View allAll Photos Tagged Order
Food from Catering Limousine check out www.catering-limousine.be
Food from Catering Limousine check out www.catering-limousine.be
Biennalist :
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
-------------------------------------------
links about Biennalist :
Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
—--Biennale from wikipedia —--
The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.
Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).
Characteristics[edit]
According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]
The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.
A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.
The Venice Biennale as an archetype[edit]
The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.
The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.
Biennials after the 1990s[edit]
The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.
International biennales[edit]
In the term's most commonly used context of major recurrent art exhibitions:
Adelaide Biennial of Australian Art, South Australia
Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Athens Biennale, in Athens, Greece
Bienal de Arte Paiz, in Guatemala City, Guatemala[4]
Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)
Bamako Encounters, a biennale of photography in Mali
Bat-Yam International Biennale of Landscape Urbanism
Beijing Biennale
Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)
Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no
Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China
Bienal de Arte de Ponce in Ponce, Puerto Rico
Biënnale van België, Biennial of Belgium, Belgium
BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.
Biennial of Hawaii Artists
Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]
Biwako Biennale [ja], in Shiga, Japan
La Biennale de Montreal
Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola
Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal
Bucharest Biennale in Bucharest, Romania
Bushwick Biennial, in Bushwick, Brooklyn, New York
Canakkale Biennial, in Canakkale, Turkey
Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]
Changwon Sculpture Biennale in Changwon, South Korea
Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal
Documenta, contemporary art exhibition held every five years in Kassel, Germany
Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France
EVA International, biennial in Limerick, Republic of Ireland
Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]
Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan
Gwangju Biennale, Asia's first and most prestigious contemporary art biennale
Havana biennial, in Havana, Cuba
Helsinki Biennial, in Helsinki, Finland
Herzliya Biennial For Contemporary Art, in Herzliya, Israel
Incheon Women Artists' Biennale, in Incheon, South Korea
Iowa Biennial, in Iowa, USA
Istanbul Biennial, in Istanbul, Turkey
International Roaming Biennial of Tehran, in Tehran and Istanbul
Jakarta Biennale, in Jakarta, Indonesia
Jerusalem Biennale, in Jerusalem, Israel
Jogja Biennale, in Yogyakarta, Indonesia
Karachi Biennale, in Karachi, Pakistan
Keelung Harbor Biennale, in Keelung, Taiwan
Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India
Kortrijk Design Biennale Interieur, in Kortrijk, Belgium
Kobe Biennale, in Japan
Kuandu Biennale, in Taipei, Taiwan
Lagos Biennial, in Lagos, Nigeria[10]
Light Art Biennale Austria, in Austria
Liverpool Biennial, in Liverpool, UK
Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]
Manifesta, European Biennale of contemporary art in different European cities
Mediations Biennale, in Poznań, Poland
Melbourne International Biennial 1999
Mediterranean Biennale in Sakhnin 2013
MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada
MOMENTUM [no], in Moss, Norway[12]
Moscow Biennale, in Moscow, Russia
Munich Biennale, new opera and music-theatre in even-numbered years
Mykonos Biennale
Nakanojo Biennale[13]
NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia
October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]
OSTEN Biennial of Drawing Skopje, North Macedonia[15]
Biennale de Paris
Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]
São Paulo Art Biennial, in São Paulo, Brazil
SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]
Prospect New Orleans
Seoul Biennale of Architecture and Urbanism
Sequences, in Reykjavík, Iceland[18]
Shanghai Biennale
Sharjah Biennale, in Sharjah, UAE
Singapore Biennale, held in various locations across the city-state island of Singapore
Screen City Biennial, in Stavanger, Norway
Biennale of Sydney
Taipei Biennale, in Taipei, Taiwan
Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.
Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]
Dream city, produced by ART Rue Association in Tunisia
Vancouver Biennale
Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]
Venice Biennale, in Venice, Italy, which includes:
Venice Biennale of Contemporary Art
Venice Biennale of Architecture
Venice Film Festival
Vladivostok biennale of Visual Arts, in Vladivostok, Russia
Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA
Web Biennial, produced with teams from Athens, Berlin and Istanbul.
West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.
WRO Biennale, in Wrocław, Poland[22]
Music Biennale Zagreb
[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.
—---Venice Biennale from wikipedia —
The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]
Organization[edit]
Art Biennale
Art Biennale
International Art Exhibition
1895
Even-numbered years (since 2022)
Venice Biennale of Architecture
International Architecture Exhibition
1980
Odd-numbered years (since 2021)
Biennale Musica
International Festival of Contemporary Music
1930
Annually (Sep/Oct)
Biennale Teatro
International Theatre Festival
1934
Annually (Jul/Aug)
Venice Film Festival
Venice International Film Festival
1932
Annually (Aug/Sep)
Venice Dance Biennale
International Festival of Contemporary Dance
1999
Annually (June; biennially 2010–16)
International Kids' Carnival
2009
Annually (during Carnevale)
History
1895–1947
On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]
A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]
The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.
The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).
During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.
1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.
In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.
In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.
During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]
1948–1973[edit]
The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.
1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.
In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.
1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.
The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]
In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").
Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]
1974–1998[edit]
1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.
On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]
In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.
In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]
The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.
For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]
1999–present[edit]
In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.
In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).
The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.
The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.
In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.
Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".
The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".
The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]
Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]
The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]
The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]
The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]
The Biennale has an attendance today of over 500,000 visitors.[30][31][32]
Role in the art market[edit]
When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]
Central Pavilion and Arsenale[edit]
The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.
Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]
A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi.[37]
National pavilions[edit]
Main article: National pavilions at the Venice Biennale
The Giardini houses 30 permanent national pavilions.[13] Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Giardini are occupied by a further 29 pavilions built at different periods by the various countries participating in the Biennale. The first nation to build a pavilion was Belgium in 1907, followed by Germany, Britain and Hungary in 1909.[13] The pavilions are the property of the individual countries and are managed by their ministries of culture.[38]
Countries not owning a pavilion in the Giardini are exhibited in other venues across Venice. The number of countries represented is still growing. In 2005, China was showing for the first time, followed by the African Pavilion and Mexico (2007), the United Arab Emirates (2009), and India (2011).[39]
The assignment of the permanent pavilions was largely dictated by the international politics of the 1930s and the Cold War. There is no single format to how each country manages their pavilion, established and emerging countries represented at the biennial maintain and fund their pavilions in different ways.[38] While pavilions are usually government-funded, private money plays an increasingly large role; in 2015, the pavilions of Iraq, Ukraine and Syria were completely privately funded.[40] The pavilion for Great Britain is always managed by the British Council[41] while the United States assigns the responsibility to a public gallery chosen by the Department of State which, since 1985, has been the Peggy Guggenheim Collection.[42] The countries at the Arsenale that request a temporary exhibition space pay a hire fee per square meter.[38]
In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czechia and Slovakia, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, eleven new participant countries developed national pavilions for the Biennale: Angola, Bosnia and Herzegowina, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada,[43] Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[44] In 2019, four countries participated in the Art Biennale for the first time: Ghana, Madagascar, Malaysia, and Pakistan.[45]
As well as the national pavilions there are countless "unofficial pavilions"[46] that spring up every year. In 2009 there were pavilions such as the Gabon Pavilion and a Peckham pavilion. In 2017 The Diaspora Pavilion bought together 19 artists from complex, multinational backgrounds to challenge the prevalence of the nation state at the Biennale.[47]
The Internet Pavilion (Italian: Padiglione Internet) was founded in 2009 as a platform for activists and artists working in new media.[48][49][50] Subsequent editions were held since,[51] 2013,[51] in conjunction with the biennale.[52]
-----
وینسVenetsiya
art umjetnost umění kunst taideτέχνη művészetList ealaínarte māksla menasartiKunst sztuka artăumenie 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
--------key words
headband protest fashion protestfashion artistic intervention performance artformat action installation critical critic critique institutional critic choregraphy scenography
#venicebiennale #biennalist #artformat #biennale #artbiennale #biennial
#BiennaleArte2024 #artformat
Due to the increasing hostilities between the countries of Geo and Volsci, the government has decided to begin a general mobilization of some of its troops.
•
This is the 21st Mechanized Infantry Division on their way to being deployed to border city of New Brick City, as deterrent to a possible armed conflict.
•
Instead of showing you a simple picture of my current Modern Army, I wanted to make it a big more elaborate. So my Army consists of 1 Cheiftain MBT, 1 FV432, 2 Land Rover Snatch, 1 Land Rover Wolf, 1 MWMIK Jackal, 1 FV102 Striker, 2 General Utility Trucks, 1 Rapier Missile Launcher, and 1 V-150 Commando. Most vehicles are form Brickmania.
•
I plan to increase it substantially to include a couple more Chieftains and to expand on the CVRT collection by a lot! And I also might changed the trucks in the future. (Which are based on the Armorbrick GAZ-66 truck!
Let me know what you guys think!
"7 FEET TALL In Authentic Colors With GLOW in the DARK EYES - ONLY $1.00," as the once ubiquitous ad read. This is the actual two-piece poster printed "in authentic colors on durable polyethylene." Which should be understood to mean two-color printing on a store-brand kitchen trash bag. "Wimpy wimpy wimpy," rather than "HEFTY HEFTY HEFTY," if that gives a clearer idea. The glowing eyes are a pair of small round stickers provided separately for the child to attach.
Catalog Number: 2017.026.0001
Date (Years): 1912
Description:
Double-sided promotional order form celebrating the 20th anniversary of Farm Bell Rye and Corn Whiskies, 1892-1912. The promotion announces that with every 8 quart order of whiskey (at a cost of $5.90) they will provide 2 full quarts free. I. H. Oppenheim Company, 1013 Chestnut St., Chattanooga, Tenn. The verso is an order form, with extended text extolling the virtues of Farm Bell whiskies, its manufacturing methods, and offering a money back guarantee if not satisfied.
“Our 20th Anniversary Offer”
1892 – 1912
FULL QUARTS
Rye AND Corn GOVERNMENT STANDARD Whiskies
EXPRESS CHARGES PAID
FREE!! FREE!! FREE!!!
With every 5 quart order of FARM BELL Rye or Corn Whiskey, WE WILL INCLUDE 2 FULL QUARTS FREE 10 full quarts, assorted as desired at the price of 8
I. H. OPPENHEIM CO.
1013 Chestnut St.
P. O. Box 400 CHATTANOOGA, TENN. ” 20 YEARS OF SUCCESSFUL BUSINESS”
Click here to learn more about Camp Humphreys
Comedian entertains, then provides personal message
By Victoria Choi
USAG Humphreys Public Affairs
CAMP HUMPHREYS – Bernie McGrenahan, the professional standup comedian with a message, presented his “Happy Hour” program, in the Super Gym, here, Dec. 12.
The event was hosted by the Army Substance Abuse Program of USAG Humphreys to raise awareness of suicide prevention and alcohol abuse.
“Happy Hour” is a comedy program that McGrenahan started in 1995, presenting it to more than 600 universities through 2007. That year, he brought his program to the military and now only does military bases because he wants to help the Army “stay focused and stay strong.” The show includes two parts. During the first 30 minutes, the comedian warms up the audience with his hysterical stand-up comedy material. Then, for the next half an hour or so, he gets personal and talks about himself and his life.
McGrenahan turned to alcohol abuse and partying while in high school and realized, as he grew up, the dangerous effects of it.
He said that one life-changing moment was the suicide of his 19-year-old brother, Scout, who also abused alcohol. However McGrenahan didn’t learn his lesson from that and continued to abuse alcohol. He was later cited for three DUIs. McGrenahan was given an order to appear in court, but he did not show up because he had to escape life for a while.
After taking a break and finally giving up alcohol, he went back to court and his sentence was that he had to face six months of county jail time. He explained how alcohol really injured his relationships with his mother, how he would never hang out with his other brother, Sean, because of the differences they had, and the fact that he was mentally handicapped and wasn’t the “cool” brother when he was younger.
