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PRESIDIO OF MONTEREY, Calif. – More than 3,000 students from across California visited the Presidio of Monterey on May 13 for DLIFLC’s Language Day. Students, educators and other participants were treated to stage performances, classroom displays and ethnic cuisine, highlighting the cultures of the many foreign languages taught here.
Official Presidio of Monterey Web site
Official Presidio of Monterey Facebook
PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
Military linguists use language as their weapon; medics enter the battlefield armed with their own specialized skills and supplies. No matter the rank or occupation, one skill all servicemembers could use to their advantage is being taught and tested at West Point: Negotiation.
As the spring semester winds down, cadets taking the Negotiation for Leaders course deployed to Constitution Island April 19 and 27 for their final exam, a hands-on application of negotiation tactics against real world scenarios. Unlike the traditional pen and paper final, the simulations tested the cadets on the various skills developed throughout the semester. Photo by Mike Strasser, West Point Public Affairs
PRESIDIO OF MONTEREY, California -- The Defense Language Institute Foreign Language Center suspended classes on June 16 for a Resiliency Day held on Presidio's Soldier Field. Service members were treated to a variety of culinary options from food vendors while the 517th Training Group Rifle Drill Team performed, followed by a flag-football tournament. Coins and awards were presented to recipients by visiting TRADOC Command Sgt. Maj., David Davenport. The day was capped by a parachute demonstration jump from the U.S. Army Special Operations Command Black Daggers parachute team.
Official Presidio of Monterey Web site
Official Presidio of Monterey Facebook
PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
PRESIDIO OF MONTEREY, Calif. – More than 3,000 students from across California visited the Presidio of Monterey on May 13 for DLIFLC’s Language Day. Students, educators and other participants were treated to stage performances, classroom displays and ethnic cuisine, highlighting the cultures of the many foreign languages taught here.
Official Presidio of Monterey Web site
Official Presidio of Monterey Facebook
PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
I am lucky to have a diverse staff at my store, this is the "language board" I put up in our breakroom. I want a bigger board so I can do more common phrases as well . . .
The Mekong is a trans-boundary river in Southeast Asia. It is the world's 12th-longest river and the 7th-longest in Asia. Its estimated length is 4,350 km, and it drains an area of 795,000 km2, discharging 457 km3 of water annually.
From the Tibetan Plateau the river runs through China's Yunnan province, Myanmar, Laos, Thailand, Cambodia and Vietnam. In 1995, Laos, Thailand, Cambodia and Vietnam established the Mekong River Commission to assist in the management and coordinated use of the Mekong's resources. In 1996 China and Myanmar became "dialogue partners" of the MRC and the six countries now work together within a cooperative framework.
The extreme seasonal variations in flow and the presence of rapids and waterfalls in the Mekong make navigation difficult. Even so, the river is a major trade route between western China and Southeast Asia.
NAMES
In English the river is called the "Mekong River", derived from "Mae Nam Khong", a term of both Thai and Lao origin. In the Lao-Thai toponymy, "rivers" translates to "mother of water", signalled by the prefix "mae", meaning "mother", and "nam" for water. In the Mekong's case, Mae Nam Khong means "khong, the mother of water". Many northern Thai and Laos locals refer to it as the "River Khong". Such is the case with the Mae Nam Ping in Chiang Mai which is known as the "Ping River". The Tonle Sap in Cambodia is a similar example, where tonle translates as "great lake" or "great river", making the Tonle Sap River an unnecessary repetition of what is in fact the "Sap River". In Khmer language, Mékôngk means "mother of water" translated as Mé "Mother" and kôngk for kôngkea "water".
COURSE
The Mekong rises as the Za Qu and soon becomes known as the Lancang (Lantsang) in the "Three Rivers Source Area" on the Tibetan Plateau in the Sanjiangyuan National Nature Reserve; the reserve protects the headwaters of, from north to south, the Yellow (Huang He), the Mekong, and the Yangtze Rivers. It flows through the Tibetan Autonomous Region and then southeast into Yunnan Province, and then through the Three Parallel Rivers Area in the Hengduan Mountains, along with the Yangtze to its east and the Salween River (Nujiang in Chinese) to its west.
The Mekong then meets the tripoint of China, Myanmar and Laos. From there it flows southwest and forms the border of Myanmar and Laos for about 100 kilometres until it arrives at the tripoint of Myanmar, Laos, and Thailand. This is also the point of confluence between the Ruak River (which follows the Thai-Myanmar border) and the Mekong. The area of this tripoint is sometimes termed the Golden Triangle, although the term also refers to the much larger area of those three countries that is notorious as a drug producing region.
From the Golden Triangle tripoint, the Mekong turns southeast to briefly form the border of Laos with Thailand. It then turns east into the interior of Laos, flowing first east and then south for some 400 kilometres before meeting the border with Thailand again. Once more, it defines the Laos-Thailand border for some 850 kilometres as it flows first east, passing in front of the capital of Laos, Vientiane, then turns south. A second time, the river leaves the border and flows east into Laos soon passing the city of Pakse. Thereafter, it turns and runs more or less directly south, crossing into Cambodia.
At Phnom Penh the river is joined on the right bank by the river and lake system the Tonlé Sap. When the Mekong is low, the Tonle Sap is a tributary; water flows from the lake and river into the Mekong. When the Mekong floods, the flow reverses; the floodwaters of the Mekong flow up the Tonle Sap.
Immediately after the Sap River joins the Mekong by Phnom Penh, the Bassac River branches off the right (west) bank. The Bassac River is the first and main distributary of the Mekong; thus, this is the beginning of the Mekong Delta. The two rivers, the Bassac to the west and the Mekong to the east, enter Vietnam very soon after this. In Vietnam, the Bassac is called the Hậu River (Sông Hậu or Hậu Giang); the main, eastern, branch of the Mekong is called the Tiền River or Tiền Giang. In Vietnam, distributaries of the eastern (main, Mekong) branch include the Mỹ Tho River, the Ba Lai River, the Hàm Luông River, and the Cổ Chiên River.
DRAINAGE BASIN
The Mekong Basin can be divided into two parts: the 'Upper Mekong Basin' in Tibet of China, and the 'Lower Mekong Basin' from Yunnan downstream from China to the South China Sea. From the point where it rises to its mouth, the most precipitous drop in the Mekong occurs in Upper Mekong Basin, a stretch of some 2,200 km. Here, it drops 4,500 metres before it enters the Lower Basin where the borders of Thailand, Laos, China and Myanmar come together in the Golden Triangle. Downstream from the Golden Triangle, the river flows for a further 2,600 km through Laos, Thailand and Cambodia before entering the South China Sea via a complex delta system in Vietnam.
UPPER BASIN
The Upper Basin makes up 24 percent of the total area and contributes 15 to 20 percent of the water that flows into the Mekong River. The catchment here is steep and narrow. Soil erosion has been a major problem and approximately 50 percent of the sediment in the river comes from the Upper Basin.
In Yunnan province in China, the river and its tributaries are confined by narrow, deep gorges. The tributary river systems in this part of the basin are small. Only 14 have catchment areas that exceed 1,000 km2, yet the greatest amount of loss of forest cover in the entire river system per square kilometer has occurred in this region due to heavy unchecked demand for natural resources. In the south of Yunnan, in Simao and Xishuangbanna Prefectures, the river changes as the valley opens out, the floodplain becomes wider, and the river becomes wider and slower.
LOWER BASIN
Major tributary systems develop in the Lower Basin. These systems can be separated into two groups: tributaries that contribute to the major wet season flows, and tributaries that drain low relief regions of lower rainfall. The first group are left bank tributaries that drain the high-rainfall areas of Lao PDR. The second group are those on the right bank, mainly the Mun and Chi rivers, that drain a large part of northeast Thailand.
