proof that the ancient Egyptians could make the huge stones fly through the air but levitation is no longer only a party-trick by magicians with quick fingers. We have high speed trains that levitate by the help of magnetic power and in an incredible move for modern medicine; scientists are using sound waves to help levitate droplets of drugs to make them with less side effects.

A kind of Swiss knife

The Great Pyramid is very different to other pyramids, in Giza or else. Most alternative researches conclude that it was some kind of machine; most possibly a power station. We have seen that it would be impossible to use the Great Pyramid as a tomb for a pharaoh and that dating of seashell tells that it much older than the other pyramids. The nearby sphinx has been re-dated to be at least 5000 years old because of the erosion from water, but it might be much older. The same will go for the Great Pyramid. Some speculate that the Great Pyramid was a kind of Swiss knife - a gigantic multipurpose tool. The world "pyramid" means "fire in the middle" - so if it was a kind of power station with the power source situated in what is called Khufu's sarcophagus the some researches in one way might be correct when that speculate that the pyramid also was built as a gigantic ram water pump - inside the base of the pyramid. Yes, it could have been a power-station with a water cooling system! We have seen that some say that the power source was the ark of covenant from the Christian bible and some say

The King's Chamber with the stones above

King's Chamber and large stones

that Moses was the person who stole it from the pyramid. That the pharaohs' rapid decline took place because with no more energy, in form of electric power, then their advanced civilisation could no longer exist!

A gigantic Tesla coil?

Or might be the Great Pyramid was a kind of a gigantic Tesla coil? That the huge granite stones, highly polished on the underside and placed above the so called Kings chamber, made it possible to harness electricity from the ionosphere - just like Nikola Tesla wanted to do it?

About 20 minutes drive from the Great Pyramid is the site of Abu Ghurab, the "Place of Osiris". The ruined stepped pyramid once had an alabaster platform on the top and on the platform it had been standing an obelisk ("sun stick"); most likely, the total height was between fifty and seventy meters. It had looked like a pyramid with a flat top, just like Great Pyramid! Is it possible that the Great Pyramid once had an obelisk standing on it's flat top - and not a capstone? The legends says that spirit of the sun god entered the obelisks at certain periods…

Could it have been like this - an obelisk on top of the Great Pyramid?

Can it have been like this?

Tesla viewed the Earth as a negative electric pole and the sun as a positive pole of an electrode; so an obelisk standing on top of a pyramid would to him be a solar-electric diode! If the under ground part of the pyramid was a pump that brought water up to the Kings Chamber then we would have a capacitor with a very good earth ground. Yes, the Great Pyramid could have been an extremely powerful kind of solar-panel!

Might be Tesla got the idea of harnessing the ionosphere from the Egyptians? Might be they had made the strongest power station ever but that something went terribly wrong; a technical fault or a construction-fault? Or might be extra strong solar activity? Stephen A. Reynods of New Zealand has done research showing that changes in the ionosphere caused by strong solar activity can cause changes in the Earth's internal magnetic field and through telluric current induced in the Earth's crust trigger earthquakes. So might be it happened that instead of harnessing high voltage that could be stored and used, the pyramid send the current into the ground and

The God Ptah with a Djed pillar

Ptah and pillar

triggered a gigantic earthquake that literally shook the whole Earth and caused geological catastrophes worldwide? Might be the changes to the internal magnetic field was so fast and so strong that the outer crust slipped - just like professor Charles H. Hapgood once suggested (but not due to imbalance of the polar ice)?

Interesting enough; one of the oldest and most important symbols to the ancient Egyptian was the "Djed Pillar". Take a look at the image to the right of the God Ptah holding a Djed pillar. The pillar looks very simular til the set-up of the stones above the Kings Chamber - and also a homemade Tesla coil! You might also have noticed a Djed pillar in picture of what could illustrate an electric lamp in an ancient Egyptian temple, higher up in the article!

 

Very advanced technology

In the Palermo, Turin and Manetho king lists, there are names of eight god kings that ruled Egypt in the beginning; Ptah, Ra, Geb, Osiris, Set, Horus, Thoth and the female god Ma'at. Even if they sometimes were represented in a variety of forms on murals, often with human body and animals/birds heads, these gods seemed to be something else than imaginary gods living in a theological heaven. They lived on earth, were married with children, and had duties they performed. They also helped the ordinary people to develop. We have seen that Ptah made the Nile-delta liveable after the great flood and Thoth is credited as the author of all works of science, religion, philosophy as well as magic and he is said to have been married with the female god and ruler Ma'at.

Pharaoh Can it be that the first kings of Egypt were called Gods because they came from a far away place and looked a bit different to the other humans in ancient Egypt? The word "God" comes from "shining/bright" and murals picturing the first pharaohs/gods show that they had so white skin that the must have looked very bright compared to other people! Were they also called devine because they had much better mental capabilities and a very advanced technology?

 

www.sydhav.no/giants/denisova_giants_egypt.htm

 

Dendera light

From Wikipedia, the free encyclopedia

Jump to navigationJump to search

 

The dendera light

The dendera light is a motif in the Hathor temple at Dendera in Egypt. A fringe theory interpretation of the reliefs is that they depict some form of ancient Egyptian lighting technology, similar to an arc lamp or cathode ray tube.

 

The temple contains several reliefs depicting Harsomtus, in the form of a snake, emerging from a lotus flower which is usually attached to the bow of a barge. The so-called dendera light is a variation of this motif, showing Harsomtus in an oval container called hn, which might represent the womb of Nut.[1][2][3] Sometimes a djed pillar supports the snake or the container. A closely related motif is "god resting on the lotus flower".

  

Contents

1Depictions and text

2Similar motifs

3Fringe interpretation

4See also

5References

6External links

Depictions and text

Each of the three objects consists of two reliefs. One half (a) of each pair is in south crypt 1-C (crypte 4), the other half (b) in room G (chambre V) of the temple.[3]

 

Object

(location)

 

TextRelief

Object 1(a)

(Crypt 1-C, south wall)

 

Speaking the words of Harsomtus, the great God, who dwells in Dendera, who is in the arms of the first in the night-barge, sublime snake, whos Chentj-statue carries Heh, whos crew carries in holiness his perfection, whos Ba caused Hathor to appear in the sky, whos figure is revered by his followers, who is unique, encircled by his forehead-snake, with countless names on the top of Chui-en-hesen, the symbol of power of Re in the land of Atum (Dendera), the father of the Gods, who created everything.

Gold his metal, height: four handbreadths

  

(left)

Object 2(a)

(Crypt 1-C,

 

south wall)

 

Speaking the words of harsomtus, the great God, who dwells in Dendera, the living Ba in the lotus flower of the day-barge, whos perfection is carried by the two arms of the djed-pillar as his Seschemu-image, while the Kas on their knees bend their arms.

Gold and all precious stones, height: three handbreadths

  

(right)

Object 3(a)

(Crypt 1-C,

 

north wall)

 

Speaking the words of harsomtus, the great God, who dwells in Dendera, who emerges out of the lotus flower as a living Ba, whos completeness is elevated by the Kematju-images of his Ka, whos Seschemu-image is revered by the crew of the day-barge, whos body is carried by the djed-pillar, underneath his Seschemu-image is the Primal and whos majesty is carried by the companions of his Ka.

Gold, height: one cubit

 

Denderah. Grand temple. Crypte no. 4 (NYPL b16461786-1548062) (lower).jpg

Object 1(b)

(Room G,

 

south wall)

 

Harsomtus in the hn-container of the night-barge that contains four figures. The figure of heh is in front of him, whereas this flower is behind him, the water beneath him.

Gold his metal, height: four handbreadths.

 

Denderah. Grand temple. Chambre V (NYPL b16461786-1547977) (lower).jpg

Object 2(b)

(Room G,

 

north wall)

 

Harsomtus on his barge

Gold and all precious stones, height: three handbreadths

  

(left)

Object 3(b)

(Room G,

 

north wall)

 

Harsomtus of Upper- and Lower Egypt, the Sata-snake, that emerges from the flower, which contains the hn-container, who is flanked by four figures with human faces, under his head the figure of Heh on the Serech on the bow of his barge. The Juf-monkey with the face of a toad, armed with knives, is in front of him, as are the two figures that carry the front part of this flower.