Today, McGrenahan and his brother have a really close relationship and he always spends time with his brother whenever he is home.
“Suicide, alcohol and drug prevention is a tough, difficult subject to educate people about,” said McGrenahan. “Usually we use slides, Power Point, or videos and it is hard to keep people’s attention with these educational tools. I try to not use any of that; I try to use laughter and life experience. I want people to laugh and to think about their lives before I leave.”
“Presently, there have been over 300 suicides committed by Soldiers this year,” said Victor M. Arthur, the Camp Humphreys Suicide Prevention Program manager. “This event focused on suicide and its relation to alcohol and substance abuse.”
More than 600 soldiers enjoyed the show.
“It was a very inspiring story presented,” said Sgt. Ramon Rodriguez, assigned to the 557th Military Police Company. “I enjoyed it very much. I thank him for taking the time coming over here and sharing his personal experience. I know it is going to send a positive message to the Soldiers and hopefully they will take it in account, especially during the holiday season and stay safe.”
Private Ernest Untereiner, assigned to the 520th Maintenance Company and some other Soldiers gave McGrenahan patches of their units, so that he could give them to his brother, Sean, who would like to become a Soldier.
took this photo for my concentration and it reminded me of the colourful screen when there is nothing on the channel
2012 Visitors - Order of the Eastern Star in the Province of Ontario and jurisdiction.
conferenceofgrandmasterspha.org/gmatrons_patrons.asp
Their next Annual Communication will be held in Montreal, PQ.
Members of the Order are aged 18 and older; men must be Master Masons and women must have specific relationships with Masons. Originally, a woman would have to be the daughter, widow, wife, sister, or mother of a master Mason, but the Order now allows other relatives[2] as well as allowing Job's Daughters, Rainbow Girls, Members of the Organization of Triangles (NY only) and members of the Constellation of Junior Stars (NY only) to become members when of age.
The Order was created by Rob Morris in 1850 when he was teaching at the Eureka Masonic College in Richland, Mississippi. While confined by illness, he set down the principles of the order in his Rosary of the Eastern Star. By 1855, he had organized a "Supreme Constellation" in New York, which chartered chapters throughout the United States.
In 1866, Dr. Morris started working with Robert Macoy, and handed the Order over to him while Morris was traveling in the Holy Land. Macoy organized the current system of Chapters, and modified Dr. Morris' Rosary into a Ritual.
On December 1, 1874, Queen Esther Chapter No. 1 became the first Prince Hall Affiliatechapter of the Order of the Eastern Star when it was established in Washington, D.C. by Thornton Andrew Jackson.[3]
The "General Grand Chapter" was formed in Indianapolis, Indiana on November 6, 1876. Committees formed at that time created the Ritual of the Order of the Eastern Star in more or less its current form.[4]
The emblem of the Order is a five-pointed star with the white ray of the star pointing downwards towards the manger. In the Chapter room, the downward-pointing white ray points to the West. The character-building lessons taught in the Order are stories inspired by Biblical figures:
Adah (Jephthah's daughter, from the Book of Judges)
Ruth, the widow from the Book of Ruth
Esther, the wife from the Book of Esther
Martha, sister of Mary and Lazarus, from the Gospel of Luke and the Gospel of John
Electa (the "elect lady" from II John), the mother
EditWatch this pageRead in another language
Order of the Eastern Star
General Grand Chapter logo
The Order of the Eastern Star is a Freemasonicappendant body open to both men and women. It was established in 1850 by lawyer and educator Rob Morris, a noted Freemason. The order is based on teachings from the Bible,[1] but is open to people of all religious beliefs. It has approximately 10,000 chapters in twenty countries and approximately 500,000 members under its General Grand Chapter.
Members of the Order are aged 18 and older; men must be Master Masons and women must have specific relationships with Masons. Originally, a woman would have to be the daughter, widow, wife, sister, or mother of a master Mason, but the Order now allows other relatives[2] as well as allowing Job's Daughters, Rainbow Girls, Members of the Organization of Triangles (NY only) and members of the Constellation of Junior Stars (NY only) to become members when of age.
Contents
HistoryEdit
The Order was created by Rob Morris in 1850 when he was teaching at the Eureka Masonic College in Richland, Mississippi. While confined by illness, he set down the principles of the order in his Rosary of the Eastern Star. By 1855, he had organized a "Supreme Constellation" in New York, which chartered chapters throughout the United States.
In 1866, Dr. Morris started working with Robert Macoy, and handed the Order over to him while Morris was traveling in the Holy Land. Macoy organized the current system of Chapters, and modified Dr. Morris' Rosary into a Ritual.
On December 1, 1874, Queen Esther Chapter No. 1 became the first Prince Hall Affiliatechapter of the Order of the Eastern Star when it was established in Washington, D.C. by Thornton Andrew Jackson.[3]
The "General Grand Chapter" was formed in Indianapolis, Indiana on November 6, 1876. Committees formed at that time created the Ritual of the Order of the Eastern Star in more or less its current form.[4]
Emblem and heroinesEdit
The emblem of the Order is a five-pointed star with the white ray of the star pointing downwards towards the manger. In the Chapter room, the downward-pointing white ray points to the West. The character-building lessons taught in the Order are stories inspired by Biblical figures:
Adah (Jephthah's daughter, from the Book of Judges)
Ruth, the widow from the Book of Ruth
Esther, the wife from the Book of Esther
Martha, sister of Mary and Lazarus, from the Gospel of Luke and the Gospel of John
Electa (the "elect lady" from II John), the mother
OfficersEdit
Officers representing the heroines of the order sit around the altar in the center of the chapter room.
Eastern Star meeting room
There are 18 main officers in a full chapter:
Worthy Matron – presiding officer
Worthy Patron – a Master Mason who provides general supervision
Associate Matron – assumes the duties of the Worthy Matron in the absence of that officer
Associate Patron – assumes the duties of the Worthy Patron in the absence of that officer
Secretary – takes care of all correspondence and minutes
Treasurer – takes care of monies of the Chapter
Conductress – Leads visitors and initiations.