Laos lies almost entirely within the Lower Mekong Basin. Its climate, landscape and land use are the major factors shaping the hydrology of the river. The mountainous landscape means that only 16 percent of the country is farmed under lowland terrace or upland shifting cultivation. With upland shifting agriculture (slash and burn), soils recover within 10 to 20 years but the vegetation does not. Shifting cultivation is common in the uplands of Northern Laos and is reported to account for as much as 27 percent of the total land under rice cultivation. As elsewhere in the basin, forest cover has been steadily reduced during the last three decades by shifting agriculture and permanent agriculture. The cumulative impacts of these activities on the river regime have not been measured. However, the hydrological impacts of land-cover changes induced by the Vietnam War were quantified in two sub-catchments of the Lower Mekong River Basin.
Loss of forest cover in the Thai areas of the Lower Basin has been the highest in all the Lower Mekong countries over the past 60 years. On the Khorat Plateau, which includes the Mun and Chi tributary systems, forest cover was reduced from 42 percent in 1961 to 13 percent in 1993. Although this part of northeast Thailand has an annual rainfall of more than 1,000 mm, a high evaporation rate means it is classified as a semi-arid region. Consequently, although the Mun and Chi Basins drain 15 percent of the entire Mekong Basin, they only contribute six percent of the average annual flow. Sandy and saline soils are the most common soil types, which makes much of the land unsuitable for wet rice cultivation. In spite of poor fertility, however, agriculture is intensive. Glutinous rice, maize and cassava are the principal crops. Drought is by far the major hydrological hazard in this region.
As the Mekong enters Cambodia, over 95 percent of the flows have already joined the river. From here on downstream the terrain is flat and water levels rather than flow volumes determine the movement of water across the landscape. The seasonal cycle of changing water levels at Phnom Penh results in the unique "flow reversal" of water into and out of the Great Lake via the Tonle Sap River. Phnom Penh also marks the beginning of the delta system of the Mekong River. Here the mainstream begins to break up into an increasing number of branches.
In Cambodia, wet rice is the main crop and is grown on the flood plains of the Tonle Sap, Mekong, and Bassac (the Mekong delta distributary known as the Hậu in Vietnam) Rivers. More than half of Cambodia remains covered with mixed evergreen and deciduous broadleaf forest, but forest cover has decreased from 73 percent in 1973 to 63 percent in 1993. Here, the river landscape is flat. Small changes in water level determine the direction of water movement, including the large-scale reversal of flow into and out of the Tonle Sap basin from the Mekong River.
The Mekong delta in Vietnam is farmed intensively and has little natural vegetation left. Forest cover is less than 10 percent. In the Central Highlands of Vietnam, forest cover was reduced from over 95 percent in the 1950s to around 50 percent in the mid-1990s. Agricultural expansion and population pressure are the major reasons for land use and landscape change. Both drought and flood are common hazards in the Delta, which many people believe is the most sensitive to upstream hydrological change.
WATER FLOW ALONG ITS COURSE
By taking into account hydrological regimes, physiography land use, and existing, planned and potential resource developments, the Mekong is divided into six distinct reaches:Reach 1: Lancang Jiang or Upper Mekong River in China. In this part of the river, the major source of water flowing into the river comes from melting snow on the Tibetan Plateau. This volume of water is sometimes called the “Yunnan Component” and plays an important role in the low-flow hydrology of the lower mainstream. Even as far downstream as Kratie, the Yunnan Component makes up almost 30 percent of the average dry season flow. A major concern is that the ongoing and planned expansion of dams and reservoirs on the Mekong mainstream in Yunnan could have a significant effect on the low-flow regime of the Lower Mekong Basin system.
Reach 2: Chiang Saen to Vientiane and Nong Khai. This reach is almost entirely mountainous and covered with natural forest, although there has been widespread slash and burn agriculture. Although this reach could hardly be described as "unspoiled", the hydrological response is perhaps the most natural and undisturbed in all the Lower Basin. Many hydrological aspects of the Lower Basin start to change rapidly at the downstream boundary of this reach.
Reach 3: Vientiane and Nong Khai to Pakse. The boundary between Reach 2 and 3 is where the Mekong hydrology starts to change. Reach 2 is dominated in both wet and dry seasons by the Yunnan Component. Reach 3 is increasingly influenced by contributions from the large left bank tributaries in Laos, namely the Nam Ngum, Nam Theun, Nam Hinboun, Se Bang Fai, Se Bang Hieng, and Se Done rivers. The Mun-Chi river system from the right bank in Thailand enters the mainstream within this reach.
Reach 4: Pakse to Kratie. The main hydrological contributions to the mainstream in this reach come from the Se Kong, Se San, and Sre Pok catchments. Together, these rivers make up the largest hydrological sub-component of the Lower Basin. Over 25 percent of the mean annual flow volume to the mainstream at Kratie comes from these three river basins. They are the key element in the hydrology of this part of the system, especially to the Tonle Sap flow reversal.
Reach 5: Kratie to Phnom Penh. This reach includes the hydraulic complexities of the Cambodian floodplain, the Tonle Sap and the Great Lake. By this stage, over 95 percent of the total flow has entered the Mekong system. The focus turns from hydrology and water discharge to the assessment of water level, over- bank storage and flooding and the hydrodynamics that determine the timing, duration and volume of the seasonal flow reversal into and out of the Great Lake.
Reach 6: Phnom Penh to the South China Sea. Here the mainstream divides into a complex and increasingly controlled and artificial system of branches and canals. Key features of flow behaviour are tidal influences and salt water intrusion. Every year, 35–50 percent of this reach is flooded during the rainy season. The impact of road embankments and similar infrastructure developments on the movement of this flood water is an increasingly important consequence of development.
Flows at Chiang Saen entering the Lower Basin from Yunnan make up about 15 percent of the wet season flow at Kratie. This rises to 40 percent during the dry season, even this far downstream. During the wet season, the proportion of average flow coming from Yunnan rapidly decreases downstream of Chiang Saen, from 70 percent to less than 20 percent at Kratie. The dry season contribution from Yunnan is much more significant. The major portion of the balance comes from Laos, which points to a major distinction in the low-flow hydrology of the river. One fraction comes from melting snow in China and Tibet and the rest from over-season catchment storage in the Lower Basin. This has implications for the occurrence of drought conditions. For example, if runoff from melting snow in any given year is very low, then flows upstream of Vientiane-Nong Khai would be lower.
In a large river system like the Mekong, seasonal flows can be quite variable from year to year. Although the pattern of the annual hydrograph is fairly predictable, its magnitude is not. The average monthly flows along the mainstream are listed in Table 3, providing an indication of their range and variability from year to year. At Pakse, for example, flood season flows during August would exceed 20,000 cubic metres per second 9 years out of 10, but exceed 34,000 m³/s only 1 year in ten.
RIVER MODIFICATIONS
The Mekong is already heavily dammed, with many more dams planned and under construction. China has already built 6 dams on the Mekong since 1995, and plans another 14 dams in the coming years. Downriver countries such as Laos are planning to build an additional 11 large dams on the Mekong, making it the fastest growing large river basin in the world in terms of hydropower construction.
NATURAL HISTORY
The Mekong basin is one of the richest areas of biodiversity in the world. Only the Amazon boasts a higher level of biodiversity. Biota estimates for the Greater Mekong Subregion (GMS) include 20,000 plant species, 430 mammals, 1,200 birds, 800 reptiles and amphibians, and an estimated 850 freshwater fish species (excluding euryhaline species mainly found in salt or brackish water, as well as introduced species). The most species richness orders among the freshwater fish in the river basin are cypriniforms (377 species) and catfish (92 species). New species are regularly described from the Mekong. In 2009, 145 new species were described from the region, comprising 29 fish species previously unknown to science, 2 new bird species, 10 reptiles, 5 mammals, 96 plants and 6 new amphibians. The Mekong Region contains 16 WWF Global 200 ecoregions, the greatest concentration of ecoregions in mainland Asia. No other river is home to so many species of very large fish. The biggest include three species of Probarbus babs, which can grow up to 1.5 metres and weigh 70 kilograms, the giant freshwater stingray (Himantura polylepis, syn. H. chaophraya), which can have a length of up to 4.3 metres, the giant pangasius (Pangasius sanitwongsei), giant barb (Catlocarpio siamensis) and the endemic Mekong giant catfish (Pangasianodon gigas). The last three can grow up to about 3 metres in length and weigh 300 kilograms. All of these are in serious decline, because of dams, flood control and overfishing.
