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The Mobile Emergency Room is a project by Thierry Geoffroy/Colonel, a participating artist of the Maldives Pavilion working with art formats developed around the notion of emergency.
Emergency Room is a format providing space for artists to engage in urgent debates, address societal dysfunctions and express emergencies in the now, today, before it is too late. Geoffroy’s approach allows immediate artistic intervention and displaces the contemporary to the status of delayed comment on yesterday’s world.
Taking as point of departure climate change and the Maldives, Geoffroy developed a scenario of disappearance and translated actual emergencies and hospitality needs into artistic interventions. In this context he activated his penetration format in order to transform “rigid exhibition spaces” into “elastic and generous exhibition spaces”.
An intervention facilitated by curator Christine Eyene, the Mobile Emergency Room was set up at the Zimbabwe Pavilion during the opening week of the biennale with the hospitality of commissioner Doreen Sibanda and curator Raphael Chikukwa. The first pieces presented in this room consisted in Geoffroy’s tent and an installation by Polish artist Christian Costa. Since then it has been animated online and has extended from being a space for artists expressing emergencies about climate change, to encompassing various emergency topics.
From 24 to 28 August, Geoffroy was in Venice collaborating with Danish artists Nadia Plesner, Mads Vind Ludvigsen, who created new work everyday, raising various emergencies and concerns, with a daily change of exhibition (“passage”) at 3.00 pm. For his last day in Venice, Geoffroy addressed the Syrian situation.
The work produced during this intervention is displayed until 30 September. The presentation is based on Geoffroy's concept of "Delay Museum" where art created for past emergencies is exhibited, while new work enters the Mobile Emergency Room.
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the Emergency Room Mobile at the Zimbabwe pavilion / Venice Biennale has now been completed with some work from the The Delay Museum ,Please visit the pavilion when you go the Venice Biennale this is part of the PENETRATIONS formats ( the Zimbabwe pavilion gave hopsitality for a period of several monthes ) the displayed art works in the Delay Museum are still "boiling " as they are from last week . ( Nadia Plesner / Mads Vind Ludvigsen , COLONEL ) ( this project is a convergence with BIENNALIST / Emergency Room ) more on Christine Eyene blog as she facilated and work within ....This penetration was in connection with my participation in the Maldives pavilion " CAN A NATION WELCOME ANOTHER NATION ?"CAN EMERGENCIES BE RANKED " .Thank you also for the work by David Marin , @Guillaume Dimanche and Christian Costa
venice-biennale-biennalists.blogspot.dk/2013/09/recents-w...
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VENICE BIENNALE / VENEZIA BIENNIAL 2013 : BIENNALIST
www.emergencyrooms.org/biennalist.html
Biennalist is an Art Format by Thierry Geoffroy / Colonel debating with artistic tools on Biennales and other cultural managed events . Often those events promote them selves with thematics and press releases faking their aim . Biennalist take the thematics of the Biennales very seriously , and test their pertinance . Artists have questioned for decade the canvas , the pigment , the museum ... since 1989 we question the Biennales .Often Biennalist converge with Emergency Room providing a burning content that cannot wait ( today before it is too late )
please contact before using the images : Thierry Geoffroy / Colonel 1@colonel.dk
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Countries( nations ) that participate at the Venice Biennale 55 th ( 2013 Biennale di Venezia ) in Italy ( at Giardini or Arsenale or ? ) , Encyclopedic Palace is curated by Massimiliano Gioni
Albania, Andorra, Argentina, Australia, Austria, Azerbaijan, Bangladesh, Belarus, Belgium, Brazil, Bulgaria,
Costa Rica, Croatia, Cuba, Cyprus, Czech , Slovenia, South Africa, Spain, Canada, Chile, China, Congo,
Slovak Republic, 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
Sweden, Switzerland, Syrian Arab Republic, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Zimbabwe
the Bahamas, the Kingdom of Bahrain, the Republic of Kosovo, Kuwait, the Maldives, Côte d'Ivoire, Nigeria and Paraguay
Eight countries will also participate for the first time in next year's biennale: the Bahamas, the Kingdom of Bahrain, the Republic of Kosovo, Kuwait, the Maldives, Côte d'Ivoire, Nigeria and Paraguay. In 2011, 89 international pavilions, the most ever, were accessible in the Giardini and across the city.
please contact before using the images : Thierry Geoffroy / Colonel 1@colonel.dk
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lists of artists participating at the Venice Biennale
Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.
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other pavilions at Venice Biennale
Andorra
Artists: Javier Balmaseda, Samantha Bosque, Fiona Morrison
Commissioner: Henry Périer
Deputy Commissioners: Francesc Rodríguez, Ermengol Puig, Ruth Casabella
Curators: Josep M. Ubach, Paolo De Grandis
Venue: Arsenale di Venezia, Nappa 90
Angola
Artist: Edson Chagas
Commissioner: Ministry of Culture
Curators: Beyond Entropy (Paula Nascimento, Stefano Rabolli Pansera), Jorge Gumbe, Feliciano dos Santos
Venue: Palazzo Cini, San Vio, Dorsoduro 864
Argentina
Artist: Nicola Costantino
Commissioner: Magdalena Faillace
Curator: Fernando Farina
Venue: Pavilion at Arsenale
Armenia
Artist: Ararat Sarkissian
Commissioner: Ministry of Culture
Curator: Arman Grogoryan
Venue: Isola di San Lazzaro degli Armeni, everyday from 2:30 p.m. to 5:30 p.m.
Australia
Artist: Simryn Gill
Commissioner: Simon Mordant
Deputy Commissioner: Penelope Seidler
Curator: Catherine de Zegher
Venue: Pavilion at Giardini
Austria
Artist: Mathias Poledna
Commissioner/Curator: Jasper Sharp
Venue: Pavilion at Giardini
Azerbaijan
Artists: Rashad Alakbarov, Sanan Aleskerov, Chingiz Babayev, Butunay Hagverdiyev, Fakhriyya Mammadova, Farid Rasulov
Commissioner: Heydar Aliyev Foundation
Curator: Hervé Mikaeloff
Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949
Bahamas
Artist: Tavares Strachan
Commissioner: Nalini Bethel, Ministry of Tourism
Curators: Jean Crutchfield, Robert Hobbs
Deputy Curator: Stamatina Gregory
Venue: Arsenale, Tese Cinquecentesche
Bangladesh
Chhakka Artists’ Group: Mokhlesur Rahman, Mahbub Zamal, A. K. M. Zahidul Mustafa, Ashok Karmaker, Lala Rukh Selim, Uttam Kumar Karmaker. Dhali Al Mamoon, Yasmin Jahan Nupur, Gavin Rain, Gianfranco Meggiato, Charupit School
Commissioner/Curator: Francesco Elisei.
Curator: Fabio Anselmi.
Venue: Officina delle Zattere, Dorsoduro 947
Bahrain
Artists: Mariam Haji, Waheeda Malullah, Camille Zakharia
Commissioner: Mai bint Mohammed Al Khalifa, Minister of Culture
Curator: Melissa Enders-Bhatiaa
Venue: Pavilion at Arsenale
Belgium
Artist: Berlinde De Bruyckere
Commissioner: Joke Schauvliege, Flemish Minister for Environment, Nature and Culture
Curator: J. M. Coetzee
Deputy Curator: Philippe Van Cauteren
Venue: Pavilion at Giardini
Bosnia and Herzegovina
Artist: Mladen Miljanovic
Commissioners: Sarita Vujković, Irfan Hošić
Venue: Palazzo Malipiero, San Marco
Brazil
Artists: Hélio Fervenza, Odires Mlászho, Lygia Clark, Max Bill, Bruno Munari
Commissioner: Luis Terepins, Fundação Bienal de São Paulo
Curator: Luis Pérez-Oramas
Deputy Curator: André Severo
Venue: Pavilion at Giardini
Canada
Artist: Shary Boyle
Commissioner: National Gallery of Canada / Musée des beaux-arts du Canada
Curator: Josée Drouin-Brisebois
Venue: Pavilion at Giardini
Central Asia
Artists: Vyacheslav Akhunov, Sergey Chutkov, Saodat Ismailova, Kamilla Kurmanbekova, Ikuru Kuwajima, Anton Rodin, Aza Shade, Erlan Tuyakov
Commissioner: HIVOS (Humanist Institute for Development Cooperation)
Deputy Commissioner: Dean Vanessa Ohlraun (Oslo National Academy of the Arts/The Academy of Fine Art)
Curators: Ayatgali Tuleubek, Tiago Bom
Scientific Committee: Susanne M. Winterling
Venue: Palazzo Malipiero, San Marco 3199-3201
Chile
Artist: Alfredo Jaar
Commissioner: CNCA, National Council of Culture and the Arts
Curator: Madeleine Grynsztejn
Venue: Pavilion at Arsenale
China
Artists: He Yunchang, Hu Yaolin, Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong, Zhang Xiaotao
Commissioner: China Arts and Entertainment Group (CAEG)
Curator: Wang Chunchen
Venue: Pavilion at Arsenale
Costa Rica
Artists: Priscilla Monge, Esteban Piedra, Rafael Ottón Solís, Cinthya Soto
Commissioner: Francesco Elisei
Curator: Francisco Córdoba, Museo de Arte y Diseño Contemporáneo (Fiorella Resenterra)
Venue: Ca’ Bonvicini, Santa Croce
Croatia
Artist: Kata Mijatovic
Commissioner/Curator: Branko Franceschi.