 

(right)

Similar motifs

Denderah. Grand temple. Chambre V (NYPL b16461786-1547977) (upper).jpg

 

Denderah. Grand temple. Crypte no. 4 (NYPL b16461786-1548061) (Harsomtus).jpg

 

Denderah. Grand temple. Chambre V (NYPL b16461786-1547978) (upper).jpg

 

Denderah. Grand temple. Crypte no. 1 (NYPL b16461786-1548026) (harsomtus).jpg

 

Denderah. Grand temple. Chambres de la terrasse. Osiris du sud. Chambre no. 3 (NYPL b16461786-1548166) (cropped).tiff

 

NaqaLionTempleApedemakSnake.jpg

Fringe interpretation

In contrast to the mainstream interpretation, a fringe theory proposes that the reliefs depict Ancient Egyptian technology, based on comparison to similar modern devices (such as a Cathode-ray tube, Geissler tubes, Crookes tubes, and arc lamps). J. N. Lockyer's passing reference to a colleague's humorous suggestion that electric lamps would explain the absence of lampblack deposits in the tombs has sometimes been forwarded as an argument supporting this particular interpretation (another argument being made is the use of a system of reflective mirrors).[4] Proponents of this interpretation have also used a text referring to "high poles covered with copper plates" to argue this,[5] but Bolko Stern has written in detail explaining why the copper-covered tops of poles (which were lower than the associated pylons) do not relate to electricity or lightning, pointing out that no evidence of anything used to manipulate electricity had been found in Egypt and that this was a magical and not a technical installation.[6]

 

Archaeologist and debunker Kenneth Feder argued that if ancient Egyptians really had such advanced technology, some light bulb remains (glass shards, metal sockets, filaments...) should have been discovered during archaeological excavations. By applying Occam's razor, he instead highlighted the feasibility of the aforementioned reflective mirrors system, and also that the notion of adding salt to torches to minimize lampblack was well known by ancient Egyptians.[7]

 

See also

Egyptian mythology

References

"Dendera Temple Crypt Archived 2010-04-25 at the Wayback Machine". iafrica.com.

Wolfgang Waitkus, Die Texte in den unteren Krypten des Hathortempels von Dendera: ihre Aussagen zur Funktion und Bedeutung dieser Räume, Mainz 1997 ISBN 3-8053-2322-0 (tr., The texts in the lower crypts of the Hathor temples of Dendera: their statements for the function and meaning of these areas)

Waitkus, Wolfgang (2002). "Die Geburt des Harsomtus aus der Blüte Zur Bedeutung und Funktion einiger Kultgegenstände des Tempels von Dendera". Studien zur Altägyptischen Kultur. 30: 373–394. JSTOR 25152877.

Press, The MIT (15 May 1973). The Dawn of Astronomy | The MIT Press. mitpress.mit.edu. MIT Press. ISBN 9780262120142. Retrieved 2020-10-06.

Bruno Kolbe, Francis ed Legge, Joseph Skellon, tr., "An Introduction to Electricity". Kegan Paul, Trench, Trübner, 1908. 429 pages. Page 391. (cf., "[...] high poles covered with copper plates and with gilded tops were erected 'to break the stones coming from on high'. J. Dümichen, Baugeschichte des Dendera-Tempels, Strassburg, 1877")

Stern, Bolko (1998) [1896]. Ägyptische Kulturgeschichte. Reprint-Verlag-Leipzig. pp. 106–108. ISBN 978-3826219085.

Feder, Kenneth H. (2014). Frauds, Myths, and Mysteries: Science and Pseudoscience in Archaeology. New York: McGraw-Hill. ISBN 978-0-07-803507-4., pp.225–7

External links

Wikimedia Commons has media related to Dendera light.

The Dendera Reliefs, Catchpenny Mysteries.

Frank Dörnenburg, Electric lights in Egypt?. 2004.

Mariette, Auguste (1870) - Dendérah: description générale du grand temple de cette ville (II: 48, 49; III: 44, 45)

Coordinates: 26.141611°N 32.670139°E

 

Categories: EgyptologyOut-of-place artifactsPseudoarchaeology

Navigation menu

Not logged in

Talk

Contributions

Create account

Log in

ArticleTalk

ReadEditView history

Search

Search Wikipedia

Main page

Contents

Current events

Random article

About Wikipedia

Contact us

Donate

Contribute

Help

Learn to edit

Community portal

Recent changes

Upload file

Tools

What links here

Related changes

Special pages

Permanent link

Page information

Cite this page

Wikidata item

Print/export

Download as PDF

Printable version

In other projects

Wikimedia Commons

 

Languages

العربية

Deutsch

Español

Euskara

Italiano

日本語

Português

Русский

中文

11 more

Edit links

This page was last edited on 28 February 2022, at 12:29 (UTC).

Text is available under the Creative Commons Attribution-ShareAlike License 3.0; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.

 

en.wikipedia.org/wiki/Dendera_light

  

The ancient Egyptian Dendera Light "protective magical energy in liquid form" is the evaporative cooling fog. The fact that the Dendera Light is made of liquid water that transforms itself in a magical way, is exactly what are describing ancient Egyptians themselves : [About the snake inside the Dendera Light Bulb] "The field surrounding Ra’s snake form is referred to in ancient Egyptian literature as protective magical energy in liquid form that all gods and pharaohs possess (Faulkner 1970*)." ahotcupofjoe.net/2016/11/dendera-light-bulb-and-bagdad-ba...

 

*I'm not sure, but the excerpt might be from "The ancient Egyptian book of the dead / translated by Raymond O. Faulkne ; edited by Carol Andrews, 1972."

 

www.milleetunetasses.com/blog/the-great-pyramid-of-khufu-...

 

Evaporative cooling for the sodium carbonate manufacturing

 

My study is based on 2 key elements : the first one is the cold production inside the horizontal passage of the Great Pyramid ; and the second one is the production of sodium carbonate (pure natron), as suggested by the Red Pyramid.

 

The ammonia still present inside the Red Pyramid, indicates that they were using a sodium carbonate process identical or very close to the ammonia-soda process known as the Solvay process, developed into its modern form in the 1860s in Europe.

 

In the Solvay process, the ammonia only has a minor role ; but inside the Red Pyramid, my guess is that they didn't control the temperature of the different chemical reactions inside the Solvay towers. They couldn't cool down the towers.

 

That is the reason why they engineered the visible part of the Great Pyramid : to produce cold inside the horizontal passage, store it inside the Queen's chamber, and transfer it to the sodium carbonate production towers, passing through the Queen's chamber shafts.

This purse pictured here is a reference to the idea of 364 "unbirthday" days (365 days if it's a leap year) introduced by the famous British writer Lewis Carroll (pen name of Charles Lutwidge Dodgson) in his famous work "Alice's Adventures in Wonderland."

 

The concept of "unbirthday" appears in Lewis Carroll's work, "Through the Looking-Glass," and is celebrated by the characters at a tea party. The "Unbirthday Song," sung by the Mad Hatter and the March Hare, is a cheerful, nonsensical song that celebrates this special day.

 

In short, "unbirthday" is an invented holiday in the Alice story, where any day that isn't someone's birthday is celebrated, emphasizing the idea that "there's always a reason to celebrate."

 

Photo taken in Pozuelo de Alarcón, Madrid, Spain.

 

UN BOLSO Y UN DÍA DE "NO-CUMPLEAÑOS", 2025

 

Este bolso que aparece en la foto obedece a la idea de los 364 días de "no-cumpleaños" (365 días si el año es bisiesto) que introdujo el famoso escritor británico Lewis Carroll (pseudónimo de Charles Lutwidge Dodgson), en su famosa obra "Las aventuras de Alicia en el país de las maravillas".

 

El concepto del "no cumpleaños" aparece en la obra de Lewis Carroll, "A través del espejo", y es celebrado por los personajes en una fiesta de té. La canción del no cumpleaños, interpretada por el Sombrerero Loco y la Liebre de Marzo, es una canción alegre y sin sentido que celebra este día especial.

 

En resumen, el "no cumpleaños" es un día festivo inventado en la historia de Alicia, donde se celebra cualquier día que no sea el cumpleaños de alguien, enfatizando la idea de que "siempre hay una razón para celebrar".

 

Foto tomada en Pozuelo de Alarcón, Madrid, España.

Inventi quella luce

 

ma sono gli occhi miei

 

mentre ti guardo io non so più

 

dove finisco io e cominci tu

 

il sogno... la realtà

Gennaro Iannotti

Lewis Howard Latimer, 1848-1928

 

African American inventor and patent draftsman. He worked with Alexander Graham Bell and Thomas Edison and invented a modification to the process for making carbon filaments aimed to reduce breakages. While at Edison, Latimer wrote the first book on electric lighting.

 

As a son of parents who escaped slavery, he had a long and impressive career.

 

Much more:

en.wikipedia.org/wiki/Lewis_Howard_Latimer

Author King Kong.

Milano and its street community through King Kong point of view.

Check this out.

 

...Inventos con mi amigo, Javi Benedito, poniendo en práctica métodos de fotografía empleados por un gran maestro del la fotografía, Pedro Javier Pascual pedrojavierpascual.es evidentemente, a años luz de él...