One species of freshwater dolphin, the Irrawaddy dolphin (Orcaella brevirostris), was once common in the whole of the Lower Mekong but is now very rare, with only 85 individuals remaining.
Among other wetland mammals that have been living in and around the river are the smooth-coated otter (Lutra perspicillata) and fishing cat (Prionailurus viverrinus).
The endangered Siamese crocodile (Crocodylus siamensis) occurs in small isolated pockets within the northern Cambodian and Laotian portions of the Mekong River. The saltwater crocodile (Crocodylus porosus) once ranged from the Mekong Delta up the river into Tonle Sap and beyond but is now extinct in the river, along with being extinct in all of Vietnam and possibly even Cambodia.
WIKIPEDIA
PRESIDIO OF MONTEREY, Calif. – More than 3,000 students from across California visited the Presidio of Monterey on May 13 for DLIFLC’s Language Day. Students, educators and other participants were treated to stage performances, classroom displays and ethnic cuisine, highlighting the cultures of the many foreign languages taught here.
Official Presidio of Monterey Web site
Official Presidio of Monterey Facebook
PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
British Sign Language - shot on my mobile phone as very short of time and put together in Adobe Elements.
Video Mapping Philipp Geist_Germany+Brazil 2013-2014_- Santa Marta 2014_©Fred Pacífico/Porã
„VideoInstallation by Philipp Geist“, "Philipp Geist", „Copyright 2014 Philipp Geist / VG Bildkunst 2014", www.videogeist.de, mail@videogeist.de, „Rio de Janeiro“, "Santa Marta“, „Cristo Redentor“, „Dona Marta“, „Deutschland + Brasilien 2013-2014“, “Alemanha + Brasil 2013-2014”
Photo by Fred Pacífico
©2014 Philipp Geist / VG BIldkunst Bonn
Rio de Janeiro / Brazil 2014
Christ statue (Cristo Redentor) – May 12
Dona Marta favela – May 15 and 16,2014
Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014
on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,
2014
Installation Philipp Geist Year of Germany in Brazil 2013/2014
Concept Time Drifts May 2014
At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)
develops two light installations in Rio this year; the first one on the world-famous Christ statue
(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the
artist presents artistic-liberal and poetic German and Brazilian themes and develops a building
and floor light installation of colored words and phrases in Portuguese, German, and in other
international languages. The installation deals with cultural characteristics and achievements of
both countries and visualizes the issues of time and space, volatility and presence in a free
artistic style. The two projects are in fact a double project which is combined. The installation
on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small
buildings and huts of the favela. The Christ statue, which has been built to protect the city and
the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The
installation in the favela will be seen not only on a facade as a large cinema projection or as a
static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the
visitor becomes a part of the installation and can immerse into the projection and the light and
introduce himself. Chalk crayons are put out on the streets in the favela and the young and old
residents and visitors can write and paint words on the street, the ground, the stairs or even on
the house walls. The residents and several institutions should be addressed to submit words and
associations dealing with Rio, Brazil and Germany.
For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the
German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.
The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various
currents and voices in cultural contexts and to provide institutions and visitors with the
opportunity of substantive participation: different personalities, visitors and institutions may be
addressed in advance and then contribute words and associations. Current and historico-cultural
topics are researched in advance by the artist and then integrated in a sensitive and subtle way.
The projection dismisses the use of screens, because concepts and associations are projected on
a large area onto the floor surface on several facades and in theater fog. Over the course of two
days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo
Redentor on May 12 for a day.
Short, tall, young and old visitors can interactively participate in the installation by tracing and
adding words with colored chalk crayons available on the streets. Thus, over the period of the
installation, a carpet of words is evolved with terms that are contributed locally by the visitors
by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this
way a dialogue between the place, the visitors and his artistic work.
The concrete, tangible projection of the architecture and the static terms on the floor area
represents the facts and visible relics that are responsible for our understanding of history. The
transparent and volatile projection in the fog reminds us that part of the history can not be
preserved and that it is created in our individual imagination in a single moment. Words are
briefly visible as a metaphor for transience and then disappear again. This interplay of the
various text and image layers in the space refers to the location and the history/-ies of Brazil
and Germany and the cultural exchange between the two countries. The visitors themselves are
part of the installation: they dive into the large floor projection. In this way, different
perspectives and experiences of space are unified. Abstract passages which are created, then
overlapped and displaced by each other symbolize the constant changes in history, the passage
of time and the transience of existence. Even the understanding of the past is in the flux. The
modern writings and formations created on the computer establish a connection to the present
and the possibilities of today's technology and show that the perception of history and culture
depends always on the possibilities and constraints of the present.
'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent
years by Philipp Geist, and which are always re-developed site-specifically and adapted to the
local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer
Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012
the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000
visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the
'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the
Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in
Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3
million visitors saw his facade installation at the royal throne in Bangkok. Other projects
include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'
at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop
(Germany, 2008).
Geist's projects are primarily characterized by their complexity concerning the integration of
space, sound and motion images. His video mapping installations waive screens and transform a
wide range of architectures in moving, picturesque light sculptures which challenge the viewer's
perception of two- and three-dimensionality.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil
2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de
2014
Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014
Conceito Time Drifts Maio 2014
No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá
duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do
Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros
de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e
no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas
internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países
e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.
Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na
estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos
pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para
proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma
favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de
cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e
nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar
na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e
visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas
escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão
convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a
Alemanha.
Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o
'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria
Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias
correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a
oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser
contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos
e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma
sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são
projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em
fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e
em 12 de maio, por um dia, no Cristo Redentor.
Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com
giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta
maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras
serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.
Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.
A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do
solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A
área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não
pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.
Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,
desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se
à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois
países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção
do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens
abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças
contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do
passado também está no fluxo. As fontes e formações modernas criadas no computador
estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a
percepção da história e da cultura sempre dependende das capacidades e limitações do
presente.
'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas
durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições
locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça
Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower
(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt
onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em
2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver
bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing
foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do
aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do
artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado
museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;
Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).
Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de
espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam
telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que
desafiam a percepção do espectador de duas e três dimensões.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014
an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014
Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014
Konzept Time Drifts Mai 2014
Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler
Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue
(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation
greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und
entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in
portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert
kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit
und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt
es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von
Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten
der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu
schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die
Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches
Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf
den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die
Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide
ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den
Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und
verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,
Brasilien und Deutschland stehen einzureichen.
Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen
Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet
sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und
Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die
Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,
Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen
beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert
und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von
Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf
mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die
Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai
für einen Tag zu sehen sein.!
Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger
Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an
der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus
Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'
der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog
zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !
Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der
Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis
ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,
dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen
Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und
verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im
Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen
Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die
großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven
und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig
verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und
die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die
modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung
zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit
von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart
abhängig ist.
'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten
Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch
weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer
Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die
Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen
und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts
in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die
Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen
anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine
Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'
am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,
'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).
Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von
Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und
verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die
Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.
