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Canning Dock is a dock, on the River Mersey, England and part of the Port of Liverpool. It is situated in the southern dock system, connected to Salthouse Dock to the south and Canning Half Tide Dock to the west. The Canning Graving Docks are accessed from the dock.
The dock was opened in 1737 as a protected tidal basin providing an entrance to Old Dock. Having been subsequently enclosed as a wet dock three years earlier, in 1832 it was officially named after the Liverpool MP, George Canning. To the east is the site of Old Dock, built in 1709, this was the world first enclosed dock. Canning Dock would have initially served ships involved in the trans Atlantic slave trade.
Access to the northern half of the dock system was via Georges Dock, George's Basin and into Princes Dock. In 1899, both Georges Basin and George's Dock were filled in and the site is now the Pier Head.
Along with the Albert Dock and others in the immediate vicinity, Canning Dock was abandoned as a commercial shipping facility in 1972 due to the rising cost of dredging and falling numbers in traffic. It was restored in the 1980s and provides access to the Canning Graving Docks, which are part of the Merseyside Maritime Museum.
By March 2009 work was completed on a £22 million extension of the Leeds and Liverpool Canal, providing a further 1.4 miles of navigable waterway.
From Princes Dock, the extension passes the Pier Head and terminates at Canning Dock. The extension includes a small basin at Mann Island, in the vicinity of the Pier Head, and a new lock providing access to Canning Dock.
NOVEMBER 2011
Photos were captured at the Pacific Slope Archaeological Laboratory on the Oregon State University Campus in Corvallis, Dec. 13, 2016, to accompany the feature story below: "Printing the past: 3-D archaeology and the first Americans." Article online here (and below): goo.gl/viKEZF
Photo by Matt Christenson, BLM
Story by Toshio Suzuki, BLM
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For the first Americans, and the study of them today, it all starts with a point.
A sharp point fastened to a wooden shaft gave the hunter 13,000 years ago a weapon that could single-handedly spear a fish or work in numbers to take down a mammoth.
For a prehistoric human, these points were the difference between life and death. They were hunger-driven, handmade labors of love that took hours to craft using a cacophony of rock-on-rock cracks, thuds and shatters.
They have been called the first American invention, and some archaeologists now think 3-D scanning points can reveal more information about both the technology and the people.
The Pacific Slope Archaeological Laboratory at Oregon State University takes up only a few rooms on the ground floor of Waldo Hall, one of the supposedly haunted buildings on campus.
There are boxes of cultural history everywhere, and floor-to-ceiling wood cabinets with skinny pull-out drawers housing even more assets, but the really good stuff, evidence of the earliest known cultures in North America, lives in an 800-pound gun safe.
Loren Davis, anthropology professor at OSU and director of the lab, thinks 3-D scanning, printing, and publishing can circumvent the old traditions of the field, that artifacts are only to be experienced in museums and only handled by those who have a Ph.D.
“We are reimagining the idea of doing archaeology in a 21st century digital way,” said Davis. “We don’t do it just to make pretty pictures or print in plastic, we mostly want to capture and share it for analysis,” he added.
Nearby in the L-shaped lab, one of his doctoral students is preparing to scan a point that was discovered on Bureau of Land Management public lands in southeast Oregon.
Thousands of points have been unearthed since the 1930s in North America, the first being in eastern New Mexico near a town called Clovis. That name is now known worldwide as representing the continent’s first native people.
More recently, though, other peoples with distinctive points were found elsewhere, and some researchers think it means there was differing technology being made at the same time, if not pre-Clovis.
One such location is the Paisley Caves in southern Oregon ― one of the many archaeologically significant sites managed by the BLM.
The earliest stem point from Paisley Caves was scanned at Davis’ lab and a 3-D PDF was included in a 2012 multi-authored report in the journal Science.
Davis estimates his lab at OSU has scanned as many as 400 points, including others from BLM-managed lands in Idaho, Nevada, Oregon and Washington.
More scans would mean a bigger database for comparing points and determining what style they are.
“Ideally, we want to get as many artifacts scanned as possible,“ said Davis. “The BLM offers a lot of access to public data ― this is just another way of doing it.”
---
Transforming a brittle piece of volcanic glass, by hand, into a beautiful and deadly 4-inch-long spear point is a process.
In one hand would be a hard shaping rock, or maybe a thick section of antler, and in the other would be the starter stone, which in addition to igneous could be jasper, chert, or any other chippable rock that creates a hide-puncturing level of sharpness.
After what might be hundreds of controlled strokes and rock rotations, the rough shape of a lance or spear tip would take form. Discarded shards of stone would often result in more points, or other useful tools like scrapers and needles.
Clovis points are distinguished by their length, bifacial leaf shape and middle channels on the bottom called flutes. Eventually the repetitive flaking of the point would stop, and the hunter would use precise pressure points to create the flute on one or each side that likely helped slot the finished product into a spear-like wooden pole.
The hunter was now mobile and ready to roam.
---
Prior to 3-D scanning, OSU doctoral student Sean Carroll picks up a can of Tinactin, gives it the obligatory shake, and completely covers “one of the oldest technologies in North America” with antifungal spray.
The talc and alcohol from the athlete’s foot remedy helps the software see even the slightest indents in the point, and it rubs right off afterwards.
“I want to scan all the Clovis I can get my hands on,” said Carroll, who came to OSU because of Davis’ 3-D lab and is using the medium as a big part of his dissertation.
Two random items, a power plug adapter and a ball of clay, are placed on each side of the fluted point to give the camera and light projector perspective. The objects create margins that force the structured light patterns to bend and capture more of the point’s surface detail.
Even so, like the hunter rotating the shaping rock, the archaeologist has to rotate the foam square holding the three items. Each scan takes about six seconds.
Carroll and Davis estimate that the learning curve for this process was about 100 hours. One hundred hours of trial and error -- and a lot of watching YouTube videos -- for a finished product that they think is indisputably worth it.
A completed 3-D scan of a point will have about 40,000 data points per square inch. The measurements are so precise, they can determine the difference between flake marks as thin as a piece of paper.
Davis says no archaeologist with a pair of calipers can come close to measuring the data obtained via 3-D, because simply, “there are some jobs that robots are really good at.”
“If the end game is measurements, well you could spend your whole life with a pair of calipers trying to achieve what we can do in 10 minutes,” said Davis.
---
Last year, the famous human relative nicknamed Lucy had 3-D scans of her 3.2 million year old bones published in the journal Nature.
In 2015, archaeologists from Harvard University completed a 3-D scan of a winged and human-headed stone bull from Mesopotamia that stands 13 feet high at the Louvre Museum.
And the Smithsonian Institution is currently beta testing a website dedicated to publishing 3-D models from its massive collection, including molds of President Abraham Lincoln’s face and the entire Apollo 11 command module.
All of these new-school efforts are based upon the old-school scientific principles of preservation and promotion.
Rock points, fossils, hieroglyphics -- various forms of cultural assets are susceptible to environmental conditions and not guaranteed to be around forever. Three-dimensional scanning is the most accurate way to digitally preserve these items of merit.
Once accurate preservation is done, there are opportunities for promoting not just science, but specific research goals.
In the case of the Lucy bones, scientists hope that crowdsourcing the 3-D data will help get more experts to look at the fossils and prove that the tree-dwelling ape died from a fall.
When it comes to comparing one specific stemmed point to an entire hard drive of scanning data, BLM archaeologist Scott Thomas thinks the work being done at the OSU lab can move archaeology to a new level.
“The 3-D scanning method blows anything we have done out of the water,” said Thomas.
That ability to compare points can lead to insights on how these hunting tools moved over geography, and even expand theories about how native groups learned new technologies.
“It’s going to be a really powerful tool someday -- not too far off,” said Thomas.
While long-term data analysis may not be the sexiest form of archaeology, holding a 3-D printed stem point is a pretty cool educational tool.
Davis of OSU has incorporated 3-D prints into his classes and said his students are able to make a tactile connection with artifacts that otherwise are not available.
“The students really enjoy these printed and digital models and often say that they are almost like the real thing,” said Davis.
---
This spring, Davis is traveling to Magadan, Russia -- aka Siberia -- to inspect and scan some points that may be linked to Clovis peoples.
The goal in Siberia, of course, is to further expand the 3-D database. He is specifically interested in comparing them to stems from a BLM-managed site he excavated in Idaho called Cooper’s Ferry.
As his student, Carroll, begins to clean up and put the scanned points into their individually labeled ziplocked bags, Davis can’t help but mention how much easier international research could be with 3-D scanning.