Venue: Sala Tiziano, Opera don Orione Artigianelli, Fondamenta delle Zattere ai Gesuati 919
Cuba
Artists: Liudmila and Nelson, Maria Magdalena Campos & Neil Leonard, Sandra Ramos, Glenda León, Lázaro Saavedra, Tonel, Hermann Nitsch, Gilberto Zorio, Wang Du, H.H.Lim, Pedro Costa, Rui Chafes, Francesca Leone
Commissioner: Miria Vicini
Curators: Jorge Fernández Torres, Giacomo Zaza
Venue: Museo Archeologico Nazionale di Venezia, Palazzo Reale, Piazza San Marco 17
Cyprus
Artists: Lia Haraki, Maria Hassabi, Phanos Kyriacou, Constantinos Taliotis, Natalie Yiaxi, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister
Commissioner: Louli Michaelidou
Deputy Commissioners: Angela Skordi, Marika Ioannou
Curator: Raimundas Malašauskas
Czech Republic & Slovak Republic
Artists: Petra Feriancova, Zbynek Baladran
Commissioner: Monika Palcova
Curator: Marek Pokorny
Venue: Pavilion at Giardini
Denmark
Artist: Jesper Just in collaboration with Project Projects
Commissioners: The Danish Arts Council Committee for International Visual Arts: Jette Gejl Kristensen (chairman), Lise Harlev, Jesper Elg, Mads Gamdrup, Anna Krogh
Curator: Lotte S. Lederballe Pedersen
Venue: Pavilion at Giardini
Egypt
Artists: Mohamed Banawy, Khaled Zaki
Commissioner: Ministry of Culture
Venue: Pavilion at Giardini
Estonia
Artist: Dénes Farkas
Commissioner: Maria Arusoo
Curator: Adam Budak
Venue: Palazzo Malipiero, San Marco 3199, San Samuele
Finland
Artist: Antti Laitinen
Commissioner: Raija Koli
Curators: Marko Karo, Mika Elo, Harri Laakso
Venue: Pavilion at Giardini
France
Artist: Anri Sala
Commissioner: Institut français
Curator: Christine Macel
Venue: Pavilion of Germany at the Giardini
Georgia
Artists: Bouillon Group,Thea Djordjadze, Nikoloz Lutidze, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin, Gio Sumbadze
Commissioner: Marine Mizandari, First Deputy Minister of Culture
Curator: Joanna Warsza
Venue: Pavilion at Arsenale
Germany
Artists: Ai Weiwei, Romuald Karmakar, Santu Mofokeng, Dayanita Singh
Commissioner/Curator: Susanne Gaensheimer
Venue: Pavilion of France at Giardini
Great Britain
Artist: Jeremy Deller
Commissioner: Andrea Rose
Curator: Emma Gifford-Mead
Venue: Pavilion at Giardini
Greece
Artist: Stefanos Tsivopoulos
Commissioner: Hellenic Ministry of Education and Religious Affairs, Culture and Sports
Curator: Syrago Tsiara
Venue: Pavilion at Giardini
Holy See
Artists: Lawrence Carroll, Josef Koudelka, Studio Azzurro
Curator: Antonio Paolucci
Venue: Pavilion at Arsenale
Hungary
Artist: Zsolt Asztalos
Commissioner: Kunstahalle (Art Hall)
Curator: Gabriella Uhl
Venue: Pavilion at Giardini
Iceland
Artist: Katrín Sigurðardóttir
Commissioner: Dorotheé Kirch
Curators: Mary Ceruti , Ilaria Bonacossa
Venue: Lavanderia, Palazzo Zenobio, Collegio Armeno Moorat-Raphael, Fondamenta del Soccorso, Dorsoduro 2596
Indonesia
Artists: Albert Yonathan Setyawan, Eko Nugroho, Entang Wiharso, Rahayu Supanggah, Sri Astari, Titarubi
Commissioner: Soedarmadji JH Damais
Deputy Commissioner: Achille Bonito Oliva
Assistant Commissioner: Mirah M. Sjarif
Curators: Carla Bianpoen, Rifky Effendy
Venue: Pavilion at Arsenale
Iraq
Artists: Abdul Raheem Yassir, Akeel Khreef, Ali Samiaa, Bassim Al-Shaker, Cheeman Ismaeel, Furat al Jamil, Hareth Alhomaam, Jamal Penjweny, Kadhim Nwir, WAMI (Yaseen Wami, Hashim Taeeh)
Commissioner: Tamara Chalabi (Ruya Foundation for Contemporary Culture)
Deputy Commissioner: Vittorio Urbani
Curator: Jonathan Watkins.
Venue: Ca' Dandolo, San Tomà, Venezia
Ireland
Artist: Richard Mosse
Commissioner, Curator: Anna O’Sullivan
Venue: Fondaco Marcello, San Marco 3415
Israel
Artist: Gilad Ratman
Commissioners: Arad Turgeman, Michael Gov
Curator: Sergio Edelstein
Venue: Pavilion at Giardini
Italy
Artists: Francesco Arena, Massimo Bartolini, Gianfranco Baruchello, Elisabetta Benassi, Flavio Favelli, Luigi Ghirri, Piero Golia, Francesca Grilli, Marcello Maloberti, Fabio Mauri, Giulio Paolini, Marco Tirelli, Luca Vitone, Sislej Xhafa
Commissioner: Maddalena Ragni
Curator: Bartolomeo Pietromarchi
Venue: Italian Pavilion, Tese delle Vergini at Arsenale
Ivory Coast
Artists: Frédéric Bruly Bouabré, Tamsir Dia, Jems Koko Bi, Franck Fanny
Commissioner: Paolo De Grandis
Curator: Yacouba Konaté
Venue: Spiazzi, Arsenale, Castello 3865
Japan
Artist: Koki Tanaka
Commissioner: The Japan Foundation
Curator: Mika Kuraya
Venue: Pavilion at Giardini
Kenya
Artists: Kivuthi Mbuno, Armando Tanzini, Chrispus Wangombe Wachira, Fan Bo, Luo Ling & Liu Ke, Lu Peng, Li Wei, He Weiming, Chen Wenling, Feng Zhengjie, César Meneghetti
Commissioner: Paola Poponi
Curators: Sandro Orlandi, Paola Poponi
Venue: Caserma Cornoldi, Castello 4142 and San Servolo island
Korea (Republic of)
Artist: Kimsooja
Commissioner/Curator: Seungduk Kim
Deputy Commissioner: Kyungyun Ho
Venue: Pavilion at Giardini
Kosovo
Artist: Petrit Halilaj
Commissioner: Erzen Shkololli
Curator: Kathrin Rhomberg
Venue: Pavilion at Arsenale
Kuwait
Artists: Sami Mohammad, Tarek Al-Ghoussein
Commissioner: Mohammed Al-Asoussi (National Council of Culture, Arts and Letters)
Curator: Ala Younis
Venue: Palazzo Michiel, Sestriere Cannaregio, Strada Nuova
Latin America
Istituto Italo-Latino Americano
Artists:
Marcos Agudelo, Miguel Alvear & Patricio Andrade, Susana Arwas, François Bucher, Fredi Casco, Colectivo Quintapata (Pascal Meccariello, Raquel Paiewonsky, Jorge Pineda, Belkis Ramírez), Humberto Díaz, Sonia Falcone, León & Cociña, Lucía Madriz, Jhafis Quintero, Martín Sastre, Guillermo Srodek-Hart, Juliana Stein, Simón Vega, Luca Vitone, David Zink Yi.