 

Pulsar L para verla mejor

Más fotos en

Blog

500px

Facebook

what are you waiting for?

I just realized that I frame a lot of photos into the square format. It must be the influence of that Hasselblad film camera.

Parc de la Villette, Parigi

Inventé par l'ingénieur Dean Kamen en 2001 et développé par la firme américaine Segway Inc, le gyropode Segway est le nouveau mode de transport motorisé le plus écologique et le plus économique par personne et par kilomètre. Aujourd'hui leader mondial du transport léger électrique de proximité avec plus de 80 000 gyropodes en circulation dans plus de 60 pays.

 

Bon week-end les artistes !

traveladventureeverywhere.blogspot.com/2020/08/holy-mosco...

..

 

..

 

.

 

.

 

.

 

.

 

.

  

.

 

.

 

.

 

.

 

.

 

.

 

.

 

.

 

.

 

.

 

.

 

.

 

.

 

.

 

.

 

.

 

.

 

.

 

.

 

.

 

.

 

.

  

ALBANIA

 

Albanian Trilogy: A Series of Devious Stratagems

 

Armando Lulaj

 

Commissioner: Ministry of Culture. Curator: Marco Scotini. Deputy Curator: Andris Brinkmanis. Venue: Pavilion at Arsenale

 

ANDORRA

 

Inner Landscapes

 

Roqué, Joan Xandri

 

Commissioner: Henry Périer. Deputy Commissioner: Joana Baygual, Sebastià Petit, Francesc Rodríguez

 

Curator: Paolo de Grandis, Josep M. Ubach. Venue: Spiazzi, Castello 3865

 

ANGOLA

 

On Ways of Travelling

 

António Ole, Binelde Hyrcan, Délio Jasse, Francisco Vidal, Nelo Teixeira

 

Commissioner: Ministry of Culture, Rita Guedes Tavares. Curator: António Ole. Deputy Curator: Antonia Gaeta. Venue: Conservatorio Benedetto Marcello - Palazzo Pisani, San Marco 2810

 

ARGENTINA

 

The Uprising of Form

 

Juan Carlos Diste´fano

 

Commissioner: Magdalena Faillace. Curator: Mari´a Teresa Constantin. Venue: Pavilion at Arsenale – Sale d’Armi

 

ARMENIA, Republic of

 

Armenity / Haiyutioun

 

Haig Aivazian, Lebanon; Nigol Bezjian, Syria/USA; Anna Boghiguian Egypt/Canada; Hera Büyüktasçiyan, Turkey; Silvina Der-Meguerditchian, Argentina/Germany; Rene Gabri & Ayreen Anastas, Iran/Palestine/USA; Mekhitar Garabedian, Belgium; Aikaterini Gegisian, Greece; Yervant Gianikian & Angela Ricci Lucchi, Italy; Aram Jibilian, USA; Nina Katchadourian, USA/Finland; Melik Ohanian, France; Mikayel Ohanjanyan, Armenia/Italy; Rosana Palazyan, Brazil; Sarkis, Turkey/France; Hrair Sarkissian, Syria/UK

 

Commissioner: Ministry of Culture of the Republic of Armenia. Deputy Commissioner: Art for the World, Mekhitarist Congregation of San Lazzaro Island, Embassy of the Republic of Armenia in Italy, Vartan Karapetian. Curator: Adelina Cüberyan von Fürstenberg. Venue: Monastery and Island of San Lazzaro degli Armeni

 

AUSTRALIA

 

Fiona Hall: Wrong Way Time

 

Fiona Hall

 

Commissioner: Simon Mordant AM. Deputy Commissioner: Charles Green. Curator: Linda Michael. Scientific Committee: Simon Mordant AM, Carolyn Christov-Bakargiev, Max Delany, Rachel Kent, Danie Mellor, Suhanya Raffel, Leigh Robb. Venue: Pavilion at Giardini

 

AUSTRIA

 

Heimo Zobernig

 

Commissioner: Yilmaz Dziewior. Curator: Yilmaz Dziewior. Scientific Committee: Friends of the Venice Biennale. Venue: Pavilion at Giardini

 

AZERBAIJAN, Republic of

 

Beyond the Line

 

Ashraf Murad, Javad Mirjavadov, Tofik Javadov, Rasim Babayev, Fazil Najafov, Huseyn Hagverdi, Shamil Najafzada

 

Commissioner: Heydar Aliyev Foundation. Curators: de Pury de Pury, Emin Mammadov. Venue: Palazzo Lezze, Campo S.Stefano, San Marco 2949

 

Vita Vitale

 

Edward Burtynsky, Mircea Cantor, Loris Cecchini, Gordon Cheung, Khalil Chishtee, Tony Cragg, Laura Ford, Noemie Goudal, Siobhán Hapaska, Paul Huxley, IDEA laboratory and Leyla Aliyeva, Chris Jordan with Rebecca Clark and Helena S.Eitel, Tania Kovats, Aida Mahmudova, Sayyora Muin, Jacco Olivier, Julian Opie, Julian Perry, Mike Perry, Bas Princen, Stephanie Quayle, Ugo Rondinone, Graham Stevens, Diana Thater, Andy Warhol, Bill Woodrow, Erwin Wurm, Rose Wylie

 

Commissioner: Heydar Aliyev Foundation. Curators: Artwise: Susie Allen, Laura Culpan, Dea Vanagan. Venue: Ca’ Garzoni, San Marco 3416

 

BELARUS, Republic of

 

War Witness Archive

 

Konstantin Selikhanov

 

Commissioner: Natallia Sharanhovich. Deputy Commissioners: Alena Vasileuskaya, Kamilia Yanushkevich. Curators: Aleksei Shinkarenko, Olga Rybchinskaya. Scientific Committee: Dmitry Korol, Daria Amelkovich, Julia Kondratyuk, Sergei Jeihala, Sheena Macfarlane, Yuliya Heisik, Hanna Samarskaya, Taras Kaliahin, Aliaksandr Stasevich. Venue: Riva San Biagio, Castello 2145

 

BELGIUM

 

Personnes et les autres

 

Vincent Meessen and Guests, Mathieu K. Abonnenc, Sammy Baloji, James Beckett, Elisabetta Benassi, Patrick Bernier & Olive Martin, Tamar Guimara~es & Kasper Akhøj, Maryam Jafri, Adam Pendleton

 

Commissioner: Wallonia-Brussels Federation and Wallonia-Brussels International. Curator: Katerina Gregos. Venue: Pavilion at Giardini

 

COSTA RICA

 

"Costa Rica, Paese di pace, invita a un linguaggio universale d'intesa tra i popoli".

 

Andrea Prandi, Beatrice Gallori, Beth Parin, Biagio Schembari, Carla Castaldo, Celestina Avanzini, Cesare Berlingeri, Erminio Tansini, Fabio Capitanio, Fausto Beretti, Giovan Battista Pedrazzini, Giovanni Lamberti, Giovanni Tenga, Iana Zanoskar, Jim Prescott, Leonardo Beccegato, Liliana Scocco, Lucia Bolzano, Marcela Vicuna, Marco Bellagamba, Marco Lodola, Maria Gioia dell’Aglio, Mario Bernardinello, Massimo Meucci, Nacha Piattini, Omar Ronda, Renzo Eusebi, Tita Patti, Romina Power, Rubens Fogacci, Silvio di Pietro, Stefano Sichel, Tino Stefanoni, Ufemia Ritz, Ugo Borlenghi, Umberto Mariani, Venere Chillemi, Jacqueline Gallicot Madar, Massimo Onnis, Fedora Spinelli

 

Commissioner: Ileana Ordonez Chacon. Curator: Gregorio Rossi. Venue: Palazzo Bollani

 

CROATIA

 

Studies on Shivering: The Third Degree

 

Damir Ocko

 

Commissioner: Ministry of Culture. Curator: Marc Bembekoff. Venue: Palazzo Pisani, S. Marina

 

CUBA

 

El artista entre la individualidad y el contexto

 

Lida Abdul, Celia-Yunior, Grethell Rasúa, Giuseppe Stampone, LinYilin, Luis Edgardo Gómez Armenteros, Olga Chernysheva, Susana Pilar Delahante Matienzo

 

Commissioner: Miria Vicini. Curators: Jorge Fernández Torres, Giacomo Zaza. Venue: San Servolo Island

 

CYPRUS, Republic of

 

Two Days After Forever

 

Christodoulos Panayiotou

 

Commissioner: Louli Michaelidou. Deputy Commissioner: Angela Skordi. Curator: Omar Kholeif. Deputy Curator: Daniella Rose King. Venue: Palazzo Malipiero, Sestiere San Marco 3079