“You can share cultural resource info with people in other countries and you don’t have to come visit,” he said, adding that Russia isn’t the easiest country to enter.
“It’s as easy as sending an email,” Carroll agreed.
Davis then mentioned his 11-year-old child and how much of school curriculum these days is web-based as opposed to text-based.
“There’s nothing wrong with books, I’m a huge fan of books, but it’s a different way of learning,” said the archaeology professor.
And with that, he made another point.
-- by Toshio Suzuki, tsuzuki@blm.gov, @toshjohn
Best places to find 3-D archaeology online:
-- Sketchfab.com is one of the biggest databases on the web for 3-D models of cultural assets. Institutions and academics alike are moving priceless treasures to the digital space for all to inspect. Two examples: via the British Museum, a 7.25-ton statue of Ramesses II is available for viewing and free download; and via archaeologist Robert Selden Jr., hundreds of 3-D models are open to the public for study, including several Clovis points from the Blackwater Draw National Historic Site in New Mexico.
-- The Smithsonian Institution is bringing the best of American history to a new audience via their 3-D website (3d.si.edu). Amelia Earhart's flight suit? Check. Native American ceremonial killer whale hat? Check. Face cast of President Abraham Lincoln? Check and check -- there are two. And their biggest 3-D scan is still coming: the 184-foot-long space shuttle Discovery.
-- Visitors to Africanfossils.org can filter 3-D model searches by hominids, animals and tools, and also by date, from zero to 25 million years ago.
The sleek website, with partners like National Geographic and the National Museums of Kenya, makes it easy to download or share 3-D scans, and each item even comes with a discovery backstory and Google map pinpointing exactly where it was found.
i shot this number from the back of my car. found the reflection of the tree when i loaded onto my mac. then played with some fun texture & picnik!
Andrew's beautifully crafted exhibit, entitled "No Numbers" slowly reveals the numbers which make up the John Foxx song "Mr No" — [lastfm][Blip][iTunes[Not on Spotify!] Observers are encouraged to write the numbers down, which is technically copyright infringement, though recreating the song would be something of "a pilgrimage". I dubbed it a "digital window", as opposed to "an analogue window". The software is of course open source and available from GitHub.
Ultracontemporary art works / periode Venice Biennale 2019
www.emergencyrooms.org/biennalist.html
www.emergencyrooms.org/formats.html
more here about the Biennale :
Ralph Rugoff has declared: «May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).»
ALBANIA
Maybe the cosmos is not so extraordinary
Commissioner: Ministry of Culture Republic of Albania. Curator: Alicia Knock.
Exhibitor: Driant Zeneli.
ALGERIA***
Time to shine bright
Commissioner/Curator: Hellal Mahmoud Zoubir, National Council of Arts and Letters Ministry of Culture. Exhibitors: Rachida Azdaou, Hamza Bounoua, Amina Zoubir, Mourad Krinah, Oussama Tabti.
Venue: Fondamenta S. Giuseppe, 925
ANDORRA
The Future is Now / El futur és ara
Commissioner: Eva Martínez, “Zoe”. Curators: Ivan Sansa, Paolo De Grandis.
Exhibitor: Philippe Shangti.
Venue: Istituto Santa Maria della Pietà, Castello 3701
ANTIGUA & BARBUDA
Find Yourself: Carnival and Resistance
Commissioner: Daryll Matthew, Minister of Sports, Culture, National Festivals and the Arts. Curator: Barbara Paca with Nina Khrushcheva. Exhibitors: Timothy Payne, Sir Gerald Price, Joseph Seton, and Frank Walter; Intangible Cultural, Heritage Artisans and Mas Troup.
Venue: Centro Culturale Don Orione Artigianelli, Dorsoduro 919
ARGENTINA
El nombre de un país / The name of a country
Commissioner: Sergio Alberto Baur Ambasciatore. Curator: Florencia Battiti. Exhibitor: Mariana Telleria.
Venue: Arsenale
ARMENIA (Republic of)
Revolutionary Sensorium
Commissioner: Nazenie Garibian, Deputy Minister. Curator: Susanna Gyulamiryan.
Exhibitors: "ArtlabYerevan" Artistic Group (Gagik Charchyan, Hovhannes Margaryan, Arthur Petrosyan, Vardan Jaloyan) and Narine Arakelian.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
AUSTRALIA
ASSEMBLY
Commissioner: Australia Council for the Arts. Curator: Juliana Engberg. Exhibitor: Angelica Mesiti.
Venue: Giardini
AUSTRIA
Discordo Ergo Sum
Commissioner: Arts and Culture Division of the Federal Chancellery of Austria.
Curator: Felicitas Thun-Hohenstein. Exhibitor: Renate Bertlmann.
Venue: Giardini
AZERBAIJAN (Republic of )
Virtual Reality
Commissioner: Mammad Ahmadzada, Ambassador of the Republic of Azerbaijan.
Curators: Gianni Mercurio, Emin Mammadov. Exhibitors: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva.
Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949
BANGLADESH (People’s Republic of)
Thirst
Commissioner: Liaquat Ali Lucky. Curators: Mokhlesur Rahman, Viviana Vannucci.
Exhibitors: Bishwajit Goswami, Dilara Begum Jolly, Heidi Fosli, Nafis Ahmed Gazi, Franco Marrocco, Domenico Pellegrino, Preema Nazia Andaleeb, Ra Kajol, Uttam Kumar karmaker.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
BELARUS (Republic of)
Exit / Uscita
Commissioner: Siarhey Kryshtapovich. Curator: Olga Rybchinskaya. Exhibitor: Konstantin Selikhanov.
Venue: Spazio Liquido, Sestiere Castello 103, Salizada Streta
BELGIUM
Mondo Cane
Commissioner: Fédération Wallonie-Bruxelles. Curator: Anne-Claire Schmitz.
Exhibitor: Jos de Gruyter & Harald Thys.
Venue: Giardini
BOSNIA and HERZEGOVINA
ZENICA-TRILOGY
Commissioner: Senka Ibrišimbegović, Ars Aevi Museum for Contemporary Art Sarajevo.
Curators: Anja Bogojević, Amila Puzić, Claudia Zini. Exhibitor: Danica Dakić.
Venue: Palazzo Francesco Molon Ca’ Bernardo, San Polo 2184/A
BRAZIL
Swinguerra
Commissioner: José Olympio da Veiga Pereira, Fundação Bienal de São Paulo.
Curator: Gabriel Pérez-Barreiro. Exhibitor: Bárbara Wagner & Benjamin de Burca.
Venue: Giardini
BULGARIA
How We Live
Commissioner: Iaroslava Boubnova, National Gallery in Sofia. Curator: Vera Mlechevska.
Exhibitors: Rada Boukova , Lazar Lyutakov.
Venue: Palazzo Giustinian Lolin, San Marco 2893
CANADA
ISUMA
Commissioner: National Gallery of Canada. Curators: Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer, Candice Hopkins. Exhibitors: Isuma (Zacharias Kunuk, Norman Cohn, Paul Apak, Pauloosie Qulitalik).
Venue: Giardini
CHILE
Altered Views
Commissioner: Varinia Brodsky, Ministry of Cultures, Arts and Heritage.
Curator: Agustín Pérez. Rubio. Exhibitor: Voluspa Jarpa.
Venue: Arsenale
CHINA (People’s Republic of)
Re-睿
Commissioner: China Arts and Entertainment Group Ltd. (CAEG).
Curator: Wu Hongliang. Exhibitors: Chen Qi, Fei Jun, He Xiangyu, Geng Xue.
Venue: Arsenale
CROATIA
Traces of Disappearing (In Three Acts)
Commissioner: Ministry of Culture of the Republic of Croatia. Curator: Katerina Gregos.
Exhibitor: Igor Grubić.
Venue: Calle Corner, Santa Croce 2258
CUBA
Entorno aleccionador (A Cautionary Environment)
Commissioner: Norma Rodríguez Derivet, Consejo Nacional de Artes Plásticas.
Curator: Margarita Sanchez Prieto. Exhibitors: Alejandro Campins, Alex Hérnandez, Ariamna Contino and Eugenio Tibaldi. Venue: Isola di San Servolo
CYPRUS (Republic of)
Christoforos Savva: Untimely, Again
Commissioner: Louli Michaelidou. Curator: Jacopo Crivelli Visconti. Exhibitor: Christoforos Savva.
Venue: Associazione Culturale Spiazzi, Castello 3865
CZECH (Republic) and SLOVAK (Republic)
Stanislav Kolíbal. Former Uncertain Indicated
Commissioner: Adam Budak, National Gallery Prague. Curator: Dieter Bogner.