Associate Conductress – Prepares candidates for initiation, assists the conductress with introductions and handles the ballot box.
Chaplain – leads the Chapter in prayer
Marshal – presents the Flag and leads in all ceremonies
Organist – provides music for the meetings
Adah – Shares the lesson of Duty of Obedience to the will of God
Ruth – Shares the lesson of Honor and Justice
Esther – Shares the lesson of Loyalty to Family and Friends
Martha – Shares the lesson of Faith and Trust in God and Everlasting Life
Electa – Shares the lesson of Charity and Hospitality
Warder – Sits next to the door inside the meeting room, to make sure those that enter the chapter room are members of the Order.
Sentinel – Sits next to the door outside the chapter room, to make sure those that wish to enter are members of the Order.
Traditionally, a woman who is elected Associate Conductress will be elected to Conductress the following year, then the next year Associate Matron, and then next year as Worthy Matron. A man elected Associate Patron will usually be elected Worthy Patron the following year. Usually the woman who is elected to become Associate Matron will let it be known who she wishes to be her Associate Patron, so the next year they will both go to the East together as Worthy Matron and Worthy Patron. There is no male counterpart to the Conductress and Associate Conductress. Only women are allowed to be Matrons, Conductresses, and the Star Points (Adah, Ruth, etc.) and only men can be Patrons.
Once a member has served a term as Worthy Matron or Worthy Patron, they may use the post-nominal letters, PM or PP respectively.
HeadquartersEdit
The International Temple in Washington, D.C.
Main article: International Temple
The General Grand Chapter headquarters, the International Temple, is located in the Dupont Circleneighborhood of Washington, D.C., in the former Perry Belmont Mansion. The mansion was built in 1909 for the purpose of entertaining the guests of Perry Belmont. This included Britain's Prince of Wales in 1919. General Grand Chapter purchased the building in 1935. The secretary of General Grand Chapter lives there while serving his or her term of office. The mansion features works of art from around the world, most of which were given as gifts from various international Eastern Star chapters.
CharitiesEdit
The Order has a charitable foundation[5] and from 1986-2001 contributed $513,147 to Alzheimer's disease research, juvenile diabetes research, and juvenile asthma research. It also provides bursaries to students of theology and religious music, as well as other scholarships that differ by jurisdiction. In 2000 over $83,000 was donated. Many jurisdictions support a Masonic and/or Eastern Star retirement center or nursing home for older members; some homes are also open to the public. The Elizabeth Bentley OES Scholarship Fund was started in 1947.[6][7]
Eureka Masonic College, also known as The Little Red Schoolhouse, birthplace of the Order of the Eastern Star
Signage at the Order of the Eastern Star birthplace, the Little Red Schoolhouse
Notable membersEdit
Clara Barton[8]
J. Howell Flournoy[9]
Eva McGown[10]
James Peyton Smith[11]
Lee Emmett Thomas[12]
Laura Ingalls Wilder[13]
H. L. Willis[14]
See alsoEdit
Achoth
Omega Epsilon Sigma
ReferencesEdit
^ "Installation Ceremony". Ritual of the Order of the Eastern Star. Washington, DC: General Grand Chapter, Order of the Eastern Star. 1995 [1889]. pp. 120–121.
^ "Eastern Star Membership". General Grand Chapter. Retrieved 2010-06-03. These affiliations include: * Affiliated Master Masons in good standing, * the wives * daughters * legally adopted daughters * mothers * widows * sisters * half sisters * granddaughters * stepmothers * stepdaughters * stepsisters * daughters-in-law * grandmothers * great granddaughters * nieces * great nieces * mothers-in-law * sisters-in-law and daughters of sisters or brothers of affiliated Master Masons in good standing, or if deceased were in good standing at the time of their death
^ Ayers, Jessie Mae (1992). "Origin and History of the Adoptive Rite Among Black Women". Prince Hall Masonic Directory. Conference of Grand Masters, Prince Hall Masons. Retrieved 2007-10-25.
^ "Rob Morris". Grand Chapter of California. Archived from the original on 2007-09-28. Retrieved 2007-10-01.
^ "OES Charities". Retrieved 2016-04-15.
^ "Elizabeth Bentley Order Of The Eastern Star Scholarship Award". Yukon, Canada. Retrieved 2009-11-05.
^ "Eastern Star has enjoyed long history". Black Press. Retrieved 2009-11-05. The Eastern Star Bursary, later named the Elizabeth Bentley OES Scholarship Fund, was started in 1947.[dead link]
^ Clara Barton, U.S. Nurse Masonic First Day Cover
^ "Sheriff 26 Years – J. H. Flournoy Dies," Shreveport Journal, December 14, 1966, p. 1
^ by Helen L. Atkinson at ALASKA INTERNET PUBLISHERS, INC
^ "James P. Smith". The Bernice Banner, Bernice, Louisiana. Retrieved September 13,2013.
^ "Thomas, Lee Emmett". Louisiana Historical Association, A Directory of Louisiana Biography (lahistory.org). Retrieved December 29, 2010.
^ Big Muddy online publications
^ "Horace Luther Willis". The Alexandria Daily Town Talk on findagrave.com. Retrieved July 25, 2015.
External linksEdit
Official website
Eastern Star Organizations at DMOZ
Pride of the North Chapter Number 61, Order of the Eastern Star Archival Collection, located at Shorefront Legacy Center, Evanston, Illinois
This is my first time getting the M4, DP-28, Uzi, and Han Solo's pistol!
Thanks again G.I. Brick for the epic sale!
Note, I also ordered a MMCB trench coat with my gold points.
Many people call themselves atheists, and it is frequently argued by some that atheism is the only rational viewpoint.
However, it is also often said that there is no such thing as a genuine atheist.
This is supported by the Bible which declares: “the fool hath said in his heart there is no God.”
So which view is correct?