 

CZECH Republic and SLOVAK Republic

 

Apotheosis

 

Jirí David

 

Commissioner: Adam Budak. Deputy Commissioner: Barbara Holomkova. Curator: Katarina Rusnakova. Venue: Pavilion at Giardini

 

ECUADOR

 

Gold Water: Apocalyptic Black Mirrors

 

Maria Veronica Leon Veintemilla in collaboration with Lucia Vallarino Peet

 

Commissioner: Andrea Gonzàlez Sanchez. Deputy Commissioner: PDG Arte Communications. Curator: Ileana Cornea. Deputy Curator: Maria Veronica Leon Veintemilla. Venue: Istituto Santa Maria della Pietà, Castello 3701

 

ESTONIA

 

NSFW. From the Abyss of History

 

Jaanus Samma

 

Commissioner: Maria Arusoo. Curator: Eugenio Viola. Venue: Palazzo Malipiero, campo San Samuele, San Marco 3199

 

EGYPT

 

CAN YOU SEE

 

Ahmed Abdel Fatah, Gamal Elkheshen, Maher Dawoud

 

Commissioner: Hany Al Ashkar. Curator: Ministry of Culture. Venue: Pavilion at Giardini

 

FINLAND (Pavilion Alvar Aalto)

 

Hours, Years, Aeons

 

IC-98

 

Commissioner: Frame Visual Art Finland, Raija Koli. Curator: Taru Elfving. Deputy Curator: Anna Virtanen. Venue: Pavilion at Giardini

 

FRANCE

 

revolutions

 

Céleste Boursier-Mougenot

 

Commissioner: Institut français, with Ministère de la Culture et de la Communication. Curator: Emma Lavigne. Venue: Pavilion at Giardini

 

GEORGIA

 

Crawling Border

 

Rusudan Gobejishvili Khizanishvili, Irakli Bluishvili, Dimitri Chikvaidze, Joseph Sabia

 

Commissioner: Ana Riaboshenko. Curator: Nia Mgaloblishvili. Venue: Pavilion at Arsenale – Sale d’Armi

 

GERMANY

 

Fabrik

 

Jasmina Metwaly / Philip Rizk, Olaf Nicolai, Hito Steyerl, Tobias Zielony

 

Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office. Deputy Commissioner: Elke aus dem Moore, Nina Hülsmeier. Curator: Florian Ebner. Deputy Curator: Tanja Milewsky, Ilina Koralova. Venue: Pavilion at Giardini

 

GREAT BRITAIN

 

Sarah Lucas

 

Commissioner: Emma Dexter. Curator: Richard Riley. Deputy Curator: Katrina Schwarz. Venue: Pavilion at Giardini

 

GRENADA *

 

Present Nearness

 

Oliver Benoit, Maria McClafferty, Asher Mains, Francesco Bosso and Carmine Ciccarini, Guiseppe Linardi

 

Commissioner: Ministry of Culture. Deputy Commissioner: Susan Mains. Curator: Susan Mains. Deputy Curator: Francesco Elisei. Venue: Opera don Orione Artigianelli, Sala Tiziano, Fondamenta delle Zattere ai Gesuati, Dorsoduro 919

 

GREECE

 

Why Look at Animals? AGRIMIKÁ.

 

Maria Papadimitriou

 

Commissioner: Hellenic Ministry of Culture, Education and Religious Affairs. Curator: Gabi Scardi. Deputy Curator: Alexios Papazacharias. Venue: Pavilion at Giardini

 

BRAZIL

 

So much that it doesn't fit here

 

Antonio Manuel, André Komatsu, Berna Reale

 

Commissioner: Luis Terepins. Curator: Luiz Camillo Osorio. Deputy Curator: Cauê Alves. Venue: Pavilion at Giardini

 

CANADA

 

Canadassimo

 

BGL

 

Commissioner: National Gallery of Canada, Marc Mayer. Deputy Commissioner: National Gallery of Canada, Yves Théoret. Curator: Marie Fraser. Venue: Pavilion at Giardini

 

CHILE

 

Poéticas de la disidencia | Poetics of dissent: Paz Errázuriz - Lotty Rosenfeld

 

Paz Errázuriz, Lotty Rosenfeld

 

Commissioner: Antonio Arèvalo. Deputy Commissioner: Juan Pablo Vergara Undurraga. Curator: Nelly Richard. Venue: Pavilion at Arsenale - Artiglierie

 

CHINA, People’s Republic of

 

Other Future

 

LIU Jiakun, LU Yang, TAN Dun, WEN Hui/Living Dance Studio, WU Wenguang/Caochangdi Work Station

 

Commissioner: China Arts and Entertainment Group, CAEG. Deputy Commissioners: Zhang Yu, Yan Dong. Curator: Beijing Contemporary Art Foundation. Scientific Committee: Fan Di’an, Zhang Zikang, Zhu Di, Gao Shiming, Zhu Qingsheng, Pu Tong, Shang Hui. Venue: Pavilion at Arsenale – Giardino delle Vergini

 

GUATEMALA

 

Sweet Death

 

Emma Anticoli Borza, Sabrina Bertolelli, Mariadolores Castellanos, Max Leiva, Pier Domenico Magri, Adriana Montalto, Elmar Rojas (Elmar René Rojas Azurdia), Paolo Schmidlin, Mónica Serra, Elsie Wunderlich, Collettivo La Grande Bouffe

 

Commissioner: Daniele Radini Tedeschi. Curators: Stefania Pieralice, Carlo Marraffa, Elsie Wunderlich. Deputy Curators: Luciano Carini, Simone Pieralice. Venue: Officina delle Zattere, Dorsoduro 947, Fondamenta Nani

 

HOLY SEE

 

Commissioner: Em.mo Card. Gianfranco Ravasi, Presidente del Pontificio Consiglio della Cultura. Venue: Pavilion at Arsenale – Sale d’Armi

 

HUNGARY

 

Sustainable Identities

 

Szilárd Cseke

 

Commissioner: Monika Balatoni. Deputy Commissioner: István Puskás, Sándor Fodor, Anna Karády. Curator: Kinga German. Venue: Pavilion at Giardini

 

ICELAND

 

Christoph Büchel

 

Commissioner: Björg Stefánsdóttir. Curator: Nína Magnúsdóttir. Venue: to be confirmed

 

INDONESIA, Republic of

 

Komodo Voyage

 

Heri Dono

 

Commissioner: Sapta Nirwandar. Deputy Commissioner: Soedarmadji JH Damais. Curator: Carla Bianpoen, Restu Imansari Kusumaningrum. Scientific Committee: Franco Laera, Asmudjo Jono Irianto, Watie Moerany, Elisabetta di Mambro. Venue: Venue: Arsenale

 

IRAN

 

Iranian Highlights

 

Samira Alikhanzaradeh, Mahmoud Bakhshi Moakhar, Jamshid Bayrami, Mohammed Ehsai

 

The Great Game

 

Lida Abdul, Bani Abidi, Adel Abidin, Amin Agheai, Ghodratollah Agheli, Shahriar Ahmadi, Parastou Ahovan, Farhad Ahrarnia, Rashad Alakbarov, Nazgol Ansarinia, Reza Aramesh, Alireza Astaneh, Sonia Balassanian, Mahmoud Bakhshi, Moakhar Wafaa Bilal, Mehdi Farhadian, Monir Farmanfarmaian, Shadi Ghadirian, Babak Golkar, Shilpa Gupta, Ghasem Hajizadeh, Shamsia Hassani, Sahand Hesamiyan, Sitara Ibrahimova, Pouran Jinchi, Amar Kanwar, Babak Kazemi, Ryas Komu, Ahmad Morshedloo, Farhad Moshiri, Mehrdad Mohebali, Huma Mulji, Azad Nanakeli, Jamal Penjweny, Imran Qureshi, Sara Rahbar, Rashid Rana, T.V. Santhosh, Walid Siti, Mohsen Taasha Wahidi, Mitra Tabrizian, Parviz Tanavoli, Newsha Tavakolian, Sadegh Tirafkan, Hema Upadhyay, Saira Wasim

 

Commissioner: Majid Mollanooruzi. Deputy Commissioners: Marco Meneguzzo, Mazdak Faiznia. Curators: Marco Meneguzzo, Mazdak Faiznia. Venue: Calle San Giovanni 1074/B, Cannaregio

 

IRAQ

 

Commissioner: Ruya Foundation for Contemporary Culture in Iraq (RUYA). Deputy Commissioner: Nuova Icona - Associazione Culturale per le Arti. Curator: Philippe Van Cauteren. Venue: Ca' Dandolo, San Polo 2879

 

IRELAND

 

Adventure: Capital

 