Exhibitor: Stanislav Kolibal.
Venue: Giardini
DOMINICAN (Republic) *
Naturaleza y biodiversidad en la República Dominicana
Commissioner: Eduardo Selman, Minister of Culture. Curators: Marianne de Tolentino, Simone Pieralice, Giovanni Verza. Exhibitors: Dario Oleaga, Ezequiel Taveras, Hulda Guzmán, Julio Valdez, Miguel Ramirez, Rita Bertrecchi, Nicola Pica, Marraffa & Casciotti.
Venue: Palazzo Albrizzi Capello, Cannaregio 4118 – Sala della Pace
EGYPT
khnum across times witness
Commissioner: Ministry of Culture. Curator: Ahmed Chiha.
Exhibitors: Islam Abdullah, Ahmed Chiha, Ahmed Abdel Karim.
Venue: Giardini
ESTONIA
Birth V
Commissioner: Maria Arusoo, Centre of Contemporary Arts of Estonia. Curators: Andrew Berardini, Irene Campolmi, Sarah Lucas, Tamara Luuk. Exhibitor: Kris Lemsalu.
Venue: c/o Legno & Legno, Giudecca 211
FINLAND (Alvar Aalto Pavilion)
A Greater Miracle of Perception
Commissioner: Raija Koli, Director Frame Contemporary Art Finland.
Curators: Giovanna Esposito Yussif, Bonaventure Soh Bejeng Ndikung, Christopher Wessels. Exhibitors: Miracle Workers Collective (Maryan Abdulkarim, Khadar Ahmed, Hassan Blasim, Giovanna Esposito Yussif, Sonya Lindfors, Bonaventure Soh Bejeng Ndikung, Outi Pieski, Leena Pukki, Lorenzo Sandoval, Martta Tuomaala, Christopher L. Thomas, Christopher Wessels, Suvi West).
Venue: Giardini
FRANCE
Deep see blue surrounding you / Vois ce bleu profond te fondre
Commissioner: Institut français with the Ministry for Europe and Foreign Affairs and the Ministry of Culture. Curator: Martha Kirszenbaum. Exhibitor: Laure Prouvost.
Venue: Giardini
GEORGIA
REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation
Commissioner: Ana Riaboshenko. Curator: Margot Norton. Exhibitor: Anna K.E.
Venue: Arsenale
GERMANY
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office, Germany. Curator: Franciska Zólyom. Exhibitor: Natascha Süder Happelmann.
Venue: Giardini
GHANA ***
Ghana Freedom
Commissioner: Ministry of Tourism, Arts and Culture. Curator: Nana Oforiatta Ayim.
Exhibitors: Felicia Abban, John Akomfrah, El Anatsui, Lynette Yiadom Boakye, Ibrahim Mahama, Selasi Awusi Sosu.
Venue: Arsenale
GREAT BRITAIN
Cathy Wilkes
Commissioner: Emma Dexter. Curator: Zoe Whitley. Exhibitor: Cathy Wilkes.
Venue: Giardini
GREECE
Mr Stigl
Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan Organization of Museums of Visual Arts of Thessaloniki - MOMus).
Curator: Katerina Tselou. Exhibitors: Panos Charalambous, Eva Stefani, Zafos Xagoraris.
Venue: Giardini
GRENADA
Epic Memory
Commissioner: Susan Mains. Curator: Daniele Radini Tedeschi.
Exhibitors: Amy Cannestra, Billy Gerard Frank, Dave Lewis, Shervone Neckles, Franco Rota Candiani, Roberto Miniati, CRS avant-garde.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
GUATEMALA
Interesting State
Commissioner: Elder de Jesús Súchite Vargas, Minister of Culture and Sports of Guatemala. Curator: Stefania Pieralice. Exhibitors: Elsie Wunderlich, Marco Manzo.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
HAITI
THE SPECTACLE OF TRAGEDY
Commissioner: Ministry of Culture and Communication.
Curator: Giscard Bouchotte. Exhibitor: Jean Ulrick Désert.
Venue: Circolo Ufficiali Marina, Calle Seconda de la Fava, Castello 2168
HUNGARY
Imaginary Cameras
Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.
Curator: Zsuzsanna Szegedy-Maszák. Exhibitor: Tamás Waliczky.
Venue: Giardini
ICELAND
Chromo Sapiens – Hrafnhildur Arnardóttir / Shoplifter
Commissioner: Eiríkur Þorláksson, Icelandic Ministry of Education, Science and Culture.
Curator: Birta Gudjónsdóttir. Exhibitor: Hrafnhildur Arnardóttir / Shoplifter.
Venue: Spazio Punch, Giudecca 800
INDIA
Our time for a future caring
Commissioner: Adwaita Gadanayak National Gallery of Modern Art.
Curator: Roobina Karode, Director & Chief Curator, Kiran Nadar Museum of Art. Exhibitors: Atul Dodiya, Ashim Purkayastha, GR Iranna, Jitish Kallat, Nandalal Bose, Rummana Hussain, Shakuntala Kulkarni.
Venue: Arsenale
INDONESIA
Lost Verses
Commissioner: Ricky Pesik & Diana Nazir, Indonesian Agency for Creative Economy.
Curator: Asmudjo Jono Irianto. Exhibitors: Handiwirman Saputra and Syagini Ratna Wulan.
Venue: Arsenale
IRAN (Islamic Republic of)
of being and singing
Commissioner: Hadi Mozafari, General Manager of Visual Arts Administration of Islamic Republic of Iran. Curator: Ali Bakhtiari.
Exhibitors: Reza Lavassani, Samira Alikhanzadeh, Ali Meer Azimi.
Venue: Fondaco Marcello, San Marco 3415
IRAQ
Fatherland
Commissioner: Fondazione Ruya. Curators: Tamara Chalabi, Paolo Colombo.
Exhibitor: Serwan Baran.
Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052
IRELAND
The Shrinking Universe
Commissioner: Culture Ireland. Curator: Mary Cremin. Exhibitor: Eva Rothschild.
Venue: Arsenale
ISRAEL
Field Hospital X
Commissioner: Michael Gov, Arad Turgeman. Curator: Avi Lubin. Exhibitor: Aya Ben Ron.
Venue: Giardini
ITALY
Commissioner: Federica Galloni, Direttore Generale Arte e Architettura Contemporanee e Periferie Urbane, Ministero dei Beni e delle Attività Culturali. Curator: Milovan Farronato.
Exhibitors: Enrico David, Liliana Moro, Chiara Fumai.
Venue: Padiglione Italia, Tese delle Vergini, Arsenale
IVORY COAST
The Open Shadows of Memory
Commissioner: Henri Nkoumo. Curator: Massimo Scaringella. Exhibitors: Ernest Dükü, Ananias Leki Dago, Valérie Oka, Tong Yanrunan.
Venue: Castello Gallery, Castello 1636/A
JAPAN
Cosmo-Eggs
Commissioner: The Japan Foundation. Curator: Hiroyuki Hattori. Exhibitors: Motoyuki Shitamichi, Taro Yasuno, Toshiaki Ishikura, Fuminori Nousaku.
Venue: Giardini
KIRIBATI
Pacific Time - Time Flies
Commissioner: Pelea Tehumu, Ministry of Internal Affairs. Curators: Kautu Tabaka, Nina Tepes. Exhibitors: Kaeka Michael Betero, Daniela Danica Tepes, Kairaken Betio Group; Teroloang Borouea, Neneia Takoikoi, Tineta Timirau, Teeti Aaloa, Kenneth Ioane, Kaumai Kaoma, Runita Rabwaa, Obeta Taia, Tiribo Kobaua, Tamuera Tebebe, Rairauea Rue, Teuea Kabunare, Tokintekai Ekentetake, Katanuti Francis, Mikaere Tebwebwe, Terita Itinikarawa, Kaeua Kobaua, Raatu Tiuteke, Kaeriti Baanga, Ioanna Francis, Temarewe Banaan, Aanamaria Toom, Einako Temewi, Nimei Itinikarawa, Teniteiti Mikaere, Aanibo Bwatanita, Arin Tikiraua.
Venue: European Cultural Centre, Palazzo Mora, Strada Nuova 3659
KOREA (Republic of)
History Has Failed Us, but No Matter
Commissioner: Arts Council Korea. Curator: Hyunjin Kim. Exhibitors: Hwayeon Nam, siren eun young jung, Jane Jin Kaisen.
Venue: Giardini
KOSOVO (Republic of)
Family Album
Commissioner: Arta Agani. Curator: Vincent Honore. Exhibitor: Alban Muja.