If we give just a little thought to this matter, we can see that there is no argument at all as to whether the qualities and properties usually attributable to God actually exist.
This is certain and beyond dispute.
So really the only disagreement is over the source or origin of these attributes.
Furthermore, we can understand that there are only 2 possible, alternative sources of these attributes.
It is self evident that something material can never come out of (absolute) nothing of its own accord (First Law of Thermodynamics & Law of Cause and Effect). (Something cannot create itself, it would need to pre-exist its own creation to do so).
We know that something material exists (i.e. the universe), therefore something must have always existed, something must be eternal and have had no beginning. This eternal something, can only be:
1. A force or power independent of the material, and thus the Creator of the material, OR
2. The material itself.
So an eternal nature must be possessed by,
EITHER:
1. A Supernatural Power.
OR
2. Matter/energy.
Consequently, all the other qualities, powers and potentialities which exist in the universe must have originally derived from ONE OR OTHER of these two proposed 'eternal' sources.
Some of the qualities existing in the material world.
Laws of Nature, Life, Information & means of information storage (DNA etc.), Consciousness, Intelligence, Design, Order, Motion, Love, Choice, Good, Beauty, Emotion, Kindness, Personality, Morality, Awareness, Justice, Wisdom, Hope, Joy, skill, etc.
There is no disagreement that these qualities are present in the universe.
The only dispute is over the source or origin of these qualities.
THEREFORE ....
Is the stuff of the universe (matter/energy) eternal?
Does this 'eternal matter' intrinsically possess all the above qualities, or the inherent potential to produce them of its own volition?
OR
Is there a power greater than, pre-existing and independent of, the material?
A Supernatural Creator of the material, possessor and originator of all the above attributes evident in the material creation?
IT CAN ONLY BE ONE OR THE OTHER
SO THIS IS THE ONLY DISAGREEMENT, AND IT IS AN AGE-OLD DISAGREEMENT.
No atheist would attempt to claim that mankind is the originator of all these qualities.
We are not eternal, we did not create ourselves or the universe, something greater than us essentially exists.
Is that something a Supernatural Creator God?
Or a purely material power which must intrinsically possess all the qualities, powers & potentialities usually attributed to a Supernatural Creator God?
- - A material god? - - A pagan god!
SO THE CHOICE IS CLEAR,- -
WE MUST FACE THE FACTS! - -
ATHEISM (or even agnosticism) IS NOT AN OPTION.
YOU MUST PAY HOMAGE TO A POWER WHICH IS GREATER THAN YOURSELF,
THAT POWER IS EITHER:
A Creator God as described in the Bible,
OR,
The material pagan god or gods' (represented by natural entities, such as: Mother Earth, Mother Nature, the Sun, the Moon, an 'intelligent' Universe, or idols of stone, wood etc.) which you must necessarily imbue with the SAME ATTRIBUTES.
Atheism = the religion of Pagan Naturalism re-invented.
SO NOW CHOOSE YOUR GOD?
Footnote:
An eternally, self-existent universe, or any uncaused, natural entity with no beginning is not possible.
Matter/energy cannot be eternally existent with no beginning.
Why?
Because all natural things are contingent.
Contingency is an inherent property of all natural entities. They have to comply with the law of cause and effect, so they cannot exist independently of causes.
The nearest you could get to eternally, existent matter/energy would be a very, long chain of causes and effects, but a long chain is not eternally existent, it has to have a beginning at some point. At the beginning there would have to be a non-contingent, eternally existent, first cause. A long chain of causes and effects simply pushes a first cause further back in time, it can't eliminate it.
What about an eternally, cyclical universe?
It is obvious that the idea of the universe simply rewinding itself in a never ending cycle, which had no beginning, is unscientific nonsense. As well as the Law of Cause and Effect - the Second Law of Thermodynamics also rules it out
There is no such thing as a free lunch, the idea of a rewinding universe is tantamount to applying the discredited notion of perpetual motion - on a grand scale, to the universe.
Contingent things don't just rewind of their own accord.
Where does the renewed power or renewed energy potential come from?
If you wind up a clock, it doesn't rewind itself after it has stopped.
The universe had a beginning and it will have an end. That is what science tells us, it cannot rewind itself.
The Second Law of Thermodynamics tells us the universe certainly had a beginning and will have an end. The energy potential of the universe is decreasing from an original peak at the beginning of the universe. Even the most fundamentalist atheists seem to accept that. Which is why most of them believe in some sort of beginning event, such as a big bang explosion.
So an eternally existent, god of 'matter/energy' is demonstrably IMPOSSIBLE... that leaves only one POSSIBLE choice of god - the supernatural, creator God, as described in the Bible.
Essential characteristics of the first cause.
Consider this short chain of causes and effects:
A causes B, - B causes C, - C causes D, - D causes E.
'A, B, C & D' are all causes and may all look similar, but they are not, there is an enormous and crucial difference between them.
Causes B, C & D are fundamentally different from cause A.
Why?
Because A is the very first cause and thus had no previous cause. It exists without a cause. It doesn’t rely on anything else for its existence, it is completely independent of causes - while B, C & D would not exist without A. They are entirely dependent on A.
Causes; B, C & D are also effects, whereas A is not an effect, only a cause.
So we can say that the first cause ‘A’ is both self-existent and necessary. It is necessary because the rest of the chain of causes and effects could not exist without it. We also have to say that the subsequent causes and effects B, C, D and E are all contingent. That is; they are not self-existent they all depend entirely on other causes to exist.
We can also say that A is eternally self-existent, i.e. it has always existed, it had no beginning. Why? Because if A came into being at some point, there must have been something other than itself that brought it into being … which would mean A was not the first cause (A could not create A) … the something that brought A into being would be the first cause. In which case, A would be contingent and no different from B, C, D & E.
We can also say that A is adequate to produce all the properties of B, C, D & E.
Why?
Well in the case of E we can see that it relies entirely on D for its existence, E can in no way be superior to D because D had to contain within it everything necessary to produce E. The same applies to D it cannot be superior to C, but furthermore neither E or D can be superior to C, because both rely on C for their existence, and C had to contain everything necessary to produce D & E.