Harun Farocki & Antje Ehmann. In collaboration with: Cristián Silva-Avária, Anna Azevedo, Paola Barreto, Fred Benevides, Anna Bentes, Hermano Callou, Renata Catharino, Patrick Sonni Cavalier, Lucas Ferraço Nassif, Luiz Garcia, André Herique, Bruna Mastrogiovanni, Cezar Migliorin, Felipe Ribeiro, Roberto Robalinho, Bruno Vianna, Beny Wagner, Christian Jankowski
Commissioner: Sylvia Irrazábal
Curator: Alfons Hug
Deputy Curator: Paz Guevara
Venue: Pavilion at Arsenale
Latvia
Artists: Kaspars Podnieks, Krišs Salmanis
Commissioners: Zane Culkstena, Zane Onckule
Curators: Anne Barlow, Courtenay Finn, Alise Tifentale
Venue: Pavilion at Arsenale
Lebanon
Artist: Akram Zaatari
Commissioner: Association for the Promotion and Exhibition of the Arts in Lebanon (APEAL)
Curators: Sam Bardaouil, Till Fellrath
Venue: Pavilion at Arsenale
Lithuania
Artist: Gintaras Didžiapetris, Elena Narbutaite, Liudvikas Buklys, Kazys Varnelis, Vytaute Žilinskaite, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister
Commissioners: Jonas Žokaitis, Aurime Aleksandraviciute
Curator: Raimundas Malašauskas
Venue: Palasport Arsenale, Calle San Biagio 2132, Castello
Luxembourg
Artist: Catherine Lorent
Commissioner: Clément Minighetti
Curator: Anna Loporcaro
Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052
Macedonia
Artist: Elpida Hadzi-Vasileva
Commissioner: Halide Paloshi
Curator: Ana Frangovska
Venue: Scuola dei Laneri, Santa Croce 113/A
Maldives
Participants: Paul Miller (aka DJ Spooky), Thierry Geoffrey (aka Colonel), Gregory Niemeyer, Stefano Cagol, Hanna Husberg, Laura McLean & Kalliopi, Tsipni-Kolaza, Khaled Ramadan, Moomin Fouad, Mohamed Ali, Sama Alshaibi, Patrizio Travagli, Achilleas Kentonis & Maria Papacaharalambous, Wooloo, Khaled Hafez in collaboration with Wael Darwesh, Ursula Biemann, Heidrun Holzfeind & Christoph Draeger, Klaus Schafler
Commissioner: Ministry of Tourism, Arts & Culture
Curators: CPS – Chamber of Public Secrets (Alfredo Cramerotti, Aida Eltorie, Khaled
Ramadan)
Deputy Curators: Maren Richter, Camilla Boemio
Venue: Gervasuti Foundation, Via Garibaldi
Mexico
Artist: Ariel Guzik
Commissioner: Gastón Ramírez Feltrín
Curator: Itala Schmelz
Venue: Ex Chiesa di San Lorenzo, Campo San Lorenzo
Montenegro
Artist: Irena Lagator Pejovic
Commissioner/Curator: Nataša Nikcevic
Venue: Palazzo Malipiero, San Marco 3078-3079/A, Ramo Malipiero Venezia – Ground Floor
The Netherlands
Artist: Mark Manders
Commissioner: Mondriaan Fund
Curator: Lorenzo Benedetti
Venue: Pavilion at Giardini
New Zealand
Artist: Bill Culbert
Commissioner: Jenny Harper
Deputy Commissioner: Heather Galbraith
Curator: Justin Paton
Venue: Santa Maria della Pietà, Calle della Pietà, Castello
Nordic Pavilion (Finland, Norway)
Finland:
Artist: Terike Haapoja
Commissioner: Raija Koli
Curators: Marko Karo, Mika Elo, Harri Laakso
Venue: Pavilion at Giardini
Norway:
Artists: Edvard Munch, Lene Berg
Commissioner: Office for Contemporary Art Norway (OCA)
Curators: Marta Kuzma, Pablo Lafuente, Angela Vettese
Venue: Galleria di Piazza San Marco, Fondazione Bevilacqua La Masa
Paraguay
Artists: Pedro Barrail, Felix Toranzos, Diana Rossi, Daniel Milessi
Commissioner: Elisa Victoria Aquino Laterza
Deputy Commissioner: Nori Vaccari Starck
Curator: Osvaldo González Real
Venue: Palazzo Carminati, Santa Croce 1882
Poland
Artist: Konrad Smolenski
Commissioner: Hanna Wróblewska
Curators: Agnieszka Pindera, Daniel Muzyczuk
Venue: Pavilion at Giardini
Portugal
Artist: Joana Vasconcelos
Commissioner: Direção-Geral das Artes/Secretário de Estado da Cultura, Governo de Portugal
Curator: Miguel Amado
Venue: Riva dei Partigiani
Romania
Artists: Maria Alexandra Pirici, Manuel Pelmus
Commissioner: Monica Morariu
Deputy Commissioner: Alexandru Damian
Curator: Raluca Voinea
Venue: Pavilion at Giardini
Artists: Anca Mihulet, Apparatus 22 (Dragos Olea, Maria Farcas,Erika Olea), Irina Botea, Nicu Ilfoveanu, Karolina Bregula, Adi Matei, Olivia Mihaltianu, Sebastian Moldovan
Commissioner: Monica Morariu
Deputy Commissioner: Alexandru Damian
Curator: Anca Mihulet
Venue: Nuova Galleria dell'Istituto Romeno di Venezia, Palazzo Correr, Campo Santa Fosca, Cannaregio 2214
Russia
Artist: Vadim Zakharov
Commissioner: Stella Kasaeva
Curator: Udo Kittelmann
Venue: Pavilion at Giardini
Serbia
Artists: Vladimir Peric, Miloš Tomic
Commissioner: Maja Ciric
Venue: Pavilion at Giardini
Singapore
Cancelled the participation
Slovenia
Artist: Jasmina Cibic
Commissioner: Blaž Peršin
Curator: Tevž Logar
Venue: Galleria A+A, San Marco 3073
South Africa
Contemporary South African Art and the Archive
Commissioner: Saul Molobi
Curator: Brenton Maart
Venue: Pavilion at Arsenale
Spain
Artist: Lara Almarcegui
Commissioner/Curator: Octavio Zaya
Venue: Pavilion at Giardini
Switzerland
Artist: Valentin Carron
Commissioners: Pro Helvetia - Sandi Paucic and Marianne Burki
Deputy Commissioner: Pro Helvetia - Rachele Giudici Legittimo
Curator: Giovanni Carmine
Venue: Pavilion at Giardini
Syrian Arab Republic
Artists: Giorgio De Chirico, Miro George, Makhowl Moffak, Al Samman Nabil, Echtai Shaffik, Giulio Durini, Dario Arcidiacono, Massimiliano Alioto, Felipe Cardena, Roberto Paolini, Concetto Pozzati, Sergio Lombardo, Camilla Ancilotto, Lucio Micheletti, Lidia Bachis, Cracking Art Group, Hannu Palosuo
Commissioner: Christian Maretti
Curator: Duccio Trombadori
Venue: Isola di San Servolo
Taiwan
Artists: Bernd Behr, Chia-Wei Hsu, Kateřina Šedá + BATEŽO MIKILU
Curator: Esther Lu
Organizer: Taipei Fine Arts Museum
Venue: Palazzo delle Prigioni, Castello 4209, San Marco
Thailand
Artists: Wasinburee Supanichvoraparch, Arin Rungjang
Commissioner: Office of Contemporary Art and Culture, Ministry of Culture
Curators: Penwadee Nophaket Manont, Worathep Akkabootara
Venue: Santa Croce 556
Turkey
Artist: Ali Kazma
Commissioner: Istanbul Foundation for Culture and Arts
Curator: Emre Baykal
Venue: Pavilion at Arsenale
Tuvalu
Artist: Vincent J.F.Huang
Commissioners: Apisai Ielemia, Minister of Foreign Affair, Trade, Tourism, Environment & Labour; Tapugao Falefou, Permanent Secretary of Foreign Affairs, Tourism, Environment & Labour
Curators: An-Yi Pan, Szu Hsien Li, Shu Ping Shih
Venue: Forte Marghera, via Forte Marghera, 30
Ukraine
Artists: Ridnyi Mykola, Zinkovskyi Hamlet, Kadyrova Zhanna
Commissioner: Victor Sydorenko
Curators: Soloviov Oleksandr, Burlaka Victoria
Venue: Palazzo Loredan, Istituto Veneto di Scienze, Lettere ed Arti, Campo Santo Stefano
United Arab Emirates
Artist: Mohammed Kazem
Commissioner: Dr. Lamees Hamdan
Curator: Reem Fadda
Venue: Pavilion at Arsenale, Sale d'Armi
Uruguay
Artist: Wifredo Díaz Valdéz
Commissioner: Ricardo Pascale
Curators: Carlos Capelán, Verónica Cordeiro
Venue: Pavilion at Giardini
USA
Artist: Sarah Sze
Commissioners/Curators: Carey Lovelace, Holly Block
Venue: Pavilion at Giardini
Venezuela
Colectivo de Artistas Urbanos Venezolanos
Commissioner: Edgar Ernesto González
Curator: Juan Calzadilla
Venue: Pavilion at Giardini
Zimbabwe
Artists: Portia Zvavahera, Michele Mathison, Rashid Jogee, Voti Thebe, Virginia Chihota
Commissioner: Doreen Sibanda
Curator: Raphael Chikukwa
Venue: Santa Maria della Pietà, Calle della Pietà, Castello 3701
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el.godfootsteps.org/videos/knocking-at-the-door-movie.html
Εισαγωγή
Ελληνική Χριστιανική ταινία «χτυπώντας την πόρτα» Ο Κύριος Ιησούς χτυπά την πόρτα της καρδιάς μου
Ο Κύριος Ιησούς είπε: «Εν τω μέσω δε της νυκτός έγεινε κραυγή· Ιδού, ο νυμφίος έρχεται, εξέλθετε εις απάντησιν αυτού». (κατά Ματθαίον 25:6). «Ιδού, ίσταμαι εις την θύραν και κρούω· εάν τις ακούση της φωνής μου και ανοίξη την θύραν, θέλω εισέλθει προς αυτόν και θέλω δειπνήσει μετ’ αυτού και αυτός μετ’ εμού». (Αποκάλυψη 3:20). Κατά τα τελευταία δύο χιλιάδες χρόνια, εκείνοι που πιστεύουν στον Κύριο είναι σε επαγρύπνηση και περιμένουν τον Κύριο να κρούσει τη θύρα, άρα πώς Εκείνος θα κρούσει τη θύρα της ανθρωπότητας όταν επιστρέψει; Κατά τις έσχατες ημέρες, κάποιοι άνθρωποι έχουν επιμαρτυρήσει ότι ο Κύριος Ιησούς έχει επιστρέψει – ως ο ενσαρκωμένος Παντοδύναμος Θεός – και ότι εκτελεί το έργο της κρίσεως κατά τις έσχατες ημέρες. Αυτή η είδηση έχει ταράξει ολόκληρο τον θρησκευτικό κόσμο.