Video Mapping Philipp Geist_Ano da Alemanha no Brasil - Cristo Redentor 2014
Photo by Fred Pacífico
©2014 Philipp Geist / VG BIldkunst Bonn
Rio de Janeiro / Brazil 2014
Christ statue (Cristo Redentor) – May 12
Dona Marta favela – May 15 and 16,2014
Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014
on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,
2014
Installation Philipp Geist Year of Germany in Brazil 2013/2014
Concept Time Drifts May 2014
At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)
develops two light installations in Rio this year; the first one on the world-famous Christ statue
(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the
artist presents artistic-liberal and poetic German and Brazilian themes and develops a building
and floor light installation of colored words and phrases in Portuguese, German, and in other
international languages. The installation deals with cultural characteristics and achievements of
both countries and visualizes the issues of time and space, volatility and presence in a free
artistic style. The two projects are in fact a double project which is combined. The installation
on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small
buildings and huts of the favela. The Christ statue, which has been built to protect the city and
the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The
installation in the favela will be seen not only on a facade as a large cinema projection or as a
static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the
visitor becomes a part of the installation and can immerse into the projection and the light and
introduce himself. Chalk crayons are put out on the streets in the favela and the young and old
residents and visitors can write and paint words on the street, the ground, the stairs or even on
the house walls. The residents and several institutions should be addressed to submit words and
associations dealing with Rio, Brazil and Germany.
For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the
German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.
The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various
currents and voices in cultural contexts and to provide institutions and visitors with the
opportunity of substantive participation: different personalities, visitors and institutions may be
addressed in advance and then contribute words and associations. Current and historico-cultural
topics are researched in advance by the artist and then integrated in a sensitive and subtle way.
The projection dismisses the use of screens, because concepts and associations are projected on
a large area onto the floor surface on several facades and in theater fog. Over the course of two
days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo
Redentor on May 12 for a day.
Short, tall, young and old visitors can interactively participate in the installation by tracing and
adding words with colored chalk crayons available on the streets. Thus, over the period of the
installation, a carpet of words is evolved with terms that are contributed locally by the visitors
by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this
way a dialogue between the place, the visitors and his artistic work.
The concrete, tangible projection of the architecture and the static terms on the floor area
represents the facts and visible relics that are responsible for our understanding of history. The
transparent and volatile projection in the fog reminds us that part of the history can not be
preserved and that it is created in our individual imagination in a single moment. Words are
briefly visible as a metaphor for transience and then disappear again. This interplay of the
various text and image layers in the space refers to the location and the history/-ies of Brazil
and Germany and the cultural exchange between the two countries. The visitors themselves are
part of the installation: they dive into the large floor projection. In this way, different
perspectives and experiences of space are unified. Abstract passages which are created, then
overlapped and displaced by each other symbolize the constant changes in history, the passage
of time and the transience of existence. Even the understanding of the past is in the flux. The
modern writings and formations created on the computer establish a connection to the present
and the possibilities of today's technology and show that the perception of history and culture
depends always on the possibilities and constraints of the present.
'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent
years by Philipp Geist, and which are always re-developed site-specifically and adapted to the
local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer
Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012
the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000
visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the
'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the
Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in
Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3
million visitors saw his facade installation at the royal throne in Bangkok. Other projects
include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'
at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop
(Germany, 2008).
Geist's projects are primarily characterized by their complexity concerning the integration of
space, sound and motion images. His video mapping installations waive screens and transform a
wide range of architectures in moving, picturesque light sculptures which challenge the viewer's
perception of two- and three-dimensionality.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil
2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de
2014
Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014
Conceito Time Drifts Maio 2014
No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá
duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do
Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros
de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e
no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas
internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países
e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.
Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na
estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos
pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para
proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma
favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de
cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e
nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar
na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e
visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas
escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão
convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a
Alemanha.
Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o
'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria
Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias
correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a
oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser
contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos
e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma
sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são
projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em
fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e
em 12 de maio, por um dia, no Cristo Redentor.
Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com
giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta
maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras
serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.
Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.
A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do
solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A
área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não
pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.
Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,
desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se
à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois
países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção
do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens
abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças
contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do
passado também está no fluxo. As fontes e formações modernas criadas no computador
estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a
percepção da história e da cultura sempre dependende das capacidades e limitações do
presente.
'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas
durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições
locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça
Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower
(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt
onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em
2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver
bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing
foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do
aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do
artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado
museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;
Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).
Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de
espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam
telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que
desafiam a percepção do espectador de duas e três dimensões.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014
an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014
Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014
Konzept Time Drifts Mai 2014
Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler
Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue
(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation
greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und
entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in
portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert
kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit
und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt
es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von
Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten
der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu
schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die
Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches
Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf
den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die
Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide
ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den
Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und
verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,
Brasilien und Deutschland stehen einzureichen.
Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen
Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet
sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und
Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die
Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,
Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen
beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert
und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von
Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf
mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die
Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai
für einen Tag zu sehen sein.!
Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger
Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an
der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus
Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'
der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog
zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !
Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der
Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis
ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,
dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen
Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und
verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im
Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen
Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die
großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven
und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig
verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und
die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die
modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung
zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit
von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart
abhängig ist.
'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten
Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch
weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer
Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die
Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen
und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts
in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die
Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen
anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine
Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'
am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,
'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).
Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von
Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und
verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die
Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.
U.S. Air Force Master Sgt. James Wooding assists an Afghan girl with her classwork at The Cat in the Hat Language Arts Center, a new school at Bagram Airfield, Afghanistan, on Nov 13, 2011. The school, run by the U.S. Army, helps to teach young students English.
Photo by Hiro Chang, Presidio of Monterey Public Affairs
The Defense Language Institute Foreign Language Center opened its doors to the public on May 15 for its annual Language Day event.
The event showcased the cultures of the different departmental languages being taught here through dance, skits and fashion shows.
Exhibits were also presented throughout the school grounds with local Monterey ethnic vendors selling their local cuisines to the customers.
Nearly 2,000 high school students and teachers attended Language Day.
Shot dead on the job
Henry Funcke was a disaster waiting to happen. The 47-year old gummdigger was drunk and mentally unstable when he boarded the steamer Minnie Casey at Dargaville on July 30, 1890. His constant bad language soon started to irritate other passengers whose annoyance turned to alarm when he started waving around a rifle.
The boat's captain, Thomas Rawson, confiscated the weapon as Funcke's behaviour continued to deteriorate and returned to his duties - no doubt hopong calm would be restored
The steamer pulled in alongside a wharf and Mangawhare where it picked up another load of passengers. Included was police constable Neil McLeod, 44, who was heading to Auckland with his wife and sevens children.
The boat had barely pulled away back on to the Wairoa River when Funcke started to spout off yet again. The captain did a quick about turn and, with help from McLeod and another policeman, offloaded Funcke back on shore.
Funcke was irate as the vessel headed out into the night without him and pulled a revolver from his coat pockets.
He fired three shots. The first two struck the Minnie Casey's timber hull. The third hit McLeod in the chest. "My God!" yelled the fatally stricken man before dropping dead at the feet of those around him.
Captain Rawson cancelled the remainder of the voyage and returned to Dargaville where a party of armed volunteers and police set out in search of the killer. They found Funcke at the wharf where he offered no resistance and narrowly avoided being lynched by some of the angrier members of the posse.
Funcke was locked up at the Mt Eden prison until his trial nearly two months later. A jury took just 18 minutes to find him not guilty of murder on the gounds of insanity
Funcke was sent to the Auckland Lunatic Asylum at Pt Chevalier where he died on August 11, 1897. He is buried in an unmarked pauper's grave overgrown by dense bush at Waikumete Cemetery.
McLeod, who joined the police in 1871, lies nearby in a family plot.
source: Matthew Gray's book, Tales from the crypt
MASONIC FUNERAL.
The Brethren of the undermentioned Lodges are requested to Assemble THIS DAY (Friday), at three o'clock, at the Shop of Neil McLeod, Albert-street, between Victoria and Wellesley street, for the purpose of attending the Funeral of the late Brother Neil McLeod, W.M. of Lodge St. George, No. 1801, E.C. :—
Lodge Waitemata, No. 689.—C. D. Grey, W.M.