Likewise with B, which is responsible for the existence of C, D & E.
As they all depend on A for their existence and all their properties, abilities and potentials, none can be superior to A whether singly or combined. A had to contain everything necessary to produce B, C, D & E including all their properties, abilities and potentials.
Thus we deduce that; nothing in the universe can be superior in any way to the very first cause of the universe, because the whole universe, and all material things that exist, depend entirely on the abilities and properties of the first cause to produce them.
So to sum up … a first cause must be uncaused, must have always existed and cannot be in any way inferior to all subsequent causes and effects. In other words, the first cause of the universe must be eternally, self-existent and omnipotent (greater than everything that exists). No natural entity can have those attributes, that is why a Supernatural, Creator God MUST exist.
What about polytheism, can there be more than one God or Creator.
It is patently obvious there can only be one supernatural first cause.
The first cause is infinite - and logically, there cannot be more than one infinite entity.
If there were two infinite entities, for example, A and B. The qualities and perfections that are the property of B would be a limitation on the qualities and perfections of A. and vice versa, so neither would be infinite.
If A & B had identical qualities and perfections they would not be two different entities, they would be identical and therefore the same entity, i.e. a single, infinite, first cause. So there can be only one infinite being or entity, only one supernatural, first cause and creator of the universe.
So when atheists keep repeating the claim - that there is no reason to believe the monotheistic, Christian God is any different from the multiple, gods of pagan religions, it simply displays their ignorance and lack of reasoning.
FOUNDATIONS OF SCIENCE
The Law of Cause and Effect. Dominant Principle of Classical Physics. David L. Bergman and Glen C. Collins
www.thewarfareismental.net/b/wp-content/uploads/2011/02/b...
"The Big Bang's Failed Predictions and Failures to Predict: (Updated Aug 3, 2017.) As documented below, trust in the big bang's predictive ability has been misplaced when compared to the actual astronomical observations that were made, in large part, in hopes of affirming the theory."
This is part of a multi story front facade to the Wintergarden shopping area in Brisbanes city centre, facing the main mall. The refurbishment of this centre has taken a few years, and cost about $100M. I have yet to go inside.
Some very highly paid marketing executive advises -
The facade is designed to provide a coherent identity and unique exuberance to the Wintergarden, whilst allowing the distinct retail and lifestyle offerings of the rejuvenated centre to be celebrated and differentiated.
It is presented in a double layer cut metal facade screen suspended in front of the building's facades.
The facade is populated with myriad swarms of flora and fauna, and informed by geometry from biological, geological and mathematical origins.
Pattern themes within this mega order are developed to enhance and reflect the elegance and simplicity, the beauty and complexity, and ultimately the rich diversity of life.
Doesn't that make you want to take the plastic for a walk through the Wintergarden.
It appears that there will be or is an elaborate lighting display associated with this, so I may have to do mission there to capture that at some point.
All jokes aside, despite the fact that it looks like it was put together from the trimmings of a sheetmetal shop, it looked rather impressive.
Written on the Georgia Guidestones are these ten desires of the New World Order:
THE MESSAGE OF THE GEORGIA GUIDESTONES
1. Maintain humanity under 500,000,000 in perpetual balance with nature.
2. Guide reproduction wisely - improving fitness and diversity.
3. Unite humanity with a living new language.
4. Rule passion - faith - tradition - and all things with tempered reason.
5. Protect people and nations with fair laws and just courts.
6. Let all nations rule internally resolving external disputes in a world court.
7. Avoid petty laws and useless officials.
8. Balance personal rights with social duties.
9. Prize truth - beauty - love - seeking harmony with the infinite.
10.Be not a cancer on the earth - Leave room for nature.
On one of the highest hilltops in Elbert County, Georgia stands a huge granite monument. Engraved in eight different languages on the four giant stones that support the common capstone are 10 Guides, or commandments. That monument is alternately referred to as The Georgia Guidestones, or the American Stonehenge. Though relatively unknown to most people, it is an important link to the Occult Hierarchy that dominates the world in which we live.
The origin of that strange monument is shrouded in mystery because no one knows the true identity of the man, or men, who commissioned its construction. All that is known for certain is that in June 1979, a well-dressed, articulate stranger visited the office of the Elberton Granite Finishing Company and announced that he wanted to build an edifice to transmit a message to mankind. He identified himself as R. C. Christian, but it soon became apparent that was not his real name. He said that he represented a group of men who wanted to offer direction to humanity, but to date, almost two decades later, no one knows who R. C. Christian really was, or the names of those he represented. Several things are apparent. The messages engraved on the Georgia Guidestones deal with four major fields: (1) Governance and the establishment of a world government, (2) Population and reproduction control, (3) The environment and man's relationship to nature, and (4) Spirituality.
In the public library in Elberton, I found a book written by the man who called himself R.C. Christian. I discovered that the monument he commissioned had been erected in recognition of Thomas Paine and the occult philosophy he espoused. Indeed, the Georgia Guidestones are used for occult ceremonies and mystic celebrations to this very day. Tragically, only one religious leader in the area had the courage to speak out against the American Stonehenge, and he has recently relocated his ministry.
Limiting the population of the earth to 500 million will require the extermination of nine-tenths of the world's people. The American Stonehenge's reference to establishing a world court foreshadows the current move to create an International Criminal Court and a world government. The Guidestones' emphasis on preserving nature anticipates the environmental movement of the 1990s, and the reference to "seeking harmony with the infinite" reflects the current effort to replace Judeo-Christian beliefs with a new spirituality.
The message of the American Stonehenge also foreshadowed the current drive for Sustainable Development. Any time you hear the phrase "Sustainable Development" used, you should substitute the term "socialism" to be able to understand what is intended. Later in this syllabus you will read the full text of the Earth Charter which was compiled under the direction of Mikhail Gorbachev and Maurice Strong. In that document you will find an emphasis on the same basic issues: control of reproduction, world governance, the importance of nature and the environment, and a new spirituality. The similarity between the ideas engraved on the Georgia Guidestones and those espoused in the Earth Charter reflect the common origins of both.