Η Γιανγκ Αϊγκουάνγκ, η πρωταγωνίστρια της ταινίας, πιστεύει στον Κύριο εδώ και δεκαετίες και έχει ήδη αρχίσει να εργάζεται και να κηρύσσει τον λόγο Του με ενθουσιασμό, περιμένοντας να υποδεχθεί την επιστροφή του Κυρίου. Μια μέρα, έρχονται δύο άνθρωποι και κρούουν τη θύρα, λένε στη Γιανγκ Αϊγκουάνγκ και στον σύζυγό της ότι ο Κύριος Ιησούς έχει επιστρέψει και μοιράζονται τον λόγο του Παντοδύναμου Θεού μαζί τους. Εκείνοι συγκινούνται βαθιά από τον λόγο του Παντοδύναμου Θεού, αλλά, επειδή η Γιανγκ Αϊγκουάνγκ έχει βιώσει την πλάνη, την εξαπάτηση και τις απαγορεύσεις των παστόρων και των πρεσβυτέρων, πετάει τους μάρτυρες της Εκκλησίας του Παντοδύναμου Θεού έξω από το σπίτι. Στη συνέχεια, οι μάρτυρες κρούουν τη θύρα τους πολλές φορές και διαβάζουν τον λόγο του Παντοδύναμου Θεού στη Γιανγκ Αϊγκουάνγκ, γινόμενοι μάρτυρες του έργου του Θεού των εσχάτων ημερών. Κατά την ίδια περίοδο, ο πάστορας ενοχλεί και εμποδίζει επανειλημμένα τη Γιανγκ Αϊγκουάνγκ, με αποτέλεσμα αυτή να συνεχίζει να αμφιταλαντεύεται. Ωστόσο, καθώς ακούει τον λόγο του Παντοδύναμου Θεού, η Γιανγκ Αϊγκουάνγκ καταλήγει να κατανοήσει την αλήθεια και καταφέρνει να κρίνει σωστά τις φήμες και τις πλάνες που διαδίδονται από τους πάστορες και τους πρεσβυτέρους. Τελικά, καταλαβαίνει με ποιον τρόπο ο Κύριος κρούει τις θύρες των ανθρώπων κατά την επιστροφή Του στις έσχατες ημέρες και πώς θα πρέπει να Τον υποδεχτεί η ίδια. Όταν καθαρίζει η «ομίχλη», η Γιανγκ Αϊγκουάνγκ ακούει επιτέλους τη φωνή του Θεού και αναγνωρίζει ότι ο Παντοδύναμος Θεός είναι πράγματι η επιστροφή του Κυρίου Ιησού!
Δευτέρα Παρουσία
«Πηγή εικόνας: Εκκλησία του Παντοδύναμου Θεού»
Όροι Χρήσης： el.godfootsteps.org/disclaimer.html
Plantarum rariorum horti caesarei Schoenbrunnensis descriptiones et icones
Viennae :Apud C. F. Wappler;1797-1804.
Lostinsound.org coverage of CoSM Vernal Equinox 3-22-2014
Photos by Kyle Rober
Kylerober7@gmail.com
www.facebook.com/lostinsoundorg
secure.cosm.org/np/clients/cosm/event.jsp?event=1373
www.facebook.com/SacredMirrors
www.facebook.com/events/1413009142275722
Andy Reed @ CoSM 3-22-14 www.mixcloud.com/infinitegeometry/live-cosm-the-chapel-of...
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Event Schedule:
7:30 - Doors Open
8pm - Opening Ceremony with Alex & Allyson
9:30 - Ceremony Ends - Celebration begins
10pm - Dance Music, Live Painters, Fire Performers, etc.
3am - End of the 2014 Vernal Equinox Celebration
With your hosts Alex Grey & Allyson Grey:
Music Lineup
Random Rab
Emerging from his own distinct corner of the West Coast electronic music scene, Random Rab offers a powerful and unique contribution to sonic exploration. Often referred to as “The Master of Emotion” his music is patently beautiful and melodic. With diverse influences ranging from trip-hop, classical and Arabic to bass driven compositions, his songs are considered anthemic and timeless. As a multi-instrumentalist and singer, his tracks are organic, uplifting and stand on their own as a distinct genre. Listeners of all types of music can find something they can relate to in this sound. He has toured extensively across North America, including tours with Bassnectar, Shpongle, Beats Antique and headlined several festivals across the country.
There is no doubt that Rab understands a multitude of musical styles. He has been the front man of a heavy metal band, toured as a classical trumpet player, played bass in a country music band, was a scratch DJ for a jazz fusion project, was the singer for a rock band in Mexico and has collaborated with countless musicians of all styles. From acoustic performances in the Himalayas to rocking packed clubs in New York, Random Rab has found a way to connect with people of all kinds.
With a dedicated fanbase born from the San Francisco underground, Random Rab has become a Burning Man legend known for his sunrise sets that have now become one of his most sought after performances. His current popularity can often be traced to his breakout album, The Elucidation of Sorrow.. This album firmly established him as a recognizable force in the electronic music scene. His 4th album aRose, catapulted him into the state of momentum that is now taking hold internationally. His latest studio effort, Visurreal debuted in the iTunes Top 10 Electronic Charts as well as in the CMJ RPM Top 5 with several #1′s on radio stations across the country.
Sometimes performing solo and at other times featuring collaborative musicians, the live experience is focused on a high quality translation of sound that is simultaneously sexy and psychedelic.
OFFICIAL WEBSITE: randomrab.com/
SOUNDCLOUD: soundcloud.com/random-rab
FACEBOOK: www.facebook.com/randomrabofficial
Govinda
Govinda is the alter-ego of Austin based producer/composer Shane Madden. He began studying violin and composition at the age of eight and went on to study classical violin at the University of Texas where he fell in love with electronic music production. It was in Madden’s pursuit of his gypsy roots that he opened his ears to music from around the world. From experiences learning violin with mysterious masters on his journeys across the globe and his passion for modern design and technology, the current sound of Govinda was born.
Govinda has played with Thievery Corporation, Tipper, Bassnectar, Shpongle, Cheb I Sabbah, STS9 and many more and been featured on over 25 compilations such as Buddha Bar II, Asian Travels II, and Nirvana Lounge selling a combined 400,000 copies. Govinda has played at numerous festivals throughout North America including Coachella, Lightning in a Bottle, Sea of Dreams, SXSW and more.
Govinda's music has been licensed on shows like WB's “Roswell," MTV's “Road Rules,” and Bravo's “Queer Eye for the Straight Guy” as well as many independent films.The Govinda live show immerses the audience with a textured atmosphere of exotic, dubby vibrations interwoven with cosmic visual projections, world class dancers and mesmerizing vocals- all to the magic of his live electronics and violin.
OFFICIAL WEBSITE: govindamusic.com/
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Kalya Scintilla
Traversing the cosmos, gliding across dimensions beyond time and space, Kalya Scintilla brings universal shamanic journeys through his music to planet earth straight from his heart. His music paints sacred soundscapes with world fusion beats from ancient futures hidden amongst our forgotten memories to bring forth lush healing vibrations to activate the dormant codes within us. Infusing his love for nature, tribal healing, sacred geometry, and Hathor wisdom; Kalya is able to birth heart opening crescendos that open doorways into our personal and collective awakening. Audiences across the world have successfully received his musical transmissions enabling his ability to travel and play at festivals across continents. His vision for the future holds his devotional intention to plant more seeds of galactic sound alchemy to be felt and experienced by all.
www.facebook.com/pages/Kalya-Scintilla/121242094567692
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Supersillyus
Supersillyus (aka Rob Uslan) is a musician and producer based in Allston, MA. He has been tickling minds with his brand of psychedelic electronic music since 2008. His extensively layered soundscapes feature instrumentation ranging from tribal drums, swirling synths, to the occasional marimba solo.
Supersillyus' most recent EP Interabang has been downloaded over 5,000 times since it's release October 31, 2013. Over the last several years, Supersillyus has performed his unique brand of psychedelic music with luminaries like Tipper, Hallucinogen, and Ott and showcased at festivals throughout the US and Canada.
www.ektoplazm.com/free-music/supersillyus-interabang
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Infinite Geometry
Infinite Geometry (Andy Reed) has been an audio alchemist for the past 10 years. His main focus has been his visionary art for the past few years (www.facebook.com/infinitegeometryart), but another passion of his has been electronic music.
He is currently based out of Asheville, NC and plays shows occasionally around the southeast US, as well as doing special timeslots in the Vision Lab multi-sensory art dome or early sunrise sets at renegade stages at music festivals.
He first began attending electronic events and raves in NYC at age 14, when living in northern NJ. He quickly drew very fond of the subculture that revolves around these highly intelligent and somewhat alien soundscapes. At age 17, he bought belt-drive Numark turntables and a 6 channel mixer from Radioshack. Everyone needs to start somewhere, right? His gear has been updated a lot since those days, having Technic 1210 M5G turntables and a vast collection of vinyl. Most of his recent music is in digital/mp3 format, but he is known from breaking the mold and dropping those warm vibrant analog sounding beats and bass.
Over time, he grew a deeply fond love of liquid jazzy drum and bass, in which he still plays regularly at shows now and again. As time progressed, so did his love of different genres. Currently, his sets include multi-genres including psybient downtempo, psydub, templestep, IDM, dreambass, post-dubstep, 2step & future garage, minimal atmospheric dnb, funky tribal house, and many others.
soundcloud.com/infinitegeometry
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Jon Ohia
CoSM, NYC
Psylander
CoSM
Space Demon
CoSM
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Live Painting
Alex Grey & Allyson Grey
Joness Jones
Martin Bridge & Carl Bridge
Olga Klimova
www.facebook.com/olga.vici.art
Paul Crisafi
Seth Leibowitz
www.facebook.com/sethleibowitz77
Adam Psybe
Visuals
Deciduous Pupils
As a way to further explore the world of visual arts, Keith Tokarski(Takyon) and Benjamin Cooke(Silent Stream) teamed together in 2012. After performing separately for many years, Takyon and Silent Stream solidified a 2-man visual performance group, Deciduous Pupils. Deciduous Pupils has had the opportunity to perform for a multitude of different talented artists and bands such as Ott , LTJ Bukem , Immortal Technique, Jumbie Art, Abakus, Phutureprimitive, Space Jesus and Lazy Rich…just to name a few. They have performed the visuals for the Disco Biscuits New Year’s run after party, the Silent Disco at Camp Bisco 2013 as well as several other festivals throughout the east coast. With the utmost experience and mastery of their craft, and a focus on creating all original artwork with live improvised performance, Deciduous Pupils is continuing to shock the minds of those around them as they bring the viewers visual perception to a new dimension throughout the East Coast.
vimeo:
Fabric Installation:
WizArt Visions - Olga Klimova
Fire Performance:
-Fayzah-Fire
Fayzah Fire is a multidisciplinary international performer. Her own “World + Street Styles Dance Method©” blends elements of World Dance styles, Popping, Waving, Hip Hop, & Groove theory. She is an accredited Tribal-Fusion dancer, Fire performer, Argentine Tango dancer, innovator of Tango-Bellydance Fusion, and DJ. She also works with healing arts & trance dance, & is influenced by ocean creatures, (both real and fantasy).