Sean Lynch

 

Commissioner: Mike Fitzpatrick. Curator: Woodrow Kernohan. Venue: Pavilion at Arsenale - Artiglierie

 

ISRAEL

 

Tsibi Geva | Archeology of the Present

 

Tsibi Geva

 

Commissioner: Arad Turgem, Michael Gov. Curator: Hadas Maor. Venue: Pavilion at Giardini

   

ITALY

 

Ministero dei Beni e delle attività culturali e del turismo - Direzione Generale Arte e Architettura Contemporanee e Periferie Urbane. Commissioner: Federica Galloni. Curator: Vincenzo Trione. Venue: Padiglione Italia, Tese delle Vergini at Arsenale

   

JAPAN

 

The Key in the Hand

 

Chiharu Shiota

 

Commissioner: The Japan Foundation. Deputy Commissioner: Yukihiro Ohira, Manako Kawata and Haruka Nakajima. Curator: Hitoshi Nakano. Venue : Pavilion at Giardini

   

KENYA

 

Creating Identities

 

Yvonne Apiyo Braendle-Amolo, Qin Feng, Shi Jinsong, Armando Tanzini, Li Zhanyang, Lan Zheng Hui, Li Gang, Double Fly Art Center

 

Commissioner: Paola Poponi. Curator: Sandro Orlandi Stagl. Deputy Curator: Ding Xuefeng. Venue: San Servolo Island

   

KOREA, Republic of

 

The Ways of Folding Space & Flying

 

MOON Kyungwon & JEON Joonho

 

Commissioner: Sook-Kyung Lee. Curator: Sook-Kyung Lee. Venue: Pavilion at Giardini

   

KOSOVO, Republic of

 

Speculating on the blue

 

Flaka Haliti

 

Commissioner: Ministry of Culture, Youth and Sports. Curator: Nicolaus Schafhausen. Deputy Curator: Katharina Schendl. Venue: Pavilion at Arsenale - Artiglierie

   

LATVIA

 

Armpit

 

Katrina Neiburga, Andris Eglitis

 

Commissioner: Solvita Krese (Latvian Centre for Contemporary Art). Deputy Commissioner: Kitija Vasiljeva. Curator: Kaspars Vanags. Venue: Pavilion at Arsenale

   

LITHUANIA

 

Museum

 

Dainius Liškevicius

 

Commissioner: Vytautas Michelkevicius. Deputy Commissioner: Rasa Antanaviciute. Curator: Vytautas Michelkevicius. Venue: Palazzo Zenobio, Fondamenta del Soccorso 2569, Dorsoduro

   

LUXEMBOURG, Grand Duchy of

 

Paradiso Lussemburgo

 

Filip Markiewicz

 

Commissioner: Ministry of Culture. Deputy Commissioner: MUDAM Luxembourg. Curator: Paul Ardenne. Venue: Cà Del Duca, Corte del Duca Sforza, San Marco 3052

   

MACEDONIA, Former Yugoslavian Republic of

 

We are all in this alone

 

Hristina Ivanoska and Yane Calovski

 

Commissioner: Maja Nedelkoska Brzanova, National Gallery of Macedonia. Deputy Commissioner: Olivija Stoilkova. Curator: Basak Senova. Deputy Curator: Maja Cankulovska Mihajlovska. Venue: Pavilion at Arsenale - Sale d’Armi

   

MAURITIUS *

 

From One Citizen You Gather an Idea

 

Sultana Haukim, Nirmal Hurry, Alix Le Juge, Olga Jürgenson, Helge Leiberg, Krishna Luchoomun, Neermala Luckeenarain, Kavinash Thomoo, Bik Van Der Pol, Laure Prouvost, Vitaly Pushnitsky, Römer + Römer

 

Commissioner: pARTage. Curators: Alfredo Cramerotti, Olga Jürgenson. Venue: Palazzo Flangini - Canareggio 252

   

MEXICO

 

Possesing Nature

 

Tania Candiani, Luis Felipe Ortega

 

Commissioner: Tomaso Radaelli. Deputy Commissioner: Magdalena Zavala Bonachea. Curator: Karla Jasso. Venue: Pavilion at Arsenale – Sale d’Armi

   

MONGOLIA *

 

Other Home

 

Enkhbold Togmidshiirev, Unen Enkh

 

Commissioner: Gantuya Badamgarav, MCASA. Curator: Uranchimeg Tsultemin. Scientific Committee: David A Ross, Boldbaatar Chultemin. Venue: European Cultural Centre - Palazzo Mora

   

MONTENEGRO

 

,,Ti ricordi Sjecaš li se You Remember "

 

Aleksandar Duravcevic

 

Commissioner/Curator: Anastazija Miranovic. Deputy Commissioner: Danica Bogojevic. Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero

   

MOZAMBIQUE, Republic of *

 

Theme: Coexistence of Tradition and Modernity in Contemporary Mozambique

 

Mozambique Artists

 

Commissioner: Joel Matias Libombo. Deputy Commissioner: Gilberto Paulino Cossa. Curator: Comissariado-Geral para a Expo Milano 2015. Venue: Pavilion at Arsenale

   

NETHERLANDS, The

 

herman de vries - to be all ways to be

 

herman de vries

 

Commissioner: Mondriaan Fund. Curators: Colin Huizing, Cees de Boer. Venue: Pavilion ar Giardini

   

NEW ZEALAND

 

Secret Power

 

Simon Denny

 

Commissioner: Heather Galbraith. Curator: Robert Leonard. Venue: Biblioteca Nazionale Marciana, Marco Polo Airport

   

NORDIC PAVILION (NORWAY)

 

Camille Norment

 

Commissioner: OCA, Office for Contemporary Art Norway. Curator: Katya García-Antón. Deputy Curator: Antonio Cataldo. Venue: Pavilion at Giardini

   

PERU

 

Misplaced Ruins

 

Gilda Mantilla and Raimond Chaves

 

Commissioner: Armando Andrade de Lucio. Curator: Max Hernández-Calvo. Venue: Pavilion at Arsenale – Sale d’Armi

   

PHILIPPINES

 

Tie a String Around the World

 

Manuel Conde, Carlos Francisco, Manny Montelibano, Jose Tence Ruiz

 

Commissioner: National Commission for Culture and the Arts (NCCA), Felipe M. de Leon Jr. Curator: Patrick D. Flores. Venue: European Cultural Centre - Palazzo Mora

   

POLAND

 

Halka/Haiti. 18°48’05”N 72°23’01”W

 

C.T. Jasper, Joanna Malinowska

 

Commissioner: Hanna Wróblewska. Deputy Commissioner: Joanna Wasko. Curator: Magdalena Moskalewicz. Venue: Pavilion at Giardini

   

PORTUGAL

 

I Will Be Your Mirror / poems and problems

 

João Louro

 

Commissioner/Curator: María de Corral. Venue: Palazzo Loredan, campo S. Stefano

   

ROMANIA

 

Adrian Ghenie: Darwin’s Room

 

Adrian Ghenie

 

Commissioner: Monica Morariu. Deputy Commissioner: Alexandru Damian. Curator: Mihai Pop. Venue: Pavilion at Giardini

   

Inventing the Truth. On Fiction and Reality

 

Michele Bressan, Carmen Dobre-Hametner, Alex Mirutziu, Lea Rasovszky, Stefan Sava, Larisa Sitar

 

Commissioner: Monica Morariu. Deputy Commissioner: Alexandru Damian. Curator: Diana Marincu. Deputy Curators: Ephemair Association (Suzana Dan and Silvia Rogozea). Venue: New Gallery of the Romanian Institute for Culture and Humanistic Research in Venice

   

RUSSIA

 

The Green Pavilion

 

Irina Nakhova

 

Commissioner: Stella Kesaeva. Curator: Margarita Tupitsyn. Venue: Pavilion at Giardini

   

SERBIA

 

United Dead Nations

 

Ivan Grubanov

 

Commissioner: Lidija Merenik. Deputy Commissioner: Ana Bogdanovic. Curator: Lidija Merenik. Deputy Curator: Ana Bogdanovic. Scientific Committee: Jovan Despotovic. Venue: Pavilion at Giardini

   

SAN MARINO

 

Repubblica di San Marino “ Friendship Project “ China

 

Xu De Qi, Liu Dawei, Liu Ruo Wang, Ma Yuan, Li Lei, Zhang Hong Mei, Eleonora Mazza, Giuliano Giulianelli, Giancarlo Frisoni, Tony Margiotta, Elisa Monaldi, Valentina Pazzini

 

Commissioner: Istituti Culturali della Repubblica di San Marino. Curator: Vincenzo Sanfo. Venue: TBC

   

SEYCHELLES, Republic of *

 