Yoko Ono, the widow of John Lennon, was recently quoted as referring to the American Stonehenge, saying:
"I want people to know about the stones ... We're headed toward a world where we might blow ourselves up and maybe the globe will not exist ... it's a nice time to reaffirm ourselves, knowing all the beautiful things that are in this country and the Georgia Stones symbolize that. " (1)
What is the true significance of the American Stonehenge, and why is its covert message important? Because it confirms the fact that there was a covert group intent on
(1) Dramatically reducing the population of the world.
(2) Promoting environmentalism.
(3) Establishing a world government.
(4) Promoting a new spirituality.
Certainly the group that commissioned the Georgia Guidestones is one of many similar groups working together toward a New World Order, a new world economic system, and a new world spirituality. Behind those groups, however, are dark spiritual forces. Without understanding the nature of those dark forces it is impossible to understand the unfolding of world events.
The fact that most Americans have never heard of the Georgia Guidestones or their message to humanity reflects the degree of control that exists today over what the American people think. We ignore that message at our peril.
This text courtesy of www.radioliberty.com/stones.htm
The Ganden Sumtsenling Monastery, also known as Sungtseling and Guihuasi (Tibetan: དགའ་ལྡན་སུམ་རྩེན་གླིང་, dga' ldan sum rtsen gling, Chinese: 松赞林寺 Sōngzànlín Sì), is a Tibetan Buddhist monastery situated 5 kilometres from the city of Zhongdian at elevation 3,380 metres in Yunnan province, China. Built in 1679, the monastery is the largest Tibetan Buddhist monastery in Yunnan province and is sometimes referred to as the Little Potala Palace. Located in the capital of Diqing Tibetan Autonomous Prefecture, it is also the most important monastery in southwest China.
It belongs to the Yellow Hat sect of Tibetan Buddhism of the Gelukpa order of the Dalai Lama. The Fifth Dalai Lama's Buddhist visionary zeal established the monastery in Zhongdian, in 1679. Its architecture is a fusion of the Tibetan and Han Chinese. It was extensively damaged in the Cultural Revolution and subsequently rebuilt in 1983; at its peak, the monastery contained accommodation for 2,000 monks; it currently accommodates in its rebuilt structures 700 monks in 200 associated houses.
Because of the popularity of James Hilton's novel Lost Horizon (novel) (1933), which introduced Shangri-La and is said have been written on an inspirational theme of "the Tibetan Buddhist Scriptures, where human beings, animals, and nature lived in harmony under the rule of a Tibetan", the Chinese authorities changed the name of Zhongdian County to Shangri-La County in 2001, basically to encourage tourism. The earlier names were – the Zhongdian (建塘镇 Jiàntáng Zhèn) to the Chinese, and Gyalthang (Standard Tibetan: རྒྱལ་ཐང་རྫོང་) to the Tibetans, of the town which has predominantly Tibetan population. The name of the county's capital town was similarly changed from Jiantang to Shangri-la. The ambiance of the town is distinctly Tibetan with prayer flags fluttering, mountains known by holy names, lamaseries and rocks inscribed in Tibetan language with Buddhist sutras.
GEOGRAPHY
The monastery, with a group of structures packed together on a rolling farm land, located in the town of Jiantang in the Yunnan province, now renamed as Shangri-la town in the renamed Shangri-la county, is in the heart of the mountain range known as Hengduan Mountain Range; it is part of the Mount Baimang Nature Reserve in Yunnan province but the monastery does not have snow covered backdrop. It is delimited in the north west contiguously by Tibet, to the north by Muli and Ganzi, on the west by the Salween River Lisu Autonomous Prefecture, on its south by the Lijiang; the populace is an amalgam of Tibetans, Hui, Bai, Naxi and Han. The town is located on the famous Southern Silk Road, which originates in Sichuan province in the north, crosses Yunnan province and goes to Vietnam.
Well established road links exist from Shangri-la to Lhasa, Litang, Dali and Tibetan Sichuan. It is 198 kilometres to the northwest of Lijiang. Shangri-La is also well connected by air with Lhasa and Kunming from its airport known as Shangri-La Diqing Airport, which is 7 kilometres to the south of the town in the Diqing Tibetan Autonomous Prefecture. However, there are no rail links at present. The monastery is an hour's walk from the Shangri-la town and is a major attraction for tourists and the change of name of the town to Shangri-la and the impressive Monastery complex are stated to have encouraged tourism to this place.
HISTORY
The Sumtseling monastery belonging to the Gelukpa order of Buddhism was established by the Fifth Dalai Lama in 1679. It was built during the rule of the Qing dynasty Kangxi Emperor (r.1662-1722). He fully patronized the development of this monastery. It is also said that the emperor was associated in the reincarnation search for the Seventh Dalai Lama.
In the 1930s, the monastery had provided full support to the Communist general He Long who passed through this area during his campaign. However, in 1959, the People's Liberation Army (PLA) of China bombed the monastery during their invasion of Tibet. Since 1981, the situation has changed, the monastery buildings have been mostly restored and normality prevails.
STTRUCTURES
The Monastery built in the 17th century as the largest Buddhist monastery in Yunnan province, after a revelation by the Fifth Dalai Lama is in accordance with Tibetan traditional architectural style. It has six main structures including eight colleges. The entrance gate is at the foot of the hill and provides access to the main hall of the monastery through 146 steps.
In the main hall of the monastery, more than 1500 monks congregate to recite the Buddhist scriptures. This hall houses a plethora of scriptures written on palm leaves, a gilded statue of Shakyamuni Buddha which is 8 metres tall at the main altar along with paintings depicting the life of Buddha. The altar has permanent decorated by yak butter lamps.