More info: DanceSpiral.com
Matalvin's Firewerks
Www.facebook.com/matalvin youtu.be/6K995kVyi94
Freyja
Phantomime
Bellydance:
Sarah Jezebel
CoSM, Chapel of Sacred Mirrors, 46 Deer Hill Road, Wappingers Falls, NY 12590
A visit to the National Trust property that is Penrhyn Castle
Penrhyn Castle is a country house in Llandygai, Bangor, Gwynedd, North Wales, in the form of a Norman castle. It was originally a medieval fortified manor house, founded by Ednyfed Fychan. In 1438, Ioan ap Gruffudd was granted a licence to crenellate and he founded the stone castle and added a tower house. Samuel Wyatt reconstructed the property in the 1780s.
The present building was created between about 1822 and 1837 to designs by Thomas Hopper, who expanded and transformed the building beyond recognition. However a spiral staircase from the original property can still be seen, and a vaulted basement and other masonry were incorporated into the new structure. Hopper's client was George Hay Dawkins-Pennant, who had inherited the Penrhyn estate on the death of his second cousin, Richard Pennant, who had made his fortune from slavery in Jamaica and local slate quarries. The eldest of George's two daughters, Juliana, married Grenadier Guard, Edward Gordon Douglas, who, on inheriting the estate on George's death in 1845, adopted the hyphenated surname of Douglas-Pennant. The cost of the construction of this vast 'castle' is disputed, and very difficult to work out accurately, as much of the timber came from the family's own forestry, and much of the labour was acquired from within their own workforce at the slate quarry. It cost the Pennant family an estimated £150,000. This is the current equivalent to about £49,500,000.
Penrhyn is one of the most admired of the numerous mock castles built in the United Kingdom in the 19th century; Christopher Hussey called it, "the outstanding instance of Norman revival." The castle is a picturesque composition that stretches over 600 feet from a tall donjon containing family rooms, through the main block built around the earlier house, to the service wing and the stables.
It is built in a sombre style which allows it to possess something of the medieval fortress air despite the ground-level drawing room windows. Hopper designed all the principal interiors in a rich but restrained Norman style, with much fine plasterwork and wood and stone carving. The castle also has some specially designed Norman-style furniture, including a one-ton slate bed made for Queen Victoria when she visited in 1859.
Hugh Napier Douglas-Pennant, 4th Lord Penrhyn, died in 1949, and the castle and estate passed to his niece, Lady Janet Pelham, who, on inheritance, adopted the surname of Douglas-Pennant. In 1951, the castle and 40,000 acres (160 km²) of land were accepted by the treasury in lieu of death duties from Lady Janet. It now belongs to the National Trust and is open to the public. The site received 109,395 visitors in 2017.
Grade I Listed Building
History
The present house, built in the form of a vast Norman castle, was constructed to the design of Thomas Hopper for George Hay Dawkins-Pennant between 1820 and 1837. It has been very little altered since.
The original house on the site was a medieval manor house of C14 origin, for which a licence to crenellate was given at an unknown date between 1410 and 1431. This house survived until c1782 when it was remodelled in castellated Gothick style, replete with yellow mathematical tiles, by Samuel Wyatt for Richard Pennant. This house, the great hall of which is incorporated in the present drawing room, was remodelled in c1800, but the vast profits from the Penrhyn slate quarries enabled all the rest to be completely swept away by Hopper's vast neo-Norman fantasy, sited and built so that it could be seen not only from the quarries, but most parts of the surrounding estate, thereby emphasizing the local dominance of the Dawkins-Pennant family. The total cost is unknown but it cannot have been less than the £123,000 claimed by Catherine Sinclair in 1839.
Since 1951 the house has belonged to the National Trust, together with over 40,000 acres of the family estates around Ysbyty Ifan and the Ogwen valley.
Exterior
Country house built in the style of a vast Norman castle with other later medieval influences, so huge (its 70 roofs cover an area of over an acre (0.4ha)) that it almost defies meaningful description. The main components of the house, which is built on a north-south axis with the main elevations to east and west, are the 124ft (37.8m) high keep, based on Castle Hedingham (Essex) containing the family quarters on the south, the central range, protected by a 'barbican' terrace on the east, housing the state apartments, and the rectangular-shaped staff/service buildings and stables to the north. The whole is constructed of local rubblestone with internal brick lining, but all elevations are faced in tooled Anglesey limestone ashlar of the finest quality jointing; flat lead roofs concealed by castellated parapets. Close to, the extreme length of the building (it is about 200 yards (182.88m) long) and the fact that the ground slopes away on all sides mean that almost no complete elevation can be seen. That the most frequent views of the exterior are oblique also offered Hopper the opportunity to deploy his towers for picturesque effect, the relationship between the keep and the other towers and turrets frequently obscuring the distances between them. Another significant external feature of the castle is that it actually looks defensible making it secure at least from Pugin's famous slur of 1841 on contemporary "castles" - "Who would hammer against nailed portals, when he could kick his way through the greenhouse?" Certainly, this could never be achieved at Penrhyn and it looks every inch the impregnable fortress both architect and patron intended it to be.
East elevation: to the left is the loosely attached 4-storey keep on battered plinth with 4 tiers of deeply splayed Norman windows, 2 to each face, with chevron decoration and nook-shafts, topped by 4 square corner turrets. The dining room (distinguished by the intersecting tracery above the windows) and breakfast room to the right of the entrance gallery are protected by the long sweep of the machicolated 'barbican' terrace (carriage forecourt), curved in front of the 2 rooms and then running northwards before returning at right-angles to the west to include the gatehouse, which formed the original main entrance to the castle, and ending in a tall rectangular tower with machicolated parapet. To the right of the gatehouse are the recessed buildings of the kitchen court and to the right again the long, largely unbroken outer wall of the stable court, terminated by the square footmen's tower to the left and the rather more exuberant projecting circular dung tower with its spectacularly cantilevered bartizan on the right. From here the wall runs at right-angles to the west incorporating the impressive gatehouse to the stable court.
West elevation: beginning at the left is the hexagonal smithy tower, followed by the long run of the stable court, well provided with windows on this side as the stables lie directly behind. At the end of this the wall turns at right-angles to the west, incorporating the narrow circular-turreted gatehouse to the outer court and terminating in the machicolated circular ice tower. From here the wall runs again at a lower height enclosing the remainder of the outer court. It is, of course, the state apartments which make up the chief architectural display on the central part of this elevation, beginning with a strongly articulated but essentially rectangular tower to the left, while both the drawing room and the library have Norman windows leading directly onto the lawns, the latter terminating in a slender machicolated circular corner tower. To the right is the keep, considerably set back on this side.
Interior
Only those parts of the castle generally accessible to visitors are recorded in this description. Although not described here much of the furniture and many of the paintings (including family portraits) are also original to the house. Similarly, it should be noted that in the interests of brevity and clarity, not all significant architectural features are itemised in the following description.
Entrance gallery: one of the last parts of the castle to be built, this narrow cloister-like passage was added to the main block to heighten the sensation of entering the vast Grand Hall, which is made only partly visible by the deliberate offsetting of the intervening doorways; bronze lamp standards with wolf-heads on stone bases. Grand Hall: entering the columned aisle of this huge space, the visitor stands at a cross-roads between the 3 principal areas of the castle's plan; to the left the passage leads up to the family's private apartments on the 4 floors of the keep, to the right the door at the end leads to the extensive service quarters while ahead lies the sequence of state rooms used for entertaining guests and displayed to the public ever since the castle was built. The hall itself resembles in form, style and scale the transept of a great Norman cathedral, the great clustered columns extending upwards to a "triforium" formed on 2 sides of extraordinary compound arches; stained glass with signs of the zodiac and months of the year as in a book of hours by Thomas Willement (completed 1835). Library: has very much the atmosphere of a gentlemen’s London club with walls, columned arches and ceilings covered in the most lavish ornamentation; superb architectural bookcases and panelled walls are of oak but the arches are plaster grained to match; ornamental bosses and other devices to the rich plaster ceiling refer to the ancestry of the Dawkins and Pennant families, as do the stained glass lunettes above the windows, possibly by David Evans of Shrewsbury; 4 chimneypieces of polished Anglesey "marble", one with a frieze of fantastical carved mummers in the capitals. Drawing room (great hall of the late C18 house and its medieval predecessor): again in a neo-Norman style but the decoration is lighter and the columns more slender, the spirit of the room reflected in the 2000 delicate Maltese gilt crosses to the vaulted ceiling. Ebony room: so called on account of its furniture and "ebonised" chimneypiece and plasterwork, has at its entrance a spiral staircase from the medieval house. Grand Staircase hall: in many ways the greatest architectural achievement at Penrhyn, taking 10 years to complete, the carving in 2 contrasting stones of the highest quality; repeating abstract decorative motifs contrast with the infinitely inventive figurative carving in the newels and capitals; to the top the intricate plaster panels of the domed lantern are formed in exceptionally high relief and display both Norse and Celtic influences. Next to the grand stair is the secondary stair, itself a magnificent structure in grey sandstone with lantern, built immediately next to the grand stair so that family or guests should not meet staff on the same staircase. Reached from the columned aisle of the grand hall are the 2 remaining principal ground-floor rooms, the dining room and the breakfast room, among the last parts of the castle to be completed and clearly intended to be picture galleries as much as dining areas, the stencilled treatment of the walls in the dining room allowing both the provision of an appropriately elaborate "Norman" scheme and a large flat surface for the hanging of paintings; black marble fireplace carved by Richard Westmacott and extremely ornate ceiling with leaf bosses encircled by bands of figurative mouldings derived from the Romanesque church of Kilpeck, Herefordshire. Breakfast room has cambered beam ceiling with oak-grained finish.