Lodge Prince of Wales, No. 1383.—E. Davis, W.M.
Lodge Eden, No. 1690.—J. C. Dickenson, W.M.
Lodge Remuera, No. 1710.—R. W. Walker, W.M.
Lodge St. George, No. 1801.— J. M. Dargaville, W.M.
Plain mourning, while gloves and tie.
paperspast.natlib.govt.nz/newspapers/NZH18900801.2.62.6
The sudden death of Mary McLennan, aged 62, of Nelson Lane, was the subject of an inquiry by the Coroner (Mr Uresham) on Saturday night. Deceased, a single woman, had been living alone for some time. She fell off a chair and suddenly expired on Friday evening, and a post mortem examination by Dr. Moir showed that death had been caused by heart disease. A verdict to this effect was returned.
paperspast.natlib.govt.nz/newspapers/AS19030223.2.40
FATALITY IN WELLESLEY STREET.
STRUCK BY A TRAM.
A rather extraordinary tramway accident which, unhappily, resulted fatally, occurred last evening in Wellesley-street East, close to the Public Library. A car from Onehunga to Auckland was descending the hill, shortly before 8.30 p.m., when the motorman, Everitt, suddenly observed an elderly man walk straight on to the rails. To Everitt it seemed that the man had darted right out from behind one of the poles. The brakes (including the emergency) were immediately applied, but the intervening distance was insufficient for the motorman to pull his car up in time to avert an accident. The pedestrian was struck on the left hip by the buffer of the car, and although thrown clear, it was plain to the bystanders who gathered round, that serious injuries had been sustained. An ambulance was procured, but the unfortunate man expired shortly before reaching the hospital. Dr. Eade, who examined the man at the institution, stated that there was an odour of alcohol noticeable, and it was probable that the man had been drinking. His age was about 70 years.
As the result of a search, Constable McGrath found on the deceased an Old Age Pension notice, dated February 4, 1909, addressed to Murdoch McLeod, 11, Vernon-street, Freeman's Bay, and a hospital bill in the same name.
Motorman Everitt states that the car, at the time of the accident, was proceeding at about eight miles an hour; this being corroborated by two bystanders named Sterling and Nankivell. Mr. Sterling also states that the deceased was standing at the first post below the Library and, as the car approached, staggered out almost in front of it.
The Coroner, Mr. Gresham, opened the inquest on the deceased at the hospital this morning. William Bannerman, manager of the Costley Home, identified the body as that of Murdoch McLeod, aged 72, a single man, who was an inmate of the Home. He had been in the Home two months, and on Tuesday morning obtained leave to go out for the day. He should have returned the same evening, but did not do so. The deceased was an old-age pensioner. He was a man of temperate habits, as far as the witness could say. McLeod had received 6s 6d refund out of his pension last Saturday. The month before he had had 30s, so might have had a little money in hand. Witness added that McLeod was a native of Scotland, but had been 25 years or more in the Dominion.
Dr. Jas. John Eade, house physician at the hospital, stated that the body was brought in at 9.15 last night. Death had apparently taken place about ten minutes previously. There were no exterior marks of violence on the body. A post-mortem examination, however, revealed the fact that one of the lungs was badly ruptured.
The inquest was adjourned till next Thursday, when it will be resumed at the Criterion Hotel.
paperspast.natlib.govt.nz/newspapers/AS19090415.2.65
The inquest on the body of Murdoch McLeod, who was killed by a tram accident on the 14th. inst., was resumed yesterday after, we went to press. Evidence was given by William Herbert Stirling and John Nankivelle, to the effect that deceased stepped out from behind the centre pole in front of the car, and in their opinion the occurrence was purely accidental. A verdict of accidental death was returned, the jury adding a rider that no blame was attachable to the motorman in charge of the car.
paperspast.natlib.govt.nz/newspapers/AS19090423.2.51
ODDFELLOWS' LEADER
MR. JOHN McLEOD'S DEATH
With the death of Mr. John McLeod, Auckland, district secretary of the Manchester Unity Order of Oddfellows, at his home, 53, Dominion Road, yesterday, the last human link with the inception of the Order in New Zealand and the doyen of the Friendly Society movement in the Auckland province, has been removed, writes a brother Oddfellow. A biography of John McLeod would be a history of Oddfellowship in the Dominion, for he spent over 66 of his 85 years working not only for the Order to which he belonged, but also for the movement that in earlier days represented the only form of voluntary social security in British and foreign communities.
Having passed through all the offices in his lodge, he became secretary of the Auckland district 47 years ago, and saw the Order grow from humble proportions till to-day its lodges range from Gisborne and Taumarunui to Kaitaia, numbering 78, with a membership exceeding 9000.
With the background of his life in the stern and rugged Western Highlands of Scotland, where he was born at Rona, in the Hebrides, in 1858, he was deeply attached to the principles of the Order, and he was also actuated throughout his long membership of the Manchester Unity by the fundamental mission to help any brother in need. His sterling personal qualities, his gentleness and his lovable disposition made him a true brother to those he served till the end, and he died in harness.
He at one time took a practical interest in public affairs, being a member of the City Council, the Hospital Board and the City School Committee. On his arrival in New Zealand he could speak only the Gaelic of his native home, and he was always a leading member of the Gaelic Society, of which he was chief for many years. He was married in 1883 to Miss Kate Long, and there were eight children, all of whom are alive, while there are 17 grandchildren and three great-grand-children.
paperspast.natlib.govt.nz/newspapers/AS19421208.2.81
FUNERAL NOTICES
AUCKLAND DISTRICT M.U.I.0.0.F— Members are requested to Attend the Funeral of our late district secretary, Bro John McLeod, P.G.M., on Wednesday. Conveyances will leave the District Office at 1.15 p.m.—R. F. Newton, D.G.M.
LOYAL GOOD INTENT LODGE,
NO. 4369, M.U.I.0.0.F.
Members are respectfully requested to attend the funeral of the late Bro. John McLeod, P.G.M., To-day (Wednesday). Conveyances will leave the Manchester Unity Bldg., Hobson St., at 1.15 p.m. By order of the N.G. J. E. ALLAN, Secretary
paperspast.natlib.govt.nz/newspapers/NZH19421209.2.48.8
ODDFELLOW'S FUNERAL
Wreaths were sent from many parts of the Dominion to the funeral of Mr. John McLeod, district secretary of the Independent Order of Oddfellows, Manchester Unity, yesterday. The Order, friendly societies, public bodies and the business community were all well represented. The officiating minister was the Rev. W. Bower Black, and the District Grand Master. Mr. R. F. Newbold, conducted the Oddfellows' service at the graveside, at Waikumete. Two pipers played a Scottish lament from the house and also at the cemetery, in recognition of Mr McLeod's association with Scottish organisations.
paperspast.natlib.govt.nz/newspapers/AS19421210.2.55
Plot 28a: Murdoch McLeod
Ruby Kathleen Mary McLeod – Rtd Civil Servant
Patricia Eileen McLeod (98) 2001 – Rtd Music Teacher
Plot 28b: John McLeod – Lodge Secretary
Kate McLeod
Plot 30: Neil McLeod – Constable – Bullet wound
Murdoch McLeod – Settler – Stepped in front of tram
Henry Graham McLeod (39) 3/11/1918 – Clerk – Influenza, Pneumonia
Plot 32: Catherine McLeod
Mary McLennan – Domestic
MURDOCK McLEOD
died 13 Nov. 1898 aged 84
also his wife
CATHERINE
died 13 Feb. 1899 aged 60
MURDOCK McLEOD
died 15 April 1909 aged 70
In Loving Memory
JOHN McLEOD
beloved husband of
Kate McLeod
(born in the Western Isles of Scotland)
died 7th Dec. 1942
aged 84 years.