A Clockwork Sunset

 

George Camille, Léon Wilma Loïs Radegonde

 

Commissioner: Seychelles Art Projects Foundation. Curators: Sarah J. McDonald, Victor Schaub Wong. Venue: European Cultural Centre - Palazzo Mora

   

SINGAPORE

 

Sea State

 

Charles Lim Yi Yong

 

Commissioner: Paul Tan, National Arts Council, Singapore. Curator: Shabbir Hussain Mustafa. Scientific Committee: Eugene Tan, Kathy Lai, Ahmad Bin Mashadi, June Yap, Emi Eu, Susie Lingham, Charles Merewether, Randy Chan. Venue: Pavilion at Arsenale – Sale d’Armi

   

SLOVENIA, Republic of

 

UTTER / The violent necessity for the embodied presence of hope

 

JAŠA

 

Commissioner: Simona Vidmar. Deputy Commissioner: Jure Kirbiš. Curators: Michele Drascek and Aurora Fonda. Venue: Pavilion at Arsenale - Artiglierie

   

SPAIN

 

Los Sujetos (The Subjects)

 

Pepo Salazar, Cabello/Carceller, Francesc Ruiz, + Salvador Dalí

 

Commissioner: Ministerio Asuntos Exteriores. Gobierno de España. Curator: Marti Manen. Venue: Pavilion at Giardini

   

SYRIAN ARAB REPUBLIC

 

Origini della civiltà

 

Narine Ali, Ehsan Alar, Felipe Cardeña, Fouad Dahdouh, Aldo Damioli, Svitlana Grebenyuk, Mauro Reggio, Liu Shuishi, Nass ouh Zaghlouleh, Andrea Zucchi, Helidon Xhixha

 

Commissioner: Christian Maretti. Curator: Duccio Trombadori. Venue: Redentore – Giudecca, San Servolo Island

   

SWEDEN

 

Excavation of the Image: Imprint, Shadow, Spectre, Thought

 

Lina Selander

 

Commissioner: Ann-Sofi Noring. Curator: Lena Essling. Venue: Pavilion at Arsenale

   

SWITZERLAND

 

Our Product

 

Pamela Rosenkranz

 

Commissioner: Swiss Arts Council Pro Helvetia, Sandi Paucic and Marianne Burki. Deputy-Commissioner: Swiss Arts Council Pro Helvetia, Rachele Giudici Legittimo. Curator: Susanne Pfeffer. Venue: Pavilion at Giardini

   

THAILAND

 

Earth, Air, Fire & Water

 

Kamol Tassananchalee

 

Commissioner: Chai Nakhonchai, Office of Contemporary Art and Culture (OCAC), Ministry of Culture. Curator: Richard David Garst. Deputy Curator: Pongdej Chaiyakut. Venue: Paradiso Gallerie, Giardini della Biennale, Castello 1260

   

TURKEY

 

Respiro

 

Sarkis

 

Commissioner: Istanbul Foundation for Culture and Arts. Curator: Defne Ayas. Deputy Curator: Ozge Ersoy. Venue: Pavilion at Arsenale – Sale d’Armi

   

TUVALU

 

Crossing the Tide

 

Vincent J.F. Huang

 

Commissioner: Taukelina Finikaso. Deputy Commissioner: Temate Melitiana. Curator: Thomas J. Berghuis. Scientific Committee: Andrea Bonifacio. Venue: Pavilion at Arsenale

   

UKRAINE

 

Hope!

 

Yevgenia Belorusets, Nikita Kadan, Zhanna Kadyrova, Mykola Ridnyi & SerhiyZhadan, Anna Zvyagintseva, Open Group, Artem Volokitin

 

Commissioner: Ministry of Culture. Curator: Björn Geldhof. Venue: Riva dei Sette Martiri

   

UNITED ARAB EMIRATES

 

1980 – Today: Exhibitions in the United Arab Emirates

 

Abdullah Al Saadi, Abdul Qader Al Rais, Abdulraheem Salim, Abdulrahman Zainal, Ahmed Al Ansari, Ahmed Sharif, Hassan Sharif, Mohamed Yousif, Mohammed Abdullah Bulhiah, Mohammed Al Qassab, Mohammed Kazem, Moosa Al Halyan, Najat Meky, Obaid Suroor, Salem Jawhar

 

Commissioner: Salama bint Hamdan Al Nahyan Foundation. Curator: Hoor Al Qasimi. Venue: Pavilion at Arsenale – Sale d'Armi

   

UNITED STATES OF AMERICA

 

Joan Jonas: They Come to Us Without a Word

 

Joan Jonas

 

Commissioner: Paul C. Ha. Deputy Commissioner: MIT List Visual Arts Center. Curators: Ute Meta Bauer, Paul C. Ha. Venue: Pavilion at Giardini

   

URUGUAY

 

Global Myopia II (Pencil & Paper)

 

Marco Maggi

 

Commissioner: Ricardo Pascale. Curator: Patricia Bentancour. Venue: Pavilion at Giardini

   

VENEZUELA, Bolivarian Republic of

 

Te doy mi palabra (I give you my word)

 

Argelia Bravo, Félix Molina (Flix)

 

Commissioner: Oscar Sotillo Meneses. Deputy Commissioner: Reinaldo Landaeta Díaz. Curator: Oscar Sotillo Meneses. Deputy Curator: Morella Jurado. Scientific Committee: Carlos Pou Ruan. Venue: Pavilion at Giardini

   

ZIMBABWE, Republic of

 

Pixels of Ubuntu/Unhu: - Exploring the social and cultural identities of the 21st century.

 

Chikonzero Chazunguza, Masimba Hwati, Gareth Nyandoro

 

Commissioner: Doreen Sibanda. Curator: Raphael Chikukwa. Deputy Curator: Tafadzwa Gwetai. Scientific Committee: Saki Mafundikwa, Biggie Samwanda, Fabian Kangai, Reverend Paul Damasane, Nontsikelelo Mutiti, Stephen Garan'anga, Dominic Benhura. Venue: Santa Maria della Pieta

   

ITALO-LATIN AMERICAN INSTITUTE

 

Voces Indígenas

 

Commissioner: Sylvia Irrazábal. Curator: Alfons Hug. Deputy Curator: Alberto Saraiva. Venue: Pavilion at Arsenale

 

ARGENTINA

 

Sofia Medici and Laura Kalauz

 

PLURINATIONAL STATE OF BOLIVIA

 

Sonia Falcone and José Laura Yapita

 

BRAZIL

 

Adriana Barreto

 

Paulo Nazareth

 

CHILE

 

Rainer Krause

 

COLOMBIA

 

León David Cobo,

 

María Cristina Rincón and Claudia Rodríguez

 

COSTA RICA

 

Priscilla Monge

 

ECUADOR

 

Fabiano Kueva

 

EL SALVADOR

 

Mauricio Kabistan

 

GUATEMALA

 

Sandra Monterroso

 

HAITI

 

Barbara Prézeau Stephenson

 

HONDURAS

 

Leonardo González

 

PANAMA

 

Humberto Vélez

 

NICARAGUA

 

Raúl Quintanilla

 

PARAGUAY

 

Erika Meza

 

Javier López

 

PERU

 

José Huamán Turpo

 

URUGUAY

 

Gustavo Tabares

   

Ellen Slegers

     

001 Inverso Mundus. AES+F

 

Magazzino del Sale n. 5, Dorsoduro, 265 (Fondamenta delle Zattere ai Saloni); Palazzo Nani Mocenigo, Dorsoduro, 960

 

May 9th – October 31st

 

Organization: VITRARIA Glass + A Museum

 

www.vitraria.com

 

www.inversomundus.com

   

Catalonia in Venice: Singularity

 

Cantieri Navali, Castello, 40 (Calle Quintavalle)

 

May 9th - November 22nd

 

Organization: Institut Ramon Llull

 

www.llull.cat

 

venezia2015.llull.cat

   

Conversion. Recycle Group

 

Chiesa di Sant’Antonin, Castello (Campo Sant’Antonin)

 

May 6th - October 31st

 

Organization: Moscow Museum of Modern Art

 

www.mmoma.ru/

   

Dansaekhwa

 

Palazzo Contarini-Polignac, Dorsoduro, 874 (Accademia)

 

May 7th – August 15th

 

Organization: The Boghossian Foundation

 

www.villaempain.com

   

Dispossession

 

Palazzo Donà Brusa, Campo San Polo, 2177

 

May 9th - November 22nd

 

Organization: European Capital of Culture Wroclaw 2016

 

wroclaw2016.pl/biennale/

   

EM15 presents Doug Fishbone’s Leisure Land Golf

 

Arsenale Docks, Castello, 40A, 40B, 41C

 