Grand hall gallery: at the top of the grand staircase is vaulted and continues around the grand hall below to link with the passage to the keep, which at this level (as on the other floors) contains a suite of rooms comprising a sitting room, dressing room, bedroom and small ante-chamber, the room containing the famous slate bed also with a red Mona marble chimneypiece, one of the most spectacular in the castle. Returning to the grand hall gallery and continuing straight on rather than returning to the grand staircase the Lower India room is reached to the right: this contains an Anglesey limestone chimneypiece painted to match the ground colour of the room's Chinese wallpaper. Coming out of this room, the chapel corridor leads to the chapel gallery (used by the family) and the chapel proper below (used by staff), the latter with encaustic tiles probably reused from the old medieval chapel; stained and painted glass by David Evans (c1833).
The domestic quarters of the castle are reached along the passage from the breakfast room, which turns at right-angles to the right at the foot of the secondary staircase, the most important areas being the butler's pantry, steward's office, servants' hall, housekeeper's room, still room, housekeeper's store and housemaids' tower, while the kitchen (with its cast-iron range flanked by large and hygienic vertical slabs of Penrhyn slate) is housed on the lower ground floor. From this kitchen court, which also includes a coal store, oil vaults, brushing room, lamp room, pastry room, larder, scullery and laundry are reached the outer court with its soup kitchen, brewhouse and 2-storey ice tower and the much larger stables court which, along with the stables themselves containing their extensive slate-partitioned stalls and loose boxes, incorporates the coach house, covered ride, smithy tower, dung tower with gardeners' messroom above and footmen's tower.
Reasons for Listing
Included at Grade I as one of the most important large country houses in Wales; a superb example of the relatively short-lived Norman Revival of the early C19 and generally regarded as the masterpiece of its architect, Thomas Hopper.
A look around the inside of the castle / house.
The Grand Hall
Stained glass windows
Le jardin du Roy tres chrestien, Loys XIII, Roy de France et de Navare ...
A Paris : Et se vandent au Logis de l'auteur, Rue du Four, 1623.
Information from: en.wikipedia.org/wiki/Yorkville,_Manhattan
Yorkville is a neighborhood in the borough of Manhattan in New York City. Yorkville's northern, eastern and western boundaries include: the East River on the east, 96th Street (where Spanish Harlem begins) on the north, Third Avenue on the west and 79th Street to the south.[1] However, its southern boundary is a subject of debate. Some sources and natives consider 59th Street to be the southern boundary, while others put it as 86th Street. What is certain is that Yorkville's boundaries have changed over time. As a general rule of thumb, anything north of 86th street is not the Upper East side but Yorkville. Its western half was referred to as "Irishtown." [2] The neighborhood's main artery, East 86th Street, was sometimes called the "German Broadway." Its ZIP codes are 10021, 10028, 10075 and 10128.[citation needed] Yorkville is advocated for by Manhattan Community Board 8.
For much of the nineteenth and twentieth centuries, Yorkville was a middle to working-class neighborhood, inhabited by many people of Albanian, Czech, German, Hungarian, Irish, Jewish, Lebanese, Polish, and Slovak descent. While most of the neighborhood's ethnic establishments have closed, a number remain. Many of the area's long-time residents still live in Yorkville.
Many of Yorkville's original German residents moved to the area from Kleindeutschland on the Lower East Side of Manhattan after the General Slocum disaster on June 15, 1904. The ship caught fire in the East River just off the shores of Yorkville. Most of the passengers on the ship were German.
The Bohemian Boulevard was 72nd Street. The Bohemians were considered the Czechs, Poles and Slovaks who lived from 65th Street to 73rd Street. Besides Ruc, a Czech restaurant off Second Avenue, there were sokol halls on 67th and 71st Streets. These halls were the gathering places for those who enjoyed good food, gymnastics, theater and ballroom dancing (especially polkas).[5] In addition, there were other Czech and Slovak businesses, such as Praha restaurant on First Avenue and 73rd street, Vašata Restaurant on Second Avenue and 74th street, as well as Czech butcher shops, poultry and grocery stores, and shops that sold imported goods such as Bohemian books, leather products and crystal.
The Hungarian Boulevard was 79th Street, a hub for the Austro-Hungarian populace from 75th Street to 83rd Street. Popular restaurants included the Viennese Lantern, Tokay, Hungarian Gardens, Budapest and the Debrechen.[5] There were also a number of butcher stores and businesses that imported goods from Hungary, a few of which still exist. Churches included St. Stephen (82nd St.) Catholic Church and the Hungarian Reformed Church on East 82nd Street, all of which still exist.
The Irish were scattered throughout Yorkville. They attended mass at such churches as St. Ignatius Loyola on 84th St. and Park Avenue, Our Lady of Good Counsel (90th St.) and the Church of St. Joseph (87th St). There were many Irish bars including Finnegan's Wake, Ireland's 32, O'Brien's and Kinsale Tavern (still in existence). Until the late 1990s, the St. Patrick's Day Parade ended at 86th Street and Third Avenue, the historical center of Yorkville.
Zion-St Mark's German Evangelical Church
The German Boulevard was 86th Street, attracting the German populace from 84th to 90th Streets. Popular restaurants included Die Lorelei, Cafe Mozart and the Gloria Palast. The Palast had a German movie theater on the main floor. The rest of the building contained ballrooms for waltzing and polka dancing. All this is now gone, replaced by fast-food stores, boutiques and other shops.[5] Other restaurants included Kleine Konditorei, serving some of the finest German pastries in New York, and the coffee shop-style Ideal Restaurant.
In the 1930s, the neighborhood was the home base of Fritz Kuhn's German American Bund, the most notorious pro-Nazi group in 1930s America.[2] As a result of their presence, Yorkville in this period was the scene of fierce street battles between pro- and anti-Nazi Germans and German-Americans. Today there are few remnants of Yorkville's German origins (Schaller & Weber grocery shop, Heidelberg Restaurant and a German church, Orwasher's bakery), Glaser's Bakery, but it has largely become an upper middle class residential neighborhood. Since the 1990s, Old World merchants, such as the Elk Candy Company, Kleine Konditorei bakery and Bremen House market (all German), as well as the Rigo bakery and Mocca restaurant (Hungarian) have closed. The Steuben Parade, one of the largest German-American celebrations in the US, still winds its way through the neighborhood, however.
[edit]Modern times
Yorkville's natives value its long history. There are very few chic clubs[clarification needed] in the area, but one holdover from earlier days, however, is Brandy's Saloon, a popular 84th Street piano bar dating from the speak-easy era of the 1920s. Brandy's is host to large crowds each year after the annual St. Patrick's Day Parade.
There is a bit of a student presence due to the Fordham Graduate Housing buildings on 81st street between York and East End. Although the Fordham Graduate Schools are located on the West Side, the University purchased the buildings on 81st street to provide a safe area for graduate students. In fact, because it is isolated from the subway, east Yorkville is quite affordable, and many young people live between 1st avenue and East End Avenue. It has jokingly been called the "Dorm District" by some young residents, due to the large amount of students living in the same apartment buildings because of their inability to receive housing in a college dormitory. Many of the students attend the nearby Hunter College, but the low rents, safe neighborhood and close proximity to Central Park attracts students from colleges such as Berkeley College, New York Film Academy and American Academy of Dramatic Arts.
Yorkville includes Gracie Mansion, the official home of the mayor of New York City, and Carl Schurz Park. And Yorkville is also the birthplace of the Manhattan Chamber of Commerce, circa 1920, founded by eleven local business men.
In the novels The Godfather Returns and The Godfather's Revenge by Mark Winegardner, Michael Corleone's penthouse is in Yorkville
[edit]Notable residents
Notable current and former residents of Yorkville include:
Robert F. Wagner (1877-1953) US Senator who sponsored Social Security, labor relations, and anti-lynching legislation.
Bob Cousy (1928-), basketball player who played most of his career for the Boston Celtics.
James Cagney (1899-1986), actor, grew up in the neighborhood.
Lou Gehrig (1903-1941), "Pride of the Yankees" was born here.
Marx Brothers lived here at 179 East 93rd Street.
President Barack Obama (1961-), lived there in the early 1980s before and after his graduation from Columbia University.
Louise Fitzhugh (1928-1974) author, lived on East 85th Street, between East End and York Avenues.
Macaulay Culkin (1980- ), was born in Yorkville and lived there during his early childhood.