Venue: Arsenale
LATVIA
Saules Suns
Commissioner: Dace Vilsone. Curators: Valentinas Klimašauskas, Inga Lāce.
Exhibitor: Daiga Grantiņa.
Venue: Arsenale
LITHUANIA
Sun & Sea (Marina)
Commissioner: Rasa Antanavičıūte. Curator: Lucia Pietroiusti.
Exhibitors: Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite.
Venue: Magazzino No. 42, Marina Militare, Arsenale di Venezia, Fondamenta Case Nuove 2738c
LUXEMBOURG (Grand Duchy of)
Written by Water
Commissioner: Ministry of Culture of Luxembourg.
Curator: Kevin Muhlen. Exhibitor: Marco Godinho.
Venue: Arsenale
NORTH MACEDONIA (Republic of )
Subversion to Red
Commissioner: Mira Gakina. Curator: Jovanka Popova. Exhibitor: Nada Prlja.
Venue: Palazzo Rota Ivancich, Castello 4421
MADAGASCAR ***
I have forgotten the night
Commissioner: Ministry of Communication and Culture of the Republic of Madagascar. Curators: Rina Ralay Ranaivo, Emmanuel Daydé.
Exhibitor: Joël Andrianomearisoa.
Venue: Arsenale
MALAYSIA ***
Holding Up a Mirror
Commissioner: Professor Dato’ Dr. Mohamed Najib Dawa, Director General of Balai Seni Negara (National Art Gallery of Malaysia), Ministry of Tourism, Arts and Culture of Malaysia. Curator: Lim Wei-Ling. Exhibitors: Anurendra Jegadeva, H.H.Lim, Ivan Lam, Zulkifli Yusoff.
Venue: Palazzo Malipiero, San Marco 3198
MALTA
Maleth / Haven / Port - Heterotopias of Evocation
Commissioner: Arts Council Malta. Curator: Hesperia Iliadou Suppiej. Exhibitors: Vince Briffa, Klitsa Antoniou, Trevor Borg.
Venue: Arsenale
MEXICO
Actos de Dios / Acts of God
Commissioner: Gabriela Gil Verenzuela. Curator: Magalí Arriola. Exhibitor: Pablo Vargas Lugo.
Venue: Arsenale
MONGOLIA
A Temporality
Commissioner: The Ministry of Education, Culture, Science and Sports of Mongolia.
Curator: Gantuya Badamgarav. Exhibitor: Jantsankhorol Erdenebayar with the participation of traditional Mongolian throat singers and Carsten Nicolai (Alva Noto).
Venue: Bruchium Fermentum, Calle del Forno, Castello 2093-2090
MONTENEGRO
Odiseja / An Odyssey
Commissioner: Nenad Šoškić. Curator: Petrica Duletić. Exhibitor: Vesko Gagović.
Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE (Republic of)
The Past, the Present and The in Between
Commissioner: Domingos do Rosário Artur. Curator: Lidija K. Khachatourian.
Exhibitors: Gonçalo Mabunda, Mauro Pinto, Filipe Branquinho.
Venue: Palazzo Mora, Strada Nova, 3659
NETHERLANDS (The)
The Measurement of Presence
Commissioner: Mondriaan Fund. Curator: Benno Tempel. Exhibitors: Iris Kensmil, Remy Jungerman. Venue: Giardini
NEW ZEALAND
Post hoc
Commissioner: Dame Jenny Gibbs. Curators: Zara Stanhope and Chris Sharp.
Exhibitor: Dane Mitchell.
Venue: Palazzina Canonica, Riva Sette Martiri
NORDIC COUNTRIES (FINLAND - NORWAY - SWEDEN)
Weather Report: Forecasting Future
Commissioner: Leevi Haapala / Museum of Contemporary Art Kiasma / Finnish National Gallery, Katya García-Antón / Office for Contemporary Art Norway (OCA), Ann-Sofi Noring / Moderna Museet. Curators: Leevi Haapala, Piia Oksanen. Exhibitors: Ane Graff, Ingela Ihrman, nabbteeri.
Venue: Giardini
PAKISTAN ***
Manora Field Notes
Commissioner: Syed Jamal Shah, Pakistan National Council of the Arts, PNCA.
Curator: Zahra Khan. Exhibitor: Naiza Khan.
Venue: Tanarte, Castello 2109/A and Spazio Tana, Castello 2110-2111
PERU
“Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle
Commissioner: Armando Andrade de Lucio. Curator: Gustavo Buntinx. Exhibitors: Christian Bendayán, Otto Michael (1859-1934), Manuel Rodríguez Lira (1874-1933), Segundo Candiño Rodríguez, Anonymous popular artificer.
Venue: Arsenale
PHILIPPINES
Island Weather
Commissioner: National Commission for Culture and the Arts (NCCA) / Virgilio S. Almario.
Curator: Tessa Maria T. Guazon. Exhibitor: Mark O. Justiniani.
Venue: Arsenale
POLAND
Flight
Commissioner: Hanna Wroblewska. Curators: Łukasz Mojsak, Łukasz Ronduda.
Exhibitor: Roman Stańczak.
Venue: Giardini
PORTUGAL
a seam, a surface, a hinge or a knot
Commissioner: Directorate-General for the Arts. Curator: João Ribas. Exhibitor: Leonor Antunes.
Venue: Fondazione Ugo e Olga Levi Onlus, Palazzo Giustinian Lolin, San Marco 2893
ROMANIA
Unfinished Conversations on the Weight of Absence
Commissioner: Attila Kim. Curator: Cristian Nae. Exhibitor: Belu-Simion Făinaru, Dan Mihălțianu, Miklós Onucsán.
Venues: Giardini and New Gallery of the Romanian Institute for Culture and Humanistic Research (Campo Santa Fosca, Palazzo Correr, Cannaregio 2214)
RUSSIA
Lc 15:11-32
Commissioner: Semyon Mikhailovsky. Curator: Mikhail Piotrovsky. Exhibitors: Alexander Sokurov, Alexander Shishkin-Hokusai.
Venue: Giardini
SAN MARINO (Republic of)
Friendship Project International
Commissioner: Vito Giuseppe Testaj. Curator: Vincenzo Sanfo. Exhibitors: Gisella Battistini, Martina Conti, Gabriele Gambuti, Giovanna Fra, Thea Tini, Chen Chengwei, Li Geng, Dario Ortiz, Tang Shuangning, Jens W. Beyrich, Xing Junqin, Xu de Qi, Sebastián.
Venue: Palazzo Bollani, Castello 3647; Complesso dell’Ospedaletto, Castello 6691
SAUDI ARABIA
After Illusion بعد توهم
Commissioner: Misk Art Insitute. Curator: Eiman Elgibreen. Exhibitor: Zahrah Al Ghamdi.
Venue: Arsenale
SERBIA
Regaining Memory Loss
Commissioner: Vladislav Scepanovic. Curator: Nicoletta Lambertucci. Exhibitor: Djordje Ozbolt.
Venue: Giardini
SEYCHELLES (Republic of)
Drift
Commissioner: Galen Bresson. Curator: Martin Kennedy.
Exhibitors: George Camille and Daniel Dodin.
Venue: Palazzo Mora, Strada Nova, 3659
SINGAPORE
Music For Everyone: Variations on a Theme
Commissioner: Rosa Daniel, Chief Executive Officer, National Arts Council (NAC).
Curator: Michelle Ho. Exhibitor: Song-Ming Ang.
Venue: Arsenale
SLOVENIA (Republic of)
Here we go again... SYSTEM 317
A situation of the resolution series
Commissioner: Zdenka Badovinac, Director Moderna galerija / Museum of Modern Art, Ljubljana. Curator: Igor Španjol. Exhibitor: Marko Peljhan.
Venue: Arsenale
SOUTH AFRICA (Republic of)
The stronger we become
Commissioner: Titi Nxumalo, Console Generale. Curators: Nkule Mabaso, Nomusa Makhubu. Exhibitors: Dineo Seshee Bopape, Tracey Rose, Mawande Ka Zenzile.
Venue: Arsenale
SPAIN
Perforated by Itziar Okariz and Sergio Prego
Commissioner: AECID Agencia Espanola de Cooperacion Internacional Para El Desarrollo. Ministerio de Asuntos Exteriores, Union Europea y Cooperacion. Curator: Peio Aguirre.
Exhibitors: Itziar Okariz, Sergio Prego.