May 6th - July 26th

 

Organization: EM15

 

www.em15venice.co.uk

   

Eredità e Sperimentazione

 

Grand Hotel Hungaria & Ausonia, Viale Santa Maria Elisabetta, 28, Lido di Venezia

 

May 9th - November 22nd

 

Organization: Istituto Nazionale di BioArchitettura - Sezione di Padova

 

www.bioarchitettura.it

   

Frontiers Reimagined

 

Palazzo Grimani, Castello, 4858 (Ramo Grimani)

 

May 9th - November 22nd

 

Organization: Tagore Foundation International; Polo museale del Veneto

 

www.frontiersreimagined.org

   

Glasstress 2015 Gotika

 

Istituto Veneto di Scienze Lettere ed Arti, Palazzo Cavalli Franchetti, San Marco, 2847 (Campo Santo Stefano); Chiesa di Santa Maria della Visitazione, Centro Culturale Don Orione Artigianelli, Dorsoduro, 919 (Zattere); Fondazione Berengo, Campiello della Pescheria, 15, Murano;

 

May 9th — November 22nd

 

Organization: The State Hermitage Museum

 

www.hermitagemuseum.org

   

Graham Fagen: Scotland + Venice 2015

 

Palazzo Fontana, Cannaregio, 3829 (Strada Nova)

 

May 9th - November 22nd

 

Organization: Scotland + Venice

 

www.scotlandandvenice.com

   

Grisha Bruskin. An Archaeologist’s Collection

 

Former Chiesa di Santa Caterina, Cannaregio, 4941-4942

 

May 6th – November 22nd

 

Organization: Centro Studi sulle Arti della Russia (CSAR), Università Ca’ Foscari Venezia

 

www.unive.it/csar

   

Helen Sear, ... The Rest Is Smoke

 

Santa Maria Ausiliatrice, Castello, 450 (Fondamenta San Gioacchin)

 

May 9th - November 22nd

 

Organization: Cymru yn Fenis/Wales in Venice

 

www.walesinvenice.org.uk

   

Highway to Hell

 

Palazzo Michiel, Cannaregio, 4391/A (Strada Nova)

 

May 9th - November 22nd

 

Organization: Hubei Museum of Art

 

www.hbmoa.com

   

Humanistic Nature and Society (Shan-Shui) – An Insight into the Future

 

Palazzo Faccanon, San Marco, 5016 (Mercerie)

 

May 7th – August 4th

 

Organization: Shanghai Himalayas Museum

 

www.himalayasmuseum.org

   

In the Eye of the Thunderstorm: Effervescent Practices from the Arab World & South Asia

 

Dorsoduro, 417 (Zattere)

 

May 6th - November 15th

 

Organization: ArsCulture

 

www.arsculture.org/

 

www.eyeofthunderstorm.com

   

Italia Docet | Laboratorium- Artists, Participants, Testimonials and Activated Spectators

 

Palazzo Barbarigo Minotto, San Marco, 2504 (Fondamenta Duodo o Barbarigo)

 

May 9th – June 30th; September 11st – October 31st

 

Organization: Italian Art Motherboard Foundation (i-AM Foundation)

 

www.i-amfoundation.org

 

www.venicebiennale-italiadocet.org

   

Jaume Plensa: Together

 

Basilica di San Giorgio Maggiore, Isola di San Giorgio Maggiore

 

May 6th – November 22nd

 

Organization: Abbazia di San Giorgio Maggiore Benedicti Claustra Onlus

 

www.praglia.it

   

Jenny Holzer "War Paintings"

 

Museo Correr, San Marco, 52 (Piazza San Marco)

 

May 6th – November 22nd

 

Organization: The Written Art Foundation; Museo Correr, Fondazione Musei Civici di Venezia

 

www.writtenartfoundation.com

 

correr.visitmuve.it

   

Jump into the Unknown

 

Palazzo Loredan dell’Ambasciatore, Dorsoduro, 1261-1262

 

May 9th – June 18th

 

Organization: Nine Dragon Heads

 

9dh-venice.com

   

Learn from Masters

 

Palazzo Bembo, San Marco, 4793 (Riva del Carbon)

 

May 9th – November 22nd

 

Organization: Pan Tianshou Foundation

 

pantianshou.caa.edu.cn/foundation_en

   

My East is Your West

 

Palazzo Benzon, San Marco, 3927

 

May 6th – October 31st

 

Organization: The Gujral Foundation

 

www.gujralfoundation.org

       

Ornamentalism. The Purvitis Prize

 

Arsenale Nord, Tesa 99

 

May 9th – November 22nd

 

Organization: The Secretariat of the Latvian Presidency of the Council of the European Union in 2015

 

www.purvisabalva.lv/en/ornamentalism

   

Path and Adventure

 

Arsenale, Castello, 2126/A (Campo della Tana)

 

May 9th – November 22nd

 

Organization: The Civic and Municipal Affairs Bureau; The Macao Museum of Art; The Cultural Affairs Bureau

 

www.iacm.gov.mo

 

www.mam.gov.mo

 

www.icm.gov.mo

   

Patricia Cronin: Shrine for Girls, Venice

 

Chiesa di San Gallo, San Marco, 1103 (Campo San Gallo)

 

May 9th – November 22nd

 

Organization: Brooklyn Rail Curatorial Projects

 

curatorialprojects.brooklynrail.org

   

Roberto Sebastian Matta. Sculture

 

Giardino di Palazzo Soranzo Cappello, Soprintendenza BAP per le Province di Venezia, Belluno, Padova e Treviso, Santa Croce, 770 (Fondamenta Rio Marin)

 

May 9th – November 22nd

 

Organization: Fondazione Echaurren Salaris

 

www.fondazioneechaurrensalaris.it

 

www.maggioregam.com/56Biennale_Matta

   

Salon Suisse: S.O.S. Dada - The World Is A Mess

 

Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)

 

May 9th; June 4th - 6th; September 10th - 12th; October 15th - 17th; November 19th – 21st

 

Organization: Swiss Arts Council Pro Helvetia

 

www.prohelvetia.ch

 

www.biennials.ch

   

Sean Scully: Land Sea

 

Palazzo Falier, San Marco, 2906

 

May 9th – November 22nd

 

Organization: Fondazione Volume!

 

www.fondazionevolume.com

   

Sepphoris. Alessandro Valeri

 

Molino Stucky, interior atrium, Giudecca, 812

 

May 9th – November 22nd

 

Organization: Assessorato alla Cultura del Comune di Narni(TR); a Sidereal Space of Art; Satellite Berlin

 

www.sepphorisproject.org

   

Tesla Revisited

 

Palazzo Nani Mocenigo, Dorsoduro, 960

 

May 9th – October 18th

 

Organization: VITRARIA Glass + A Museum

 

www.vitraria.com/

   

The Bridges of Graffiti

 

Arterminal c/o Terminal San Basilio, Dorsoduro (Fondamenta Zattere al Ponte Lungo)

 

May 9th - November 22nd

 

Organization: Associazione Culturale Inossidabile

 

www.inossidabileac.com

   

The Dialogue of Fire. Ceramic and Glass Masters from Barcelona to Venice

 

Palazzo Tiepolo Passi, San Polo, 2774

 

May 6th - November 22nd

 

Organization: Fundaciò Artigas; ArsCulture

 

www.fundacio-artigas.com/

 

www.arsculture.org/

 

www.dialogueoffire.org

   

The Question of Beings

 

Istituto Santa Maria della Pietà, Castello, 3701

 

May 9th - November 22nd

 

Organization: Museum of Contemporary Art, Taipei (MoCA, Taipei)

 

www.mocataipei.org.tw

   

The Revenge of the Common Place

 

Università Ca' Foscari, Ca' Bernardo, Dorsoduro, 3199 (Calle Bernardo)

 

May 9th – September 30th

 

Organization: Vrije Universiteit Brussel (Free University Brussels-VUB)

 

www.vub.ac.be/

   

The Silver Lining. Contemporary Art from Liechtenstein and other Microstates

 

Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)

 

October 24th – November 1st

 

Organization: Kunstmuseum Liechtenstein

 

www.kunstmuseum.li

 

www.silverlining.li

   

The Sound of Creation. Paintings + Music by Beezy Bailey and Brian Eno

 

Conservatorio Benedetto Marcello, Palazzo Pisani, San Marco, 2810 (Campo Santo Stefano)

 

May 7th - November 22nd

 

Organization: ArsCulture

 

www.arsculture.org/

   

The Union of Fire and Water

 

Palazzo Barbaro, San Marco, 2840

 

May 9th - November 22nd

 

Organization: YARAT Contemporary Art Organisation

 

www.yarat.az

 

www.bakuvenice2015.com

   