Source: en.wikipedia.org/wiki/St._Louis
St. Louis is an independent city and inland port in the U.S. state of Missouri. It is situated along the western bank of the Mississippi River, which marks Missouri's border with Illinois. The Missouri River merges with the Mississippi River just north of the city. These two rivers combined form the fourth longest river system in the world. The city had an estimated 2017 population of 308,626 and is the cultural and economic center of the St. Louis metropolitan area (home to nearly 3,000,000 people), which is the largest metropolitan area in Missouri, the second-largest in Illinois (after Chicago), and the 22nd-largest in the United States.
Before European settlement, the area was a regional center of Native American Mississippian culture. The city of St. Louis was founded in 1764 by French fur traders Pierre Laclède and Auguste Chouteau, and named after Louis IX of France. In 1764, following France's defeat in the Seven Years' War, the area was ceded to Spain and retroceded back to France in 1800. In 1803, the United States acquired the territory as part of the Louisiana Purchase. During the 19th century, St. Louis became a major port on the Mississippi River; at the time of the 1870 Census it was the fourth-largest city in the country. It separated from St. Louis County in 1877, becoming an independent city and limiting its own political boundaries. In 1904, it hosted the Louisiana Purchase Exposition and the Summer Olympics.
The economy of metropolitan St. Louis relies on service, manufacturing, trade, transportation of goods, and tourism. Its metro area is home to major corporations, including Anheuser-Busch, Express Scripts, Centene, Boeing Defense, Emerson, Energizer, Panera, Enterprise, Peabody Energy, Ameren, Post Holdings, Monsanto, Edward Jones, Go Jet, Purina and Sigma-Aldrich. Nine of the ten Fortune 500 companies based in Missouri are located within the St. Louis metropolitan area. The city has also become known for its growing medical, pharmaceutical, and research presence due to institutions such as Washington University in St. Louis and Barnes-Jewish Hospital. St. Louis has two professional sports teams: the St. Louis Cardinals of Major League Baseball and the St. Louis Blues of the National Hockey League. One of the city's iconic sights is the 630-foot (192 m) tall Gateway Arch in the downtown area.
Source: en.wikipedia.org/wiki/Gateway_Arch
The Gateway Arch is a 630-foot (192 m) monument in St. Louis, Missouri, United States. Clad in stainless steel and built in the form of a weighted catenary arch, it is the world's tallest arch, the tallest man-made monument in the Western Hemisphere, and Missouri's tallest accessible building. Built as a monument to the westward expansion of the United States, and officially dedicated to "the American people," the Arch, commonly referred to as "The Gateway to the West" is the centerpiece of Gateway Arch National Park and has become an internationally recognized symbol of St. Louis, as well as a popular tourist destination.
The Arch was designed by Finnish-American architect Eero Saarinen in 1947; construction began on February 12, 1963 and was completed on October 28, 1965 at an overall cost of $13 million (equivalent to $80.6 million in 2018). The monument opened to the public on June 10, 1967. It is located at the site of St. Louis's founding on the west bank of the Mississippi River.
Source: en.wikipedia.org/wiki/Baltimore
Baltimore is the most populous city in the U.S. state of Maryland, as well as the 30th most populous city in the United States, with a population of 593,490 in 2019 and also the largest independent city in the country. Baltimore was established by the Constitution of Maryland as an independent city in 1851. As of 2017, the population of the Baltimore metropolitan area was estimated to be just under 2.802 million, making it the 21st largest metropolitan area in the country. Baltimore is located about 40 miles (64 km) northeast of Washington, D.C., making it a principal city in the Washington-Baltimore combined statistical area (CSA), the fourth-largest CSA in the nation, with a calculated 2018 population of 9,797,063.
The city's Inner Harbor was once the second leading port of entry for immigrants to the United States. In addition, Baltimore was a major manufacturing center. After a decline in major manufacturing, heavy industry, and restructuring of the rail industry, Baltimore has shifted to a service-oriented economy. Johns Hopkins Hospital (founded 1889) and Johns Hopkins University (founded 1876) are the city's top two employers.
With hundreds of identified districts, Baltimore has been dubbed a "city of neighborhoods." Famous residents have included writers Edgar Allan Poe, Edith Hamilton, Frederick Douglass, W.E.B. Du Bois, Ogden Nash, Gertrude Stein, F. Scott Fitzgerald, Dashiell Hammett, Upton Sinclair, Tom Clancy, Ta-Nehisi Coates, and H. L. Mencken; musicians James "Eubie" Blake, Billie Holiday, Cab Calloway, Tori Amos, Frank Zappa, Tupac Shakur, Dan Deacon, Robbie Basho, Bill Frisell, Philip Glass, Cass Elliot, and Ric Ocasek ; actors and filmmakers John Waters, Barry Levinson, Divine, David Hasselhoff, Don Messick, John Kassir, Jada Pinkett Smith, and Mo'Nique; artist Jeff Koons; baseball player Babe Ruth; swimmer Michael Phelps; radio host Ira Glass; television host Mike Rowe; Supreme Court Justice Thurgood Marshall; Speaker of the United States House of Representatives Nancy Pelosi; and United States Secretary of Housing and Urban Development Ben Carson. During the War of 1812, Francis Scott Key wrote "The Star-Spangled Banner" in Baltimore after the bombardment of Fort McHenry. His poem was set to music and popularized as a song; in 1931 it was designated as the American national anthem.
Baltimore has more public statues and monuments per capita than any other city in the country, and is home to some of the earliest National Register Historic Districts in the nation, including Fell's Point, Federal Hill, and Mount Vernon. These were added to the National Register between 1969 and 1971, soon after historic preservation legislation was passed. Nearly one third of the city's buildings (over 65,000) are designated as historic in the National Register, which is more than any other U.S. city.
Source: www.guinnessbrewerybaltimore.com/our-story
The Guinness Open Gate Brewery is on the site of the historic Calvert distillery in Baltimore County, 10 miles from downtown Baltimore and 30 miles northeast of Washington DC.
The distillery, originally called the Maryland Distilling Company, was the first opened after prohibition in Maryland, in 1933. For decades it distilled, barrel-aged and bottled several spirits brands, notably the Lord Calvert Whisky brand. In 2001 the site was acquired by Diageo as part of the purchase of Seagram, and spirits aging and bottling continued at scale until 2015 (and actually continues to this day as a live production site).
The site itself is almost 62 acres in size and is adjacent to Route 1, is minutes from the I-95, I-195 and I-895 freeways, and is 4 miles from BWI International Airport. It has a long history, integral to the local area, just off the Civil War trail and even has a protected pre-Civil War graveyard on its grounds.
Geographically, the site is fantastically situated, with several large cities within a 300 mile radius of the brewery and excellent transport links, by air, rail, sea and road. It's also a large brownfield site with wonderful history and heritage and enormous potential to be redeveloped.
But also, we love the area. Baltimore is an amazing city with respect for the past combined a sense of dynamism and excitement for the future. The brewing industry in Maryland is growing fast with several notable breweries making a name for themselves locally and nationally. We hope we can help the industry prosper and achieve the recognition we think it deserves. We also believe there is huge potential for increased tourism in the area. We look forward to working in concert with local partners to bring about a significant impact from increased visitors who will be able not just to experience what we hope is a best-in-class brewery visit, but everything else Maryland has to offer.
From www.oldred.org: "Construction on Old Red Courthouse originally began in March of 1890. The sixth building (and the fifth county courthouse) to occupy the site, Old Red was designed in the Richardson Romanesque style by M.A. Orlopp. It was originally crowned with a clock tower, the clockwork rivaling Big Ben's in quality, but the tower was removed in 1919 when prevailing winds threatened its stability. The grand stairway, an ornate design feature that provided passage between the busy floors, was removed in the 1920s.
Voters defeated an initiative to demolish Old Red and replace it with a modern building in 1938. Through the next fifty years, Old Red served a variety of public functions, but the demands of efficiency caused countless remodelings and adaptations of space use. Eventually, the original, grand interior design was hidden from view and appreciation.
Efforts to restore the landmark were championed during the 1990s by civic groups such as the Friends of Old Red, the Dallas County Historical Commission, and the Dallas Historical Society. With the leadership of Judge Lee Jackson and the County Commissioners Court, and support from the State of Texas, plans for renovation have been put into action. Under the guidance of architect James Pratt, the structure has been stabilized, the Grand Hallway and selected parts of the ground floor have been renovated, and various exterior features, such as the tile roof and its adorning sculpted figures (acroteria), have been replaced. The goal is a fully revitalized Old Red, with at least one courtroom renovated to its original state, and the clocktower and grand stairway replaced."
From www.jfk.org: : "The assassination of President John Fitzgerald Kennedy is the most significant event in the history of Dallas, Texas. This horrible, shocking occurrence on November 22, 1963, changed Dallas-and the world-forever. The Kennedy Memorial, which was dedicated on June 24, 1970 to honor the fallen president, is an integral part of the city's urban landscape and cultural heritage.
Almost immediately following the president's death, Dallas civic leaders began visualizing a fitting memorial. Two days after the assassination, Dallas County Judge Lew Sterrett proposed a monument to symbolize the city's respect for President Kennedy. Within a month, Sterrett and Mayor Earle Cabell formally appointed the John F. Kennedy Citizens Memorial Committee to determine the form and location of an appropriate monument.
Not everyone agreed. Some felt that a memorial at the site of the assassination in Dealey Plaza was best, while others believed that a
national memorial in Washington, D.C., would extend the gesture
beyond the city limits. Others simply did not want a reminder of the tragic event. Opinions fell at both extremes and all points in between. Addressing these complex issues-and listening to the myriad voices of civic groups and individuals-slowed the process.