Venue: Giardini
SWITZERLAND
Moving Backwards
Commissioner: Swiss Arts Council Pro-Helvetia: Marianne Burki, Sandi Paucic, Rachele Giudici Legittimo. Curator: Charlotte Laubard. Exhibitors: Pauline Boudry/Renate Lorenz.
Venue: Giardini
SYRIAN ARAB (Republic)
Syrian Civilization is still alive
Commissioner/Curator: Emad Kashout. Exhibitors: Abdalah Abouassali, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia, Giuseppe Biasio.
Venue: Isola di San Servolo; Chiesetta della Misericordia, Campo dell'Abbazia, Cannaregio
THAILAND
The Revolving World
Commissioner: Vimolluck Chuchat, Office of Contemporary Art and Culture, Ministry of Culture, Thailand. Curator: Tawatchai Somkong. Exhibitors: Somsak Chowtadapong, Panya Vijinthanasarn, Krit Ngamsom.
Venue: In Paradiso 1260, Castello
TURKEY
We, Elsewhere
Commissioner: IKSV. Curator: Zeynep Öz. Exhibitor: İnci Eviner.
Venue: Arsenale
UKRAINE
The Shadow of Dream cast upon Giardini della Biennale
Commissioner: Svitlana Fomenko, First Deputy Minister of Culture. Curators: Open group (Yurii Biley, Pavlo Kovach, Stanislav Turina, Anton Varga). Exhibitors: all artists of Ukraine.
Venue: Arsenale
UNITED ARAB EMIRATES
Nujoom Alghanem: Passage
Commissioner: Salama bint Hamdan Al Nahyan Foundation.
Curators: Sam Bardaouil and Till Fellrath. Exhibitor: Nujoom Alghanem.
Venue: Arsenale
UNITED STATES OF AMERICA
Martin Puryear: Liberty
Commissioner/Curator: Brooke Kamin Rapaport. Exhibitor: Martin Puryear.
Venue: Giardini
URUGUAY
“La casa empática”
Commissioner: Alejandro Denes. Curators: David Armengol, Patricia Bentancur.
Exhibitor: Yamandú Canosa.
Venue: Giardini
VENEZUELA (Bolivarian Republic of)
Metaphore of three windows
Venezuela: identity in time and space
Commissioner/Curator: Oscar Sottillo Meneses. Exhibitors: Natalie Rocha Capiello, Ricardo García, Gabriel López, Nelson Rangelosky.
Venue: Giardini
ZIMBABWE (Republic of)
Soko Risina Musoro (The Tale without a Head)
Commissioner: Doreen Sibanda, National Gallery of Zimbabwe. Curator: Raphael Chikukwa. Exhibitors: Georgina Maxim, Neville Starling , Cosmas Shiridzinomwa, Kudzanai Violet Hwami.
Venue: Istituto Provinciale per L’infanzia “Santa Maria Della Pietà”. Calle della Pietà Castello n. 3701 (ground floor)
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invited artist :
Lawrence Abu Hamdan (Jordan / Beirut)
Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),
Darren Bader (USA),Nairy Baghramian (Iran / Germany,
Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,
Christoph Büchel (Switzerland / Iceland,
Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA
Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,
Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)
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other Biennale :(Biennials ) :Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
وینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism
Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia
Ralph Rugoff Ralph_Rugoff #RalphRugoff RalphRugoff 2019
pavilion giardini artcontemporain contemporary kunst modern #artcontemporain art artsenal gallery gallerie museum
artist curator commissaire country contemporary ultracontemporary art kunst perfomance sport jogging emergency room urgency panic saving artist role responsability
#art #artist #artistic #artists #arte #artwork
Thierry Geoffroy / Colonel
artfair copenhagen
Our Daily Challenge 21-27 : Numbers Sequence.
Sunflower seedhead.
0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, 233, 377, 610, 987......
Lamb Of God - Grand Rapids, Michigan
November 9, 2009
Van Andel Arena
Opening for Metallica
Buy my books at www.duaneroy.com
Atividade Completa:
www.aprenderebrincar.com/2012/10/numbers-exercises.html
Atividades para Educação Infantil.
Material de apoio para Pais e Professores.
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American trucks were bought in penny numbers by UK hauliers. They appealed to those looking for sheer muscle power and, most of all, prestige value. Heavy haulage specialist Chris Miller of Preston in Lancashire was well known for his Mack F700 drawbar tractor Bonzo Bear. This fictional Mack G75 is depicted as a fifth wheel tractor unit, although the term seems inappropriate for a three-axle vehicle. Thanks to Martin Vonk for the base image (01-Jun-17).
All rights reserved - not to be posted on Facebook or anywhere else without prior written permission. Please follow the link below for additional information about my work and the techniques used:
www.flickr.com/photos/northernblue109/6046035749/in/set-7...
hey now...no fat jokes. but seriously...these guys are really talented. hailing from england. i'm glad that they played "forever lost".
[order] Charadriiformes | [family] Scolopacidae | [latin] Calidris alpina | [UK] Dunlin | [FR] Bécasseau variable | [DE] Alpenstrandläufer | [ES] Correlimos Común | [IT] Piovanello pancianera | [NL] Bonte Strandloper | [IRL] Breacóg
Sea Lark, Ebb Sleeper, Sea Mouse, Sand Mouse
[order] Charadriiformes | [family] Scolopacidae | [latin] Calidris alpina | [UK] Dunlin | [FR] Bécasseau variable | [DE] Alpenstrandläufer | [ES] Correlimos Común | [IT] Piovanello pancianera | [NL] Bonte Strandloper
spanwidth min.: 32 cm
spanwidth max.: 36 cm
size min.: 17 cm
size max.: 21 cm
Breeding
incubation min.: 21 days
incubation max.: 22 days
fledging min.: 19 days
fledging max.: 21 days
broods 1
eggs min.: 3
eggs max.: 5
Status: Summer visitor from NW Africa/SW Europe, winter visitor from Scandinavia to Siberia, passage migrant from Greenland (heading south to winter in Africa). Most occur during the mid-winter period.
Conservation Concern: Amber-listed in Ireland as the majority of Dunlins winter at less than ten sites. The European population has been evaluated as Depleted, due to a large historical decline.
Identification: One of the smaller waders and our most abundant one in winter and on passage. A limited number breed in some sandy / grassy locations along the west and north coasts. Plumage is highly variable - in summer, rich chestnut above, streaked on breast, white below with a striking black patch on the belly. The more usually encountered winter plumage bird shows a rather non-descript, uniform, plain brownish-grey on all upperparts and cold white underparts. Juveniles in autumn have warm brown tones on the upperparts and considerable streaking on the breast and underparts. There are many other variations and combinations, depending on the bird's state of moult. It is a rather dumpy bird, with black legs and a longish bill which downcurves slightly. Often occurs in very large flocks. An important bird to get to know (in all its plumages) if you want to successfully identify other similar-sized waders.
Call: A harsh churring trill - "thrrrreeep"
Diet: Feed predominantly on small invertebrates of estuarine mudflats, particularly polychaete worms and small gastropods. They feed in flocks, in the muddier sections of the estuaries and close to the tide edge.
Breeding: Nests on the ground in sparse, low vegetation - in Ireland favours machair habitats.
Wintering: Common along all coastal areas - especially on tidal mudflats and estuaries. Very few inland.
Where to see: Shannon & Fergus Estuary in County Clare and Dundalk Bay in County Louth regularly support >10,000 birds. Other important sites include Cork Harbour in County Cork, Lough Swilly in Donegal and Strangford Lough in Down (6,000- 9,000 birds).
Physical characteristics
This small shorebird is distinctive in breeding plumage, with a black belly-patch extending behind its black legs. Its head and breast are light-colored, and its back is bright rufous. In non-breeding plumage it is drab gray with a brownish head and breast. In flight it has white underwings, a white line down the middle of the upperwing, and white on either side of its rump and tail. The white underwings are especially distinctive in flight. As a flock twists and turns together in flight, white flashes of underwing are evident from a distance.
Dunlin flocks are often huge, most impressive when they display their coordinated aerial maneuvers trying to escape predation by Peregrine Falcons and Merlins. When foraging, they either pick food from the surface or probe in the mud. They feed on exposed mud or in shallow water, making short runs interspersed with periods of feeding. They feed day or night, depending on the timing of low tide.
Habitat
Tundra-breeders, Dunlin typically nest in wet meadow tundra with low ridges, vegetation hummocks, and nearby ponds. During migration and winter, they prefer mudflats, but can also be seen on sandy beaches, coastal grasslands, estuaries, and occasionally in muddy, freshwater areas.