He dothent stand ?
to greet us when we reach His dwelling place.
where the immortal are.
Also his beloved wife
KATE McLEOD
born County Kent
died 11th May 1945 aged 84 years.
…....................................
NEIL McLEOD
died 30 July 1890 aged 44
MARY McLENNAN
died 20 Feb. 1903 aged 62
HARRY GRAHAM McLEOD
died 3 Nov. 1918 aged 39
In Loving Memory of
RUBY KATHLEEN McLEOD
died 3 Dec. 1974
aged 86 years
DEATHS
McLEOD.—On July 29, at Mangawhare, Northern Wairoa. Neil, dearly beloved husband of Elizabeth McLeod, oldest and beloved son of Mr. M. McLeod, Haydn-street, aged 44 years.
The funeral will leave McLeod Bros. shop, Albert street, at three p.m. to-day, for the Symonds-street Cemetery. Friends are respectfully invited to attend.
paperspast.natlib.govt.nz/newspapers/NZH18900801.2.3
McLEOD.—On November 13, 1898, at his residence, Haydn-street, Murdoch McLeod, in his 84th year, the beloved husband of Catherine McLeod, and beloved father of Alexander McLeod, Geurie New South Wales, Malcolm McLeod, Eden Terrace, and John McLeod, McLeod Bros., Queen-street and karangahape Road.
The funeral will leave his late residence for Waikumete. at 2 p.m. to-morrow (Tuesday), 15th inst. Friends are respectfully invited to attend
paperspast.natlib.govt.nz/newspapers/AS18981114.2.65
McLEOD.—On February 12, at Haydn-street, Catherine, relict of the late Murdoch McLeod in the 61st year of her age. Beloved sister of Mary and Neil McLennan, Auckland and beloved mother of Malcolm McLeod, Eden Terrace, Alexander McLeod, Geurie, N.S.W., and John McLeod (McLeod Bros) Queen Street.
The funeral will leave her late residence for Waikumete at 2 p.m. to-morrow (Tuesday) February 14. Friends respectfully invited to attend.
paperspast.natlib.govt.nz/newspapers/NZH18990213.2.2.1
McLEOD On November 3, 1918, at the Auckland Hospital, Henry Graham, dearly-beloved husband of Mary McLeod; aged 39 years.
The funeral will leave his late residence, 4, Islington Avenue, Mount Eden, at 2 p.m. to-morrow (Tuesday) for Waikumete. By request, no mourning.
paperspast.natlib.govt.nz/newspapers/NZH19181104.2.2.6
McLEOD.—On Monday, December 7, at his residence, Rona, 53, Dominion Road. John, dearly-beloved husband of Kate McLeod, in his 85th year. The funeral will leave his late residence for Waikumete Cemetery after a service at 2 p.m. to-morrow (Wednesday).
paperspast.natlib.govt.nz/newspapers/NZH19421208.2.2.4
McLEOD.—On May 11, at her residence Rona, 53, Dominion Road. Mount Eden, Kate, beloved wife of the late John McLeod; aged 84 years. A service will be held at the above address to-morrow (Saturday), at 1.45 p.m., the funeral then leaving for Waikumete Cemetery.
PRESIDIO OF MONTEREY, Calif. -- The Defense Language Institute Foreign Language Center Joint Service Color Guard and marching units representing the four military services helped Monterey residents and visitors celebrate Independence Day by participating in the City of Monterey's 4th of July parade in downtown Monterey on July 4.
Official Presidio of Monterey Web site
Official Presidio of Monterey Facebook
PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
PRESIDIO OF MONTEREY, Calif. – More than 3,000 students from across California visited the Presidio of Monterey on May 13 for DLIFLC’s Language Day. Students, educators and other participants were treated to stage performances, classroom displays and ethnic cuisine, highlighting the cultures of the many foreign languages taught here.
Official Presidio of Monterey Web site
Official Presidio of Monterey Facebook
PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
Located in front of a home in a residential section of Park Slope. I wish I knew what it spelled out.
Over the last few weeks, Justus' communication skills have been in overdrive. He is understanding so much of what we say, and we have already started to spell things around him to avoid confusion and dashed hopes.
We've also been trying for months to teach him some basic American Sign Language. I honestly thought he didn't care to get it, but he is really beginning to pick up on that as well. He knows "more," "please," and "all done." They've all been tweaked with his own personal flare, but he knows what he's saying. This photograph is his "more": one finger touching the open palm of his other hand.
He also knows to wave goodbye, gives kisses, and he blows kisses when he hears "I love you." He claps for himself when he hears "Good job!" and also seems to have figured out how to communicate he's hungry or thirsty all on his own by pointing his finger toward his open mouth. (We honestly have no idea where that one came from.)
It's such a joy to have a new level of communication with him, and you can tell he loves it too. We read every night before bed, and usually we can only get through half of one of his short stories. Last night we closed the book when we felt he was done, but he looked at us and signed "more." We finished the story and then he went to bed.
Sa Pa (About this sound listen), or Sapa, is a frontier township and capital of Sa Pa District in Lào Cai Province in northwest Vietnam. It is one of the main market towns in the area, where several ethnic minority groups such as Hmong, Dao (Yao), Giáy, Pho Lu, and Tay live.
HISTORY
Sa Pa is a frontier township and capital of Sa Pa District in Lào Cai Province in northwest Vietnam. It was first inhabited by people we know nothing about. They left in the entire valley hundreds of petroglyphs, mostly composed of lines, which experts think date from the 15th century and represent local cadastres. Then came the highland minorities of the Hmong and Yao. The township is one of the main market ones in the area, where several ethnic minority groups such as Hmong, Dao (Yao), Giáy, Pho Lu, and Tay live. groups, as well as by smaller numbers of Tày and Giay. These are the four main minority groups still present in Sa Pa district today. The Kinh (lowland Vietnamese) never originally colonised this highest of Việt Nam’s valleys, which lies in the shadow of Phan-Xi-Pǎng (Fansipan, 3143 m), the highest peak in the country
It was only when the French debarked in highland Tonkin in the late 1880s that Sa Pa, name of the Hmong hamlet, with "S" is pronounced almost as hard as "Ch" in French, "Sh" in English, "S" in standard Vietnamese, so Chapa as the French called it, began to appear on the national map. Near to the now Sa Pa townlet is "Sa Pả commune", which shows the origin in Hmong language of the location name.[a]
In the following decade, the future site of Sa Pa township started to see military parties as well as missionaries from the Société des Missions Etrangères de Paris (MEP) visit. The French military marched from the Red River Delta into the northern mountainous regions as part of Tonkin's ‘pacification’. In 1894-96 the border between China and Tonkin was formally agreed upon and the Sa Pa area, just to the south of this frontier, was placed under French authority. From 1891 the entire Lào Cai region, including Sa Pa, came under direct colonial military administration so as to curtail banditry and political resistance on the sensitive northern frontier.
The first permanent French civilian resident arrived in Sa Pa in 1909. With its attractive continental climate, health authorities believed the site had potential. By 1912 a military sanatorium for ailing officers had been erected along with a fully fledged military garrison. Then, from the 1920s onwards, several wealthy professionals with enough financial capital also had a number of private villas built in the vicinity.
At the end of the Second World War a long period of hostilities began in Tonkin that was to last until 1954. In the process, nearly all of the 200 or so colonial buildings in or around Sa Pa were destroyed, either by Việt Minh sympathisers in the late 1940s, or, in the early 1950s by French air raids. The vast majority of the Viet population fled for their lives, and the former township entered a prolonged sleep.
In the early 1960s, thanks to the New Economic Zones migration scheme set up by the new Socialist regime, new inhabitants from the lowlands started to migrate to the region.
The short 1979 occupation of the northern border region by Chinese troops had little impact on Sa Pa town, but did force the Kinh (lowland Vietnamese) population out for a month.