The John F. Kennedy Citizens Memorial Committee was composed of two dozen of the most powerful and influential community leaders in Dallas. The Memorial Committee first suggested the assassination site in Dealey Plaza with an elegant wall as a monument. That idea evaporated under scrutiny. Representing the Memorial Committee, Stanley Marcus secured the noted American architect Philip Johnson to take on the challenge of designing the Kennedy Memorial. The New York architect held national prominence and was well known for his work in Texas, and was a social acquaintance of the Kennedy family.
With Johnson's designs under way, the Memorial Committee recommended a new location one block east of Dealey Plaza between Main and Commerce. Dallas County donated the land, a city block adjacent to the Old Red courthouse and across from the new courthouse.
Just as momentum for the project increased, another obstacle presented itself. Construction schedules became mired in political decisions surrounding the construction of a parking garage under the memorial site. Months passed, then years passed. Finally, after years of consensus building and fundraising, the Kennedy Memorial was completed and dedicated in 1970-almost seven years after the assassination.
Johnson's design, a cenotaph, or open tomb, symbolizes the freedom of John F. Kennedy's spirit. While aesthetically simple, the intent of the Kennedy Memorial is often misunderstood. A thoughtful piece of art, the Kennedy Memorial originally had no interpretive features and was never intended to address the assassination. However, as more people came to Dealey Plaza seeking answers, it became clear that an exhibit was needed to explore the topic. Upon that realization, The Sixth Floor Museum at Dealey Plaza had its beginnings.
In the three decades since its dedication, the John F. Kennedy Memorial Plaza knew no champion. Neglected and taken for granted, the plaza and its structures had become targets for vandalism and graffiti. By the turn of the new millennium, the Kennedy Memorial was in need of cleaning and conservation-and attention.
In the summer of 1999, The Sixth Floor Museum at Dealey Plaza undertook management of the memorial, rallying the support of the City of Dallas and Dallas County. The Museum became caretaker of the monument and launched a full-scale restoration project aimed at preserving of both the memorial and its history. Philip Johnson, the architect of record, directed the restoration process with Corgan Associates, Inc. The project was implemented in large part by Phoenix I Restoration and Construction, Ltd. Numerous local suppliers donated all the labor, materials, and equipment required to return the memorial to its original beauty.
Today the John F. Kennedy Memorial Plaza reopens with a fresh new look. To commemorate the monument's renewed vitality, The Sixth Floor Museum at Dealey Plaza is honored to host a Rededication Ceremony on the thirtieth anniversary of the memorial's original dedication."
Ioannis Antonii Scopoli ... Flora Carniolica
[Vienna] :Impensis Ioannis Pauli Krauss, bibliopolae Vindobonensis.,1772.
En Biodiversidad virtual y también en Instagram como @proyectoagua.
Serpenteando en globos de gelatina Nostoc hace su nido en los fondos del Lago de Sanabria como una freza dispersa y diminuta, perlas que en su paradoja mágica atesoran collares de de vida.
Reposando entre los fieltros de algas que cubren el áspero granito, algunas cianobacterias tejen sus hilos de vida, trenzándose entre las ramas de otras algas como Bulbochaete o se enredan entre las tramas zigzagueantes de Tabellaria vistiendo de vida el lecho rocoso.
A Nostoc no parece importarle y busca su refugio entre estas junglas sumergidas, retorciéndose en cientos de collares que su cofre protege.
La cianobacteria Nostoc , se encuentra entre los organismos más primitivos que dependiendo del agua pudieron empezar a colonizar el medio terrestre, sólo necesita la luz del sol y cierta humedad, el resto lo consigue por ella misma de una manera tan eficiente, que probablemente se pierda en el origen de los tiempos de nuestro Planeta, cuando empezaron a surgir las primeras formas de vida.
Nostoc se agrupa para formar colonias filamentosas que se enredan entre sí formando un tejido de collares de color verde oliva, a su vez todos estos filamentos quedan englobados en una sustancia mucilaginosa que los mantiene unidos casi con un único fin, evitar su desecación.
Las células de la colonia de Nostoc son prácticamente de igual tamaño salvo algunas que se desarrollan algo más, los heterocistes y que no lo hacen por capricho. Mientras que el resto de células verdes se encargan de fabricar sus nutrientes, mayoritariamente azúcares, tomando de la atmósfera del dióxido de carbono, del suelo su agua y del sol la radiación, los heterocistes son capaces de hacer lo que muy pocos seres vivos han logrado, fijar el nitrógeno del medio en el que viven para fabricar proteínas.
Precisamente algunas proteínas encontradas en Nostoc han demostrado ser unos potentes compuestos antivirales que en el laboratorio inhiben la reproducción del VIH y de otros virus que causan enfermedades en el hombre.
El tamaño de las colonias de Nostoc es muy variable y puede llegar a ocurrir que en determinadas circunstancias estas masas esféricas crezcan más y más hasta alcanzar el tamaño y superar el de una pelota de ping-pong .
Las colonias de Nostoc crecen casi en cualquier lugar, sobre el musgo, sumergidas bajo el agua como aquí, encajando su gelatina en las rocas, o tapizando la tierra con su manto verdoso y suave. Lenta y silenciosamente hacen el precioso trabajo que vienen haciendo desde hace varios miles de millones de años y que ha permitido que gracias al oxígeno que han ido liberando, la mayoría de los seres vivos podamos estar ahora sobre nuestro Planeta, sin saber que estas invisibles bellezas pudieron darnos la vida.
Las fotografías que mostramos han sido tomadas en vivo a 100, 200 y 400 aumentos con las técnicas de campo oscuro + epifluorescencia, contraste de fase y contraste de interferencia y proceden de unas muestras de agua recogidas desde el catamarán Helios Sanabria el 18 de mayo de 2023 por Ibone Martínez Zufiria, Miguel Ángel San José Sobrino y Adela Úcar junto al resto del equipo del programa de TVE Reduce tu huella a tres metros de profundidad en las inmediaciones de la playa de Viquiella
LIBRO: Lago de Sanabria 2015, presente y futuro de un ecosistema en desequilibrio
Source: en.wikipedia.org/wiki/Philadelphia
Philadelphia, commonly referred to as Philly, is the most populous city in the U.S. state of Pennsylvania and the second-most populous city in the Northeast megalopolis and Mid-Atlantic regions after New York City. Philadelphia is known for its extensive contributions to United States history, especially the American Revolution, and served as the nation's capital until 1800. It maintains contemporary influence in business and industry, culture, sports, and music. Philadelphia is the nation's sixth-most populous city with a population of 1,603,797 as of the 2020 census and is the urban core of the larger Delaware Valley (or Philadelphia metropolitan area), the nation's seventh-largest and one of the world's largest metropolitan regions consisting of 6.245 million residents in the metropolitan statistical area and 7.366 million residents in its combined statistical area.
Philadelphia was founded in 1682 by William Penn, an English Quaker and advocate of religious freedom. The city served as the capital of the Pennsylvania Colony during the British colonial era and went on to play a historic and vital role as the central meeting place for the nation's founding fathers whose plans and actions in Philadelphia ultimately inspired the American Revolution and the nation's independence following the Revolutionary War. Philadelphia hosted the First Continental Congress in 1774, preserved the Liberty Bell, and hosted the Second Continental Congress during which the founders signed the Declaration of Independence, which historian Joseph Ellis has described as "the most potent and consequential words in American history". Once the Revolutionary War commenced, the Battle of Germantown and the siege of Fort Mifflin were fought within Philadelphia's city limits. The U.S. Constitution was later ratified in Philadelphia at the Philadelphia Convention of 1787. Philadelphia remained the nation's largest city until 1790, when it was surpassed by New York City, and it served as the nation's first capital from May 10, 1775, until December 12, 1776, and on four subsequent occasions during and following the American Revolution, including from 1790 to 1800 during the construction of the new national capital of Washington, D.C.
With 18 four-year universities and colleges, Philadelphia is one of the nation's leading centers for higher education and academic research. As of 2018, the Philadelphia metropolitan area was the state's largest and nation's ninth-largest metropolitan economy with a gross metropolitan product of US$444.1 billion. The city is home to five Fortune 500 corporate headquarters as of 2022. As of 2023, metropolitan Philadelphia ranks among the top five U.S. venture capital centers, facilitated by its proximity to New York City's entrepreneurial and financial ecosystems. The Philadelphia Stock Exchange, owned by Nasdaq since 2008, is the nation's oldest stock exchange and a global leader in options trading. 30th Street Station, the city's primary rail station, is the third-busiest Amtrak hub in the nation, and the city's multimodal transport and logistics infrastructure, includes Philadelphia International Airport, and the rapidly-growing PhilaPort seaport. A migration pattern has been established from New York City to Philadelphia by residents opting for a large city with relative proximity and a lower cost of living.
Philadelphia is a national cultural center, hosting more outdoor sculptures and murals than any other city in the nation. Fairmount Park, when combined with adjacent Wissahickon Valley Park in the same watershed, is 2,052 acres (830 ha), representing one of the nation's largest and the world's 45th-largest urban park. The city is known for its arts, culture, cuisine, and colonial and Revolution-era history; in 2016, it attracted 42 million domestic tourists who spent $6.8 billion, representing $11 billion in economic impact to the city and its surrounding Pennsylvania counties.
With five professional sports teams and one of the nation's most loyal fan bases, Philadelphia is often ranked as the nation's best city for professional sports fans. The city has a culturally and philanthropically active LGBTQ+ community. Philadelphia also has played an immensely influential historic and ongoing role in the development and evolution of American music, especially R&B