Other details
Calidris alpina breeds mainly in northern Europe, which accounts for less than half of its global breeding range. Its European breeding population is large (>300,000 pairs), and was probably stable between 1970-1990 (although the European wintering population declined markedly). The species was stable in north-west Europe during 1990-2000, but declined around the Baltic and in Russia. Although the trend in Iceland was unknown, the species's population has clearly not yet recovered to the level that preceded its decline.
The Canadian Wildlife Service estimates the Dunlin population at 3,934,000 birds worldwide, with 1,325,000 in North America. Of that group, 500,000 birds make up the Pacific Coast population. Dunlin are currently the second most common shorebird in Washington, and the most common of Washington's wintering shorebirds, but numbers have declined in the Northwest in recent decades. There has been little habitat destruction or disturbance on the breeding grounds to date, but the migration and wintering grounds are threatened by destruction of habitat. There is currently no reliable information about population status or trends for Dunlin range-wide, so it is unknown if the trend in the Northwest is due to a decrease in population or a shift in range. Dunlin are considered an indicator species for assessing the health of Holarctic ecosystems, so determining range-wide population trends should be of high priority as reduction in their numbers could indicate that other species that use these ecosystems are at risk.
Feeding
On the breeding grounds, insects and insect larvae are the most important source of food. In coastal habitats, Dunlin also eat marine worms, small crustaceans, mollusks, and other aquatic creatures. They sometimes eat seeds and leaves.
Conservation
This species has a large range, with an estimated global Extent of Occurrence of 1,000,000-10,000,000 km². It has a large global population estimated to be 4,200,000-6,400,000 individuals (Wetlands International 2002). Global population trends have not been quantified, but the species is not believed to approach the thresholds for the population decline criterion of the IUCN Red List (i.e. declining more than 30% in ten years or three generations). For these reasons, the species is evaluated as Least Concern. [conservation status from birdlife.org]
Breeding
Males typically arrive first on the breeding grounds. Pairs form when females arrive, but if arrival on the breeding grounds is delayed due to weather, pairs may form prior to arrival. Former mates often use the same territory as in the previous year. The male starts a few scrapes, which may be lined with grass, sedge, and willow leaves. The female chooses one and finishes the construction. The nest is usually well hidden under a clump of grass or on a hummock. Both parents incubate the four eggs for 20 to 22 days. The young leave the nest shortly after hatching and find their own food. Both parents tend the young, although the female usually abandons the group within a week of hatching. The male generally stays with the young until they are close to fledging, typically about 19 days.
Migration
Migratory. Variety of migration strategies, from short coastal flights to long, non-stop flights overland on broad front. Race arctica moves from Greenland through Iceland, Britain and W France to Morocco and W Africa, primarily to Banc d´Arguin, Mauritania; arrives in Africa from late Jul and departs mainly Mar to early Apr; return migration farther W up W Britain, probably overflying Iceland. Race schinzii passes through Britain, France and Portugal to NW Africa; few may winter in SW England; continental birds move N up continental coasts, when fewer reach Britain than after breeding. Race alpina winters in Europe and NW Africa; easternmost birds migrate farthest; many moult in Wadden Sea or Wash, arriving from Jul, followed by W movements in Oct-Nov to British Is; birds wintering in E Mediterranean make long distance, flights overland across E Europe. At least 3 races move down E Asian coast, where passage recorded through Ussuriland, Korea, Japan, Hong Kong and coastal China. Race articola stages in W Alaska, and crosses Bering Strait to E Asian winter quarters. Almost entire population of pacifica uses Copper R Delta, SE Alaska, as spring staging site. Some 1-year-old birds remain in non-breeding range all year.
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Ringed Plover (Charadrius hiaticula
[order] Charadriiformes | [family] Charadriidae | [latin] Charadrius hiaticula | [UK] Ringed Plover | [FR] Pluvier grand-gravelot | [DE] Sandregenpfeifer | [ES] Chorlitejo Anillado | [IT] Corriere grosso | [NL] Bontbekplevier
spanwidth min.: 35 cm
spanwidth max.: 41 cm
size min.: 17 cm
size max.: 20 cm
Breeding
incubation min.: 23 days
incubation max.: 25 days
fledging min.: 22 days
fledging max.: 26 days
broods 2
eggs min.: 3
eggs max.: 4
Charadrius hiaticula
Feadóg chladaigh
Bull's Eye, Sea Lark, Sand Lark, Sand Tripper, Stone Runner
Status: Resident & winter visitor from areas further north where this population also breeds (Iceland, the Baltic & southern Scandinavia). Peak numbers between August and early October, and then numbers decline slightly (passage birds move further south) and stabilise between November and January.
Conservation Concern: Amber-listed as internationally important numbers winter in Ireland. The European population is considered to be Secure.
Identification: Compact, small wader, similar in size to Dunlin. Grey-brown upperparts and white underparts. Adults with orange bill with black tip in summer, which is mostly black in winter, orange legs, black ring widens as it extends across the chest. White throat and across the back of the neck. Prominent white wing-bar in flight.
Call: Mellow 'choo-ee'. Alarm is sharp 'peep', song repeated rythmic, mellow 'tee-too-e' and hurried and repeated 't'weea-t'.
Diet: Hunts visually, scanning the area for signs of movement which indicate potential prey. It feeds on a variety of invertebrates, particularly polychaete worms and crustaceans. Characteristic plover feeding action - short run along ground, pause, bend to pick up food item followed by another run.
Breeding: Mostly coastal breeding distribution, preferring to nest on exposed wide sandy or shingle beaches. Some breed inland, particularly in the west, where their preferred nesting habitat is on short-grazed pasture beside rivers and along lake
Wintering: Winter around the entire coastline, but are quite sparse along the north and southeast coasts. Mostly recorded along sandy stretches or along the upper shores of estuaries and non-estuarine coastline
Where to See: The Mullet, Broadhaven & Blacksod Bays in County Mayo, Outer Ards in County Down, Tralee Bay, Lough Gill & Akeragh Lough in County Kerry, Dublin Bay in County Dublin and Inner Galway Bay in County Galway are among the most important wintering sites (250-450 birds).
Physical characteristics
More robust plover than C. dubius and very similar to C. semipalmatus, but lacks basal web between middle and inner toes, and has slightly broader breast band, larger white supercilium and clearer yellow eye-ring. Female has breast band and ear-coverts tinged brown on sides. Distinct non-breeding plumage absent in nominate race. Juvenile resembles pale adult with buffy fringes, but these soon lost.
Habitat
Along coast on sand or shingle beaches, sandbanks and mudflats, estuaries and, occasionally, rivers, lakes, lagoons, short grassland, flooded fields and some artificial habitats also occurs on tundra. Prefers moist substrates, but rarely in shallow water. Generally, at least during migration, race tundrae occurs on softer sediments than hiaticula. Roosts communally, close to feeding area, on exposed, bare ground, or that with short vegetation, usually on coast, above high water mark.
Other details
Charadrius hiaticula is a widespread breeder in northern Europe (occurring more patchily further south), which probably constitutes >50% of its global breeding range. Its European breeding population is large (>120,000 pairs), and was stable between 1970-1990. Although there were declines in a few countries during 1990-2000, the species was stable or increased across most of its European range (the trend in Iceland was unknown), and probably underwent only a small decline overall.
Feeding
Moluscs, isopods, polychaete worms, crustaceans, amphipods and various insects. Sometimes uses foot-trembling. Typically in small flocks of up to 50. Forages by day and night, often on tidal flats.
Conservation
This species has a large range, with an estimated global Extent of Occurrence of 1,000,000-10,000,000 km². It has a large global population estimated to be 410,000-540,000 individuals (Wetlands International 2002). Global population trends have not been quantified, but the species is not believed to approach the thresholds for the population decline criterion of the IUCN Red List (i.e. declining more than 30% in ten years or three generations). For these reasons, the species is evaluated as Least Concern. [conservation status from birdlife.org]
Breeding
April around North Sea, June-July in Iceland, June in Nortern Eurasia. Seasonally monogamous.pair-bond occasionally maintained over successive years. Solitary or in loose neighbourhood groups, with nests 10-100 m apart. Nest is shallow scrape, lined with pebbles, debris and pieces of vegetation. 3-4 eggs, incubation lasts 21-27 days, by both parents. Chick pale buffy grey finely mottled with dusky and some cinnamon-buff above, white underparts, with blackish bordering band. Age of first breeding 1 year.