Thirty Light Years - Theatre of Chinese Art

 

Palazzo Rossini, San Marco, 4013 (Campo Manin)

 

May 9th - November 22nd

 

Organization: GAC Global Art Center Foundation; The Guangdong Museum of Art

 

www.globalartcenter.org

 

www.gdmoa.org

   

Tsang Kin-Wah: The Infinite Nothing, Hong Kong in Venice

 

Arsenale, Castello, 2126 (Campo della Tana)

 

May 9th - November 22nd

 

Organization: M+, West Kowloon Cultural District; Hong Kong Arts Development Council

 

www.westkowloon.hk/en/mplus

 

www.hkadc.org.hk

 

www.venicebiennale.hk

   

Under the Surface, Newfoundland and Labrador at Venice

 

Galleria Ca' Rezzonico, Dorsoduro, 2793

 

May 9th - November 22nd

 

Organization: Terra Nova Art Foundation

 

tnaf.ca

   

Ursula von Rydingsvard

 

Giardino della Marinaressa, Castello (Riva dei Sette Martiri)

 

May 6th - November 22nd

 

Organization:Yorkshire Sculpture Park

 

www.ysp.co.uk

   

We Must Risk Delight: Twenty Artists from Los Angeles

 

Magazzino del Sale n. 3, Dorsoduro, 264 (Zattere)

 

May 7th - November 22nd

 

Organization: bardoLA

 

www.bardoLA.org

   

Wu Tien-Chang: Never Say Goodbye

 

Palazzo delle Prigioni, Castello, 4209 (San Marco)

 

May 9th - November 22nd

 

Organization: Taipei Fine Arts Museum of Taiwan

 

www.tfam.museum

 

Instagram | www.lekorbo.be | Twitter

© KORBO - All rights reserved.

For Centre Use Only.

Con tanta gente era imposible fotografiar cualquier estructura al completo, por lo que se pierden muchas fotos en la Alhambra. Asi que toca inventarse.

Fireworks were originally invented in China. One of the cultural practices for fireworks was to scare away evil spirits. Cultural events and festivities such as the Chinese New Year and the Mid-Autumn Moon Festival were and still are times when fireworks are guaranteed sights.

This is how it REALLY happened...

 

You can purchase greetings cards, prints and posters with this image on by following this link

Lake Worth Beach is a city in Palm Beach County, Florida, United States, which takes its name from the body of water along its eastern border known as the Lake Worth Lagoon. The lake itself was named for General William J. Worth, who led U.S. forces during the last part of the Second Seminole War. As of 2010, the population estimated by the U.S. Census Bureau was 34,910. It is a principal city of the Miami metropolitan area, which was home to an estimated 6,012,331 people in 2015.

 

Lake Worth Beach was incorporated as the "Town of Lake Worth" in June 1913. Many of the first residents were farmers from other parts of the American south and mid-west, looking to benefit from the growing winter vegetable market of the time. The city benefited with the rest of south Florida during the Florida land boom of the 1920s. A wooden automobile traffic bridge over Lake Worth was completed in 1919. The first casino and municipal beach complex was completed shortly thereafter. The 1920s also saw the completion of the Gulf Stream Hotel, now on the National Register of Historic Places.

 

The city was severely damaged in the 1928 hurricane, toppling the bell tower on the elementary school (today the City Hall Annex) and destroying the beachfront casino and automobile bridge over Lake Worth. This led to a severe economic decline within the community, during the Great Depression. Things were so dire in the city in the 1930s, that President Franklin D. Roosevelt's Works Progress Administration built a striking, moorish-styled "City Gymnasium" on the corner of Lake Avenue and Dixie Highway. The building today serves as City Hall.

William A. Boutwell, who ran the Boutwell Dairy from 1927 to 1956, is credited with inventing half & half creamer; the dairy later merged with Alfar Creamery and then T.G. Lee, who distributed the product more widely until it became an American diner staple.

 

Development started again after World War II with many modest pensioners, especially from Quebec, Finland, and eventually Germany, moving to the city and building 1,000-square-foot (93 m2) cottages. These new immigrants brought their industrious nature with them as well as their native customs, restaurants, shops, and churches and for decades the town flourished. To this day, one can find an abundance of beer halls, chocolatiers, Bavarian delicatessens, and Lutheran churches, which stand out in the semitropical urban sprawl of South Florida.

 

The South Florida construction boom brought a new wave of immigrants in the past few decades. Central Americans have added a Hispanic aspect to Lake Worth's culture. Included in the 1980s immigration were many Guatemalan-Mayans who consider themselves indigenous people, rather than "Hispanic" or "Latino" and some may not speak Spanish. They mostly converse in Mam, Q'anjob'al, or any one of 22 existing Mayan languages spoken in Guatemala. Adding to the racial and linguistic mix of the city is a large Haitian population, speaking Haitian Creole and French.

 

During a short period of neglect and decline in the 1980s and 1990s, Lake Worth, in the words of then-city commissioner Dennis Dorsey, "had become known as the skin-flick capital of the country." The venue now known as the Lake Worth Playhouse was the Playtoy, and was well known in Palm Beach County as the theater that showed x-rated movies; Deep Throat was shown there, motivating a police raid.

The downtown area has seen a huge resurgence in interest and now sports an array of art galleries, sidewalk cafés and night clubs. Once moribund property values have soared. The city's main street, Lake Avenue, contains some of the oldest commercial structures in South Florida, including the Art Deco Lake Worth Playhouse.

 

The city was hit especially hard by Hurricanes Frances, Jeanne, and Wilma in 2004 and 2005. The fishing pier was quite damaged but was repaired (with the help of FEMA) and reopened in May 2009. The pier is currently open to the public with entry fees of $1 per adult sightseer, and $3 per adult fisherman. The city's public swimming pool has been restored, and besides serving to instruct Palm Beach County residents in swimming and water safety, hosts water-sport competitions. The pier is home to a tide gauge with a sporadic history, showing an above average rate of sea level rise.

In 2015, the city was accused of asking for business licenses from surrounding churches.

 

In 2019 a ballot initiative to change the name of the city to Lake Worth Beach passed with a narrow margin. The city states that the name change "will be implemented slowly".

 

Credit for the data above is given to the following website:

en.wikipedia.org/wiki/Lake_Worth_Beach,_Florida

Invented landscape for Intro. to Digital Imaging.

Photo credits:

-jenschapter3

-ewen and donabel

-Aschaf

-Shadowgate

-AMagill

The Harris Shutter is a strip device with red, green, and blue filters, invented by Robert S. “Bob” Harris of Kodak. The idea is to hold the camera steady and then expose the same subject three times with the different colors. This produces a “rainbow” effect in areas of the scene where there was movement. With a digital camera and photo processing software the effect can be created by processing 3 shots with the red, green, and blue channels selected.

 

In my first (and probably last) attempt with my camera I took a series of shots yesterday afternoon out on Suisun Marsh, and created the image this morning. There was a good strong wind, so the clouds were moving fairly quickly, and so was the light and play of shadows across the rolling terrain. The marsh grasses were waving, as well. With all that movement, and some wind “shake” in the tripod, I got a more blurred effect than I wanted, but you can see the rainbow.

 

I wanted an idea of how this would work before I went out in the field, so I experimented from my armchair with an old image. I simply offsett the red, blue, and green layers of a single shot. I didn’t expect the result to be a “keeper”, but I actually think I like the odd result more than the above landscape image. See 1st comment box below.

 

We’re Here!: Harris Shutter Effect.

 

Mixed media on canvas

12" x 12"

stuff that im the first to do if u think ure first for one of these things send me an fm we can compere dates to see whos first

 

and........ im not dead :P

Primera subida del año, que madre mia lo que me ha costado jejejeje pues nada hace ya algún tiempo un par de personas me habían pedido el esquema de los pendientes Awen, como soy un poco desastre lo empecé a dejar un día por otro y como se dice la casa sin barrer jajajaja así que ayer me puse y aquí está el esquema, tiene un pequeño fallo y es que en el programa no habia gotas así que tuve que inventarme las gotas con otra forma pero bueno si seguis las indicaciones creo que se entiende bien, aun así ya sabeis que podeis decirme los fallos que encontreis y así lo podré mejorar, que es el segundo esquema y como siempre digo, lo entiendo yo pero igual es una liada parda para el resto (^_^)

Las piecinas se pueden utilizar tanto para pendientes como para charms para decorar manchettas etc etc

Espero que os guste!!!

Gracia por pasaros y por comentar!!!

Y prometo ponerme al día en lo que queda del mes!!!!!

 

Hice una pequeña anotación para que quedara más claro uno de los pasos (^_^)

Inventation for a rest on a nice and sunny Lisbon day