In 1993 the last obstacle to Sa Pa's full rebirth as a prominent holiday destination was lifted as the decision was made to open the door fully to international tourism. Sa Pa was back on the tourist trail again, this time for a newly emerging local elite tourist crowd, as well as international tourists.
Sapa is now in full economic boom, mainly from the thousands of tourists who come every year to walk the hundreds of miles of trekking trails between and around the villages of Dao villages of Ta Van and Ta Phin.
In 2006, the Chairman of The People's Committee of Sapa Province was elected to The Communist Party Central Committee as the youngest ever member (born in 1973).
GEOGRAPHY
Sa Pa District is located in Lào Cai Province, north-west Vietnam, and 380 km north-west of Hanoi, close to the border with China. The Hoàng Liên Son range of mountains dominates the district, which is at the eastern extremity of the Himalayas. This range includes Vietnam's highest mountain, Fan Si Pan, at a height of 3143 m above sea level. The town of Sa Pa lies at an altitude of about 1500 meters above sea level. The climate is moderate and rainy in summer (May-August), and foggy and cold with occasional snowfalls in winter.
Sa Pa is a quiet mountain town and home to a great diversity of ethnic minority peoples. The total population of 36,000 consists mostly of minority groups. Besides the Kinh (Viet) people (15%) there are mainly 5 ethnic groups in Sapa: Hmong 52%, Dao 25%, Tay 5%, Giay 2% and a small number of Xa Pho. Approximately 7,000 live in Sapa, the other 36,000 being scattered in small communes throughout the district.
Most of the ethnic minority people work their land on sloping terraces since the vast majority of the land is mountainous. Their staple foods are rice and corn. Rice, by its very nature of being a labour-intensive crop, makes the daily fight for survival paramount. The unique climate in Sapa has a major influence on the ethnic minorities who live in the area. With sub-tropical summers, temperate winters and 160 days of mist annually, the influence on agricultural yields and health related issues is significant.
The geographical location of the area makes it a truly unique place for many interesting plants and animals, allowing it to support many inhabitants. Many very rare or even endemic species have been recorded in the region.
The scenery of the Sa Pa region in large part reflects the relationship between the minority people and nature. This is seen especially in the paddy fields carpeting the rolling lower slopes of the Hoàng Liên Mountains. The impressive physical landscape which underlies this has resulted from the work of the elements over thousands of years, wearing away the underlying rock. On a clear day, the imposing peak of Fan Si Pan comes into view. The last major peak in the Himalayan chain, Fan Si Pan offers a real challenge to even the keenest walker, the opportunity of staggering views, and a rare glimpse of some of the last remaining primary rain forest in Vietnam.
Geology, climate and human activity have combined to produce a range of very distinct habitats around Sa Pa. Especially important is Sa Pa's geographic position, at the convergence of the world's 14 “biomes” (distinct biographic areas), producing an assemblage of plant and animal species unique in the world.
In 2014, Sapa ranked #9 in the top 10 rice terrace destinations of the world by SpotCoolStuff
ECOLOGICAL LIFE
The Hoàng Liên Mountains are home to a rich variety of plants, birds, mammals, amphibians, reptiles and insects, many only found in northwestern Vietnam. For this reason, the Hoàng Liên Nature Reserve was made a National Park in 2006, and covers much of the mountain range to the immediate south of Sa Pa.
Forest type and quality change with increasing altitude. At 2000 meters the natural, undisturbed forest begins to be seen. Above 2500 meters dwarf conifers and rhododendrons predominate in the harsh “elfin forest”, so called because a lack of topsoil and nutrients means that fully mature trees grow to measure only a few meters in height. Higher still, only the hardiest of plant species are found. At over 3000 meters, Fan Si Pan's summit can only support dwarf bamboo.
TOPOGRAPHY
The Hoang Lien Mountains lie at the southeastern extent of the Himalayan chain. The national park is located on the northeast flank of these mountains and includes Vietnam's highest peak, Fansipan, at 3,143 m. The lowest point is 380 m but most of the national park lies above 1,000 m. The flanks of the mountains are very steep and many areas are almost inaccessible on foot. Between Fansipan Mountain and Sa Pa town, lies the Muong Hoa valley, which has been terraced for wet rice agriculture. This valley becomes wider towards the east of the national park.
CLIMATE
The climate of Hoàng Liên National Park is unique to Vietnam. It is highly seasonal, with a subtropical climate in the summer and a temperate climate during the winter. Under the Köppen climate classification, Sa Pa has a subtropical highland climate (Cwb). Mean annual temperature for Sa Pa town is 15.4 °C, with a maximum of 29.4 °C and a minimum of 1.0 °C. The warmest months are July and August, and the coldest months are December and January. Snow falls in some years on the highest peaks. It has snown in the town itself in 1983, 2000, 16 March 2011, 15 December 2013, and 19 February 2014.
In common with the rest of northern Vietnam, Hoàng Liên National Park experiences a marked wet season from May to September, with the heaviest rainfall occurring in July and August. Mean annual rainfall is 2,763 millimetres, with a high of 4,023 millimetres and a low of 2,064 millimetres. Humidity ranges from 75 to 91 percent with a yearly mean of 86 percent.
Climate varies considerably within the national park. The prevalent wind direction for most of the year is west to east, leading to cloud formation on the upper slopes of the Fansipan massif. These high-altitude areas are covered by cloud most days of the year and have very high humidity. Cloud also penetrates into the valleys but these areas are usually less humid than the mountain slopes. In the extreme east of the national park, around Ban Ho village, mean temperatures are considerably higher due to the lower altitude of these areas.
Extreme temperatures have ranged from −6.1 °C to 33 °C.
GEOLOGY
The geology of Hoàng Liên National Park includes metamorphosed sediments and a granitic intrusion. The metamorphosed sediments strike from northwest to southeast along the Muong Hoa valley. On the northeastern side of the valley is a craggy ridge of marble and metamorphosed carbonate rocks that exhibit a karst style of weathering. These formations are currently being quarried for road building. The valley floor is characterised by schist and, to a lesser extent, gneiss. The granitic intrusion extends from the Muong Hoa River to the summit ridge of Fansipan and beyond. Due to the high humidity and rainfall in the area, chemical weathering is prevalent. This is reflected in the clay nature of the soil.
ECONOMIC AND SOCIAL DEVELOPMENT
Before the 1990s, the town's economy was mainly based on small size agriculture.
Tourist arrival between 1995 and 2003 grew from a total of 4,860 to 138,622. On average, 79% of the visitors are Vietnamese and 21% are foreigners.
The people of the Sa Pa area have been very poor even by Vietnam's rural standards. Efforts to improve the situation for the local people include both governmental and non-governmental initiatives. The government of Vietnam and foreign governments have contributed to local development programs. International non-governmental organizations such as Oxfam have also been involved in Sa Pa. Locally, the Hmong-run social enterprise, Sapa O'Chau, organizes volunteer placements, such as English teaching, and visiting through trekking and homestays at local villages for short or long-term periods. Vocational training by the Hoa Sua School also aims to increases skills and earnings potential for local residents.
HYDROLOGY
Hoàng Liên National Park is drained by the Muong Hoa and Ta Trung Ho rivers, which feed the Nam Po River and, finally, the Song Hong (Red) river. The forest has an essential role in water catchment protection, particularly the forest at high altitudes, which is frequently covered in cloud. Water condenses on the vegetation and falls as ‘occult’ precipitation. Occult precipitation makes a major contribution to stream-flow during the dry season when rainfall is low.
VEGETATION
The forest of Hoàng Liên National Park can be classified as belonging to 3 types: sub-montane dry evergreen forest, tropical montane deciduous forest and sub-alpine forest. The sub-montane dry evergreen forest, which occurs at lower altitudes, has been the most heavily disturbed by the activities of man.
In addition to the forest habitats, the national park contains large areas of agricultural land, scrub land and Savannah. Agriculture is concentrated at altitudes below 1,500m, in the bottom of valleys. Scrub land and Savannah areas are found where forest has been cleared: around the edge of cultivated areas and on ridge tops, which have been subjected to burning. A final vegetation type represented at Hoàng Liên National Park is dwarf bamboo. This habitat is confined to the highest ridges of the Fansipan massif, at altitudes above 2,800 m.
WIKIPEDIA
PRESIDIO OF MONTEREY, Calif. – More than 3,000 students from across California visited the Presidio of Monterey on May 13 for DLIFLC’s Language Day. Students, educators and other participants were treated to stage performances, classroom displays and ethnic cuisine, highlighting the cultures of the many foreign languages taught here.
Official Presidio of Monterey Web site
Official Presidio of Monterey Facebook
PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
PRESIDIO OF MONTEREY, Calif. -- Members of Team Ducati Alstare, including rider Ayrton Badovini, spent the lunch hours greeting students and staff of the Presidio of Monterey and the Defense Language Institute Foreign Language Center at the mid-POM quad Sept. 25, 2013. While posing for pictures and signing autographs, Badovini, currently the 12th-ranked rider on the FIM Superbike World Championship Tour, displayed the bike he will be racing at Mazda Raceway Laguna Seca for the FIM Superbike World Championship, U.S. Round, Sept. 27-29 in Monterey.
Official Presidio of Monterey Web site
Official Presidio of Monterey Facebook
PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
Photo by Hiro Chang, Presidio of Monterey Public Affairs
The Defense Language Institute Foreign Language Center opened its doors to the public on May 15 for its annual Language Day event.
The event showcased the cultures of the different departmental languages being taught here through dance, skits and fashion shows.
Exhibits were also presented throughout the school grounds with local Monterey ethnic vendors selling their local cuisines to the customers.
Nearly 2,000 high school students and teachers attended Language Day.
In partnership with Concordia Language Villages, we took part in a day dedicated to the many languages of Mia. We engaged in some wordplay with artists and educators from around the globe, sang songs in a new language, and played games that expanded our vocab.
PRESIDIO OF MONTEREY, Calif. – More than 3,000 students from across California visited the Presidio of Monterey on May 13 for DLIFLC’s Language Day. Students, educators and other participants were treated to stage performances, classroom displays and ethnic cuisine, highlighting the cultures of the many foreign languages taught here.
Official Presidio of Monterey Web site
Official Presidio of Monterey Facebook
PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
"Imagine what it would be like if TV actually were good. It would be the end of everything we know".
Marvin Minsky
Placed in the back of a Christmas card.
"How to write a Christmas card for overseas"
Instructions on what message to write for normal and business situations.
And if you want to be fancy, French, Italian, Spanish, German, Chinese and even Korean "Merry Christmas" variations.
From my set entitled “Peonies”
www.flickr.com/photos/21861018@N00/sets/72157607186459134/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
The peony or paeony (Paeonia) is the only genus in the flowering plant family Paeoniaceae. They are native to Asia, southern Europe and western North America.
Most are herbaceous perennial plants 0.5–1.5 metres tall, but some are woody shrubs up to 1.5–3 metres tall. They have compound, deeply lobed leaves, and large, often fragrant flowers, ranging from red to white or yellow, in late spring and early summer. In the past, the peonies were often classified in the family Ranunculaceae, alongside Hellebores and Anemones.
The peony is named after Paeon or Paean, a student of Asclepius, the Greek god of medicine and healing. Asclepius became jealous of his pupil; Zeus saved Paeon from the wrath of Asclepius by turning him into the peony flower
The peony is among the longest-used flowers in ornamental culture and is one of the smallest living creature national emblems in China. Along with the plum blossom, it is a traditional floral symbol of China, where it is called 牡丹 (mǔ dān). It is also known as 富贵花 (fuguihua) "flower of riches and honour", and is used symbolically in Chinese art.[2] In 1903, the Qing Dynasty declared the peony as the national flower. Currently, the Republic of China on Taiwan designates the plum blossom as the national flower, while the People's Republic of China has no legally designated national flower. In 1994, the peony was proposed as the national flower after a nationwide poll, but the National People's Congress failed to ratify the selection. In 2003, another selection process has begun, but to date, no choice has been made.
The famous ancient Chinese city Luoyang has a reputation as a cultivation centre for the peonies. Throughout Chinese history, peonies in Luoyang are often said to be the finest in the country. Dozens of peony exhibitions and shows are still held there annually.
In Japan, Paeonia lactiflora used to be called ebisugusuri ("foreign medicine"). In kampo (the Japanese adaptation of Chinese medicine), its root was used as a treatment for convulsions. It is also cultivated as a garden plant. In Japan Paeonia suffruticosa is called the "The King of flowers" and Paeonia lactiflora is called the "prime minister of flowers".
Pronunciation of 牡丹 (peony) in Japan is "botan". Before the Meiji period, meat taken from quadrupeds was seldom consumed in Japan due to Buddhism. Thus in cases where such meat was handled, it was paraphrased using the names of flowers. The term botan was used (and is still used) to paraphrase wild boar meat. This comes from the flowery resemblance of the sliced meat when spread over a dish. Another example is sakura (cherry blossoms) which stands for horsemeat.
In 1957, the Indiana General Assembly passed a law to make the peony the state flower of Indiana, a title which it holds to this day. It replaced the zinnia, which had been the state flower since 1931.
Mischievous nymphs were said to hide in the petals of the Peony thus causing this magnificent flower to be given the meaning of Shame or Bashfulness in the Language of Flowers. It was named after Pæon, a physician to the gods, who obtained the plant on Mount Olympus from the mother of Apollo. Once planted the Peony likes to be left alone and punishes those who try to move it by not flowering again for several years. Once established, however, it produces splendid blooms each year for decades (Taken from The Language of Flowers, edited by Sheila Pickles, 1990).
Peonies are also extensively grown as ornamental plants for their very large, often scented flowers.
Peonies tend to attract ants to the flower buds. This is due to the nectar that forms on the outside of the flower buds.
Peonies are a common subject in tattoos, often used along with koi-fish.
The words we use in public are under continual scrutiny by people with narrow vision and often less humanity. They will nod to themselves as they discover that grammatical or spelling 'error' or 'misuse' of a word.
I know, I work with these kind of people. They imagine that there are some special people who make decisions about language, creating rules that are the language and hence must be obeyed to the letter.
But what about presentation, content, or order of information presentation? Well, these have no books of rules to be learnt, therefore they are of less value.
However, when you write, you will find any number of people who can 'correct' any grammatical, spelling or word-use 'error' - but who will help you re-order the information flow? This is a pity, because we also react to information flow, content and presentation.
Grammar, spelling and word use? Well, you might hold an opinion about their correctness in a text, but it is the content, presentation and flow of information which will drive your decision - to employ or not to employ, to visit or not to visit etc.
PRESIDIO OF MONTEREY, Calif. - The Defense Language Institute Foreign Language Center flipped the switch on a 35-foot tree decorated for the holidays during the Dec. 7 Christmas Tree Lighting Ceremony held at the POM Chapel. DLIFLC Assistant Commandant Col. Laura M. Ryan presided over the event and the 517th Training Group Air Force Choir performed the National Anthem and Christmas carols for attendees.
Official Presidio of Monterey Web site
Official Presidio of Monterey Facebook
PHOTO by Steven L. Shepard, Presidio of Monterey Public Affairs.
Photo by Hiro Chang, Presidio of Monterey Public Affairs
The Defense Language Institute Foreign Language Center opened its doors to the public on May 15 for its annual Language Day event.
The event showcased the cultures of the different departmental languages being taught here through dance, skits and fashion shows.
Exhibits were also presented throughout the school grounds with local Monterey ethnic vendors selling their local cuisines to the customers.
Nearly 2,000 high school students and teachers attended Language Day.