Migration
Migratory. Northernmost birds migrate furthest S, while southernmost breeders are also northernmost winterers; some W European birds may remain close to their breeding grounds. Mainly winters in Africa, but also in Mediterranean Basin, Iberian Peninsula, Red Sea and Persian Gulf. Small numbers migrate through, or possibly winter in, China and Japan. Nearctic breeders all migrate across N Atlantic, in a single flight or via Greenland and Iceland, probably to winter in W Africa. Race tundrae migrates via Europe, but also crosses Eurasian and African landmasses in broad front, towards E & S Africa; possibly crosses Sahara. In Egypt arrives early Sept and departs late May, in South Africa Sept-Oct and Apr, in Morocco Aug-Nov and Apr-Jun. High degree of site fidelity during migration and wintering.
Text in numbers: the number '28', in white on black 'P&O' style, on the street-side brickwork of a house.
A dashing arrangement in an elegant color scheme (white on black). 'P&O' was a variant of Art Deco, especially popular in seaside suburbs in Australia. Manly Council has an interesting Art Deco brochure, with good illustrations, to assist residents doing work on houses retain important style elements.
This mini-exhibition of type and text was inspired by the designer PennyCandy (Amy Peppler Adams)'s tutorial on typography; one of Amy's tips is to "Try to choose appropriate typefaces to convey your message. A great way to get in the habit is to observe type around you; it's everywhere!" I set out to see if this was so.
- See more at: en.blog.spoonflower.com/2016/03/design-a-day-spoonchallen...
[Text_The P+O number 28_Gordon_IMG_9438]
- A bank is a place where they lend you an umbrella in fair weather, and ask for it back when it begins to rain. - Robert Frost
I work with numbers, so this is what I came up with for this challenge!
Nikon D700 & 24-85mm lens
In the midst of lockdown numero uno in Lahore over the weekend, I decided to head to my village in Radhan, a half an hour or so from Sargodha. Traffic in Lahore was beyond light, almost absent, so we hit the motorway quickly and reached Sargodha earlier than expected. I thought the drive through the city would have been a much desired breeze as well but the residents of the city seemed to be out and about per their normal routine. Clearly the rules set upon the larger cities hadn’t taken effect here yet. But it was the village that was the bubble existing above and beyond everything that seemed to be happening in the world.
Unlike the rest of it, or at least the West, Pakistan has taken the approach of slow roll-out in what was likely going to be a long-term lockdown. We had started with 2 days on March 21st, now we are at 15 and everyone assumes that will be extended in the same slots indefinitely. A few stories about the treatment of those who have revealed their state of being positive to the State have been frightening to the point that unless faced by death, I think people will stick it out in their rooms. And some might also prefer to die there.
There are articles abound about people in the north testing positive, then running away from the health facilities to God knows where. No one has a real clue what is happening of course and beyond the “We love China” anthem the PM is singing, what we are really hoping for is one of those hospitals our “all-weather friend” built in 8 days, (or was it 18), to pop up in at least one province each. Personally, I would rather the People's Republic ended the internment of a million Muslims but we seem to have already signed off on that being ok.
The poor are scared out of their wits because we have extremely high numbers of workers in the larger cities who earn their income on a daily basis and with the shutdown, they don’t have a clue as to how to feed their families. Those of the Sahib e Taufeeq are therefore anxiously and quickly trying to distribute ration for a month to as many families as possible. Meanwhile the Sahib e Maal contingent is interneting themselves to wherever that will lead, which we will soon discover.
In Lahore, if one meets someone, all one talks about is the virus. For a while at least. That has been my experience of the under 50 crowd. It’s like the greeting of “salam” changed to “yaar yeh kya cheez aa gayee hai?” which then moves forward into exchanges of updates and readings per each person’s interest and/or fear of death. Since I have been most influenced by my friends and elders who, while taking sensible precautions, believe in the “jiss ko hona hai, uss to hona hai” (whoever’s going to get it is going to get it) school of thought, I have little to offer.
While being holed up, I scan Drudge and get the scariest breaking updates of the world on a daily basis. It makes me smile that the US has already ingrained into the public that 18 months are on the horizon for this nightmare and we are going forward in 15 day increments. I guess if the Pakistani Government made a similar announcement of 180 days (plus), people would just be like “screw it” and brazen defiance would follow. The rest of my days are spent humming tunes to come up with melodies for the kalam in my book which I then share with my friend, Ustad Imran and we play with it till its ready for upload on a gorgeous insta page, courtesy of Hiba.
Meanwhile, the rumour mills are spewing out new suggestions daily. High on the list is bio-weaponary going out of hand. China-US-Israel are the three villains most frequently named. On the spiritual side a trusted spiritual master says it is the fasid jinns, who, in collusion with fasid humans, are creating this havoc. Like millions, I have all my hopes tied to the return of Imam Mahdi (as) who might appear to save the day.
The Saudis closing Umra, cancelling Haj and making the tawaaf practically void is what saddens the believers the most. As one who had intended to perform the Haj this year, it is no doubt tremendously disappointing. But then I had heard from my Mamu many years before he passed that the Haj would stop in the future. I just imagined that it would happen because of war, not a plague. The Naqshbandis were told by their Spiritual Master, Sheikh Nazim (ra), that blight would arise from China and spread into the world and would disappear one day just like it came. In the days through it, he had advised his disciples to give sadqa to express their gratitude for life.
But coming back to the story of the village. After having lunch and meeting Pathani, who worked for me for 20 some years and is now retired, I sat with the women who work in the house near their out-door kitchen. I began the conversation in the way I had been taught these past few days in Lahore. Except it was in Punjabi.
“Yaar eh ke shay saddey pichay peh gayee hai” (what is this strange thing that has come after us?)
The women looked at me but no one said anything. I waited but they seemed to be waiting also, I gathered, for me to continue. When I didn’t, they just went back to what they were doing. I gave it another shot.
“So everyone in Lahore is holed up in their houses and living in fear,” I attempted raising the bar from casual conversation to sensationalism. “No one goes anywhere and all the markets are closed.”
Again I received nothing.
I think one woman said, “Jiya” in a tone which best translates into a flat “I guess” or “Mmm hmmm.”
I started smiling. “You guys are really lucky,” changing gears yet again, this time offering praise of good fortune. “You can roam around and it’s so beautiful here. And clean. And the food is good and fresh. And there’s hardly any people.” I racked my brain for more positives. “And it hasn’t turned hot yet so the weather is perfect.”
This time instead of one, I got three “Jiyas” and one “Jiya Ji.” It made me give up. I’ll try again tomorrow I thought. I got a charpaaye and spend the rest of the day in the massive garden reading books I had brought with me from Lahore and again, humming the melody of the next tune. It was by Baba Farid Kot Mithan (ra) and I have to say it had an effect on my heart that was superbly softening. Sometimes the words made me smile and sometimes I cried. I love the range of the arc that poetry can make, going from the earth to the sky, from the sun to the moon, from the day to the night and from the heart to the heart.
The next day I went for a walk in the kinoo gardens. The fruit has been picked but the orange blossoms were in full bloom and deeply intoxicating. I sat under a tree brimming with the flowers and listened to music on my Ipod. At lunch the women sat nearby, possibly feeling bad for me that I always came all alone. I decided, incorrigibly, to mention the virus again.
“So to stay safe you have to wash your hands A LOT. My teacher, Qari Sahib, says to just stay in a state of wudu. Even if you are not going to pray soon.”
I looked at each woman one by one, this time awaiting their favoured response.
“Jiya,” said one. “This is a good suggestion.”
I was dying to ask if they did that or prayed but gained control of myself.
Usually the gate to the house is left open for people from the village, essentially women, to come in and say hello to the arrivals from the city. But this time Pathani had given strict instructions to the chawkidaar to not let anyone in.
“Not even Ghulam Biwi?” I asked. As I write this I wonder if her name is Ghulam Bibi re-pronounced Biwi in the village or if she was literally named “the wife of Ghulam.” Probably the former. How would anyone know the husband’s name at birth?
“No,” she decided. “Best to be safe. She roams around the whole village and God only knows where else all day.”
Amma Ghulam Biwi was an old woman in her 70s who was almost deaf. On every visit I had made in the last few years, she had come to see me. She had a lovely voice and knew tons of Punjabi songs, film and spiritual kalam, and would sing to me. She loved Nur Jahan tracks from the 60s and I enjoyed my time with her. The conversations were by sign of course. She loved me and I loved her.
She was the reason I had come to understand that the prayers of a poor person, who one is kind to, far exceed in their expression the prayers of even one’s own parents. “Takhtaan te bakhtaan,” is what she always asked for me. Thrones and best of fortunes! I’m pretty sure neither of my parents ever prayed for thrones for me! Plus I often heard her address God as “Takhtaan te bakhtaan aaliya,” which meant she was asking Him to give me of Himself and that which is His. Not to mention the ask of never-ending wealth and telling Allah to give me more and more and more. Again, I don’t think my parents asked for that either! If they did it would have indeed been strange. Then there was “Allah raazi howey iss tun,” the most elevated prayer of all, “God, be pleased with her.”
I was a little bummed that I was not going to see her but it seemed like the thing to do. But fortune had other plans. Later in the afternoon I went to the family graveyard, just outside the women’s house and adjacent to the haveli the men occupy. For the second time in my lifetime, I went to the graves inside the mosque where my grandfather, his brother and their father are buried. Usually I just sit in the area outside where the rest of our family, including my mother and sister are, but I had visited the village a month before with my Nani (kind of) who is in her 90s and had gone inside with her.
When we had arrived at the graveyard then, just the walk from the car to the graves, only a few feet away, had taken so long and seemed so tiring for her that I had told her to just pray from there and not walk the extra few feet to where her father and brothers were buried. She had waived me away as if I had suggested something beyond ludicrous and said, “Then why am I here?”
With her nurse holding her on one side and me on the other, we had gone into the small room where the three graves lay in a line. In the back was a large marble slab and on it was a Surah from the Quran. She had kept insisting she wanted to read it herself but when I asked if she wanted a chair brought in while she did so, she had waived me away again. Apparently it was another absurd idea. I told her I would read it for her and while she sat at the feet of her father, I recited the Surah.
It was Al-Mulk and I remember crying the whole way through it. I didn’t understand it all of course but I wept because of the lines addressing the ungrateful who will be asked if a warner came to them and they will say, yes, a warner did come but we rejected him. I cried because I didn’t understand why they rejected him and I hoped I wasn’t one of them because rejection has its own layers. And I sobbed because of those I love deeply who live restless lives in perpetuity but refuse to unhinge themselves from a position that they took for one reason, one incidence or another, that had now taken hold of them, replacing all their happiness with anxiety and paranoia to live a life lifeless.
But it was the second line that never left me from that first time I read it for it had triggered a significant part of my understanding of the Quran.
"He who created death and life, that He may test which of you is best in deed.
And He is the Bestower of Honor and Oft-Forgiving."
The revelation had formed a chunk of my address at the book launch: that the verses of deep consequence referencing “deed,” giving it a singular, exalted status repeatedly by God, tie in precisely and inextricably with the multitude of verses on Nabi Kareem (saw) as the one to follow and obey. Making his deed one’s own rendered one “best” indeed.
This was going to be the second time I would enter the room inside the mosque. I had heard earlier in the morning, quite randomly, that my mother used to take the Quran to her father’s grave every day after he passed while she was in the village. To read it for him, to send the blessings of her readings to him. I had never done that before even though my family members had died almost 23 years ago. But on this day that I did it I knew it meant the beginning, albeit a late one, of doing it for them in the future.
It was on my way back from the graveyard that I saw Amma Ghulam Biwi standing near the gate of the house with her cane and some cloth she was carrying. From a distance she didn’t recognize me even though I waived at her but when I got close, she threw the cane and cloth on the ground, raising her hand up in the air, letting out a cry of joy.
Normally she would greet me with her favourite song by Nur Jahan; "Chan mahiya teri rah pai takni aan. Tariyan tu puch le ve chan kolun puch leh, sareian tu puch le, mein sayn nahin sakni aan." The words translated into "Dearest sweetheart, I have been looking for you to come my way for so long. Ask the stars, go ask the moon. Ask them all, I haven't slept a night waiting for you." I always laughed at the intensity of the tone. It made me wonder if she was a Scorpio like me.
When I got close to her I tried to yell that it’s best we don’t meet like we normally do but of course she didn’t understand a word. Next thing I knew she had thrown her arms around me, pulled me towards her and planted a wet kiss on my cheek. I burst out laughing while I heard the gate-keeper doing his best to scream out that that was not the way to meet in these times. She walked at a snail’s pace so it took us a while to reach the house from the gate and someone brought a chair for her to sit on and some kinoo juice to drink.
She had once told me she would say prayers and breathe them on water, something we call “pani dumm karna,” meaning making a water have the capacity to heal through the effect of verse from the Quran. I had a half finished bottle of water with me so I handed it to her and gestured for her to make me one. But before that I played the part of a mime and explained that the whole world was under attack by a disease and people were sick and dying. That required a decent amount of touching my forehead and sticking my tongue out as if fatigued beyond belief. And it worked! “Bimari aa gayee ae?” she said. And I nodded in the affirmative vigourously, holding my palms up in the air, signaling for her to pray for all of us.
I listened as she spoke the prayers out one by one for the water. The prayers have to be recited in a specific number, usually 11 but she went over a few times so she must have different system. I recognized the prayers and each time I thought she was done and got up to take the bottle from her, she waived me away as if annoyed by my impatience. The wave of dismissal must be a thing of older women from Radhan. The prayer that struck me was “Qulna ya naaro, kuni bardan wa salaman ala Ibrahim (as).” “We (God) said, ‘Fire, be cool and safe for Ibrahim (as).’”
The verse was in my book in the chapter on Trust. Also I was studying deeply each mention of the Prophet Ibrahim (as) in the Quran these days with Qari Sahib. Each incidence was extraordinary for he was Khalil Allah, the Friend of God. His asks, his bestowings, every action, was spell-binding through the tafseer of Ghaus Pak (ra). I know he is the only one who gives the exegesis of the word Ibrahim in specific verses to be the soul. That itself changed everything entirely as suddenly it was about me. And everyone else!
Before Amma Ghulam Biwi left, she looked at me with deep anguish and said her heart ached that I kept bending over. I had been doing my stretches while she sat in the chair and was touching my toes over and over, holding the position and counting to eight. I wanted to tell her that I was fine so I tried giving her a thumbs up but she just looked extremely bewildered so I decided to leave it alone. We said our goodbyes. My info on the disease devouring the world had left no impact on her so she hugged and kissed me again, then shuffled out of the house.
On my last day at breakfast, one of the women who brought me my meal asked, “So what is the news from Lahore?”
I was thrilled that I had managed to pique enough interest that she had gotten some information on her own about it which she wanted to relay to me.
“You heard about the extension of the lockdown?” I asked expectantly.
She looked blasé.
“No. I’m just asking what is going on there?” As in “What’s up in Lahore?”
“Oh,” I said. “Nothing much,” I responded, taking on her indifference and expressing my capitulation. “It’s more of the same. Who knows what will happen?”
She smiled at me and left to go back to the kitchen.
The village! The simplicity of life is apparent always. In the scenery and the quietness, the apparel and the taste of the food cooked without any overwhelming flavours or colour of individual ingredients, yet incomparably delicious. But the glaring cut-off from the world is from lack of technology interceding in life, as relates specifically to the internet. And this applies of course to those of my age, 50 and above. Maybe even just the women since I don’t interact with any men at all while there.
My three days spent there left me happy and smiling as I gathered my stuff to return to a city that I also deeply love. I felt grateful that in these times of extreme gravity and not having a clue as to who will live another day, life can still have a lightness to it. Recently I saw a beautiful painting the famed British artist, David Hockney, made to life the spirits of the world in this time of gloom. “Do remember, they can’t cancel spring,” is what he said. In that vein, my motivation to make music set to words written by poets extraordinaire and spiritual masters had accelerated. I also wanted to alleviate the sadness of the world. Because I already knew the effect of sound on the soul. It was a major part of my new writing:
"In Risala Qusheria I had read page after page of what was said about the effect of sound on the heart. Imam Ali (ratu) and others like him attest to the fact that every single thing in the Universe is in a state of zikr, remembrance, of Allah As-Sami’, The Hearer of All. And most surprising of all, it wasn’t just elements of nature, the birds, the bees, water and wind. It was instruments when played without a voice, it was the wheel of the potter, it was the rope that pulled water from a well. Hazrat Abu Suleman Durani (ra) said, ''A beautiful voice does not insert anything into a heart. It only resonates with and makes alive that which lies in it already.'"
Who knows what lies inside hearts except those who occupy them but one line rings true for all of us and it comes most beautifully worded in Punjabi by my Pir Mehr Ali Shah Sahib (ra.) For the ask from God of those who know Him, as opposed to those who merely worship Him, focuses on what can be bestowed, as opposed to what can be withdrawn.
Sha Allah wat aawin uwa ghariaan
May those moments come back again.
www.youtube.com/watch?v=W0x2U1fWwS8&feature=youtu.be
kalam by Ustad Imran Jafri on insta @the.softest.heart