The monastery has two major lamasery buildings – Zhacang and Jikang – apart from several smaller lamaseries. Numerous living rooms have also been built for the monks to reside. The main monastery structure built in Tibetan style has a gilded copper roof similar to the one at the Potala Monastery in Lhasa. The other buildings in the complex are built in Han Chinese style.
The road from the old town of the city, leads to the scripture chamber (Gucheng Zangjingtang), which was earlier a Red Army Memorial hall to commemorate the Red Army's long march in the 1930s. At the opposite end of this hall, across the street is the Gulshan Park (Gulshan Gongyuan), which has a monastery with a commanding view of the town and its surroundings. Further along the road, known as the 'Changzeng Lu' 2 kilometres long north-south trending street with intersecting roads laid in grid pattern) to the extreme south, is another temple. Passing through this street leads to gardens and a pavilion; and further to the north on a hill, there is a Chorten (Tibetan stupa). The east west road 'Tuanje Jie' leads to many smaller temples at the south end around the old town.
FESTIVALS
The Gedong Festival is held in the precincts of the monastery annually on 29 November when devotees from the region attend to worship and also to witness the religious mask dances – the Cham dance – that are performed by the monks in colourful costumes depicting deities, ghosts and animals.
A three-day 'Horse Racing Festival' also known as 'Heavenly Steed Festival' is held at Zandiaong, some time in June (according to the lunar calendar: 5th day of the 5th month), to the south east of the town, which involves dancing, singing and eating, in addition to the racing of horses. Horse traders assemble here in their finest attire of furs and silks. Families of villagers camp in tents at the designated horse racing meadow land at an elevation of 3,288 metres.
A new festival introduced in 1990s is called the 'Minority Festival' held in September when artists from neighbouring districts and Tibet participate to present their art forms.
___________________________________________
Shangri-La is a county-level city in northwestern Yunnan province, People's Republic of China and is the location of the seat of the Dêqên Tibetan Autonomous Prefecture.
NAME
In the second half of the 20th century Shangri-La was called Zhongdian (Chinese: 中甸 Zhōngdiàn) but was renamed on 17 December 2001 as Shangri-La (other spellings: Semkyi'nyida, Xianggelila, or Xamgyi'nyilha) after the fictional land of Shangri-La in the 1933 James Hilton novel Lost Horizon, in an effort to promote tourism in the area. The original Tibetan population previously refers to this place by its traditional name Gyalthang or Gyaitang (Standard Tibetan: རྒྱལ་ཐང།; Wylie: rgyal thang, ZWPY: Gyaitang), meaning "Royal plains". This ancient name is reflected in the Tibetan Pinyin name of the town of Jiantang (建塘; Jiàntáng), the county seat.
TOWNS
Jiantang Town
Zhongdian Town
Hutiaoxia Town
Jinjiang Town
Luoji Township
In the early morning of January 11, 2014, a fire broke out in the 1,000-year-old Dukezong Tibetan neighborhood. About 242 homes and shops were destroyed and 2,600 residents were displaced. About half of the old town was destroyed by the fire, half was spared. After the fire residents were allowed back to their homes and shops. By the end of 2014 rebuilding had started and tourism started to come back. Generally tourism was not affected by the fire, since the main sights in the old town, such as the prayer wheel and temples were not damaged. Many of the other main sights are located outside of the old town.
CLIMATE
Shangri-La has a monsoon-influenced humid continental climate (Köppen Dwb), due to the high elevation. Winters are chilly but sunny, with a January 24-hour average temperature of −3.2 °C, while summers are cool, with a July 24-hour average temperature of 13.5 °C, and feature frequent rain; more than 70% of the annual precipitation is delivered from June to September. The annual mean is 5.85 °C. Except during the summer, nights are usually sharply cooler than the days. Despite the dryness of the winter, the small amount of precipitation is generally sufficient to cause major transportation dislocations and isolate the area between November and March. Being located just 27° in latitude from the equator, the effects of altitude on the climate are so exceptional that it actually means the average yearly temperature is 2.5°C lower than that for Bergen, Norway, located as much as 60° from the equator.
NATIONAL PARK
Pudacuo National Park, the first national park in China to meet IUCN standards, is part of the Three Parallel Rivers of Yunnan Protected Areas World Heritage Site.
TRANSPORT
The town's airport is Diqing Airport. Covering an area of 225 hectares, it is one of the biggest airports in the northwest of Yunnan. There are flights to Kunming, Chengdu, Lhasa, Guangzhou and Shenzhen.
Since there is no railway available in Shangri-la, taking a long-distance bus is also a major means to get to Shangri-la besides flight. It takes about 4 hours to get to Shangri-la from Lijiang by bus.It is also advised to rent a car so that tourists could also visit the Tiger Leaping Gorge and the First Bend of Yangtze River on the way.
Many travelers use the county town as a gateway into Tibet, either travelling many days overland by jeep to Lhasa, or by flying from the city's airport. However, the town itself is a tourist destination, primarily due to the nearby Gandan Sumtseling Monastery, Ganden Sumtsen Ling, 松赞林寺 Sōngzànlín Sì), Pudacuo National Park, and Tiger Leaping Gorge.
China National Highway 214
WIKIPEDIA
E-Commerce Masterplan, Order Fullfillment & Using Twitter to Generate Business
Three excellent presentations today:
Gerry Kierce is the Managing Director of Euroroute Logistics Ltd. Gerry has a proven track record in delivering innovative solutions to clients that are specific to their needs and adding value to their business and contributing to improved efficiencies and bottom-line performance.
Samantha Kelly is the Owner of Tweetinggoddess. Mother of two, A Dragons Den participant, creator of #irishbizparty on twitter, twitter for business trainer, star of the recent RTE show She's the Business and former owner of Funky Goddess Samantha has a great story to tell.
Chloe Thomas is an Online Marketer and the Author of E-Commerce Masterplan. The book has been described by Elite Business Magazine as "worth its weight in internet gold" Chloe has worked with "over 50 eCommerce businesses, improving their online marketing, saving them money and time in the process. She helps businesses reach success faster, and stop wasting money and time on the wrong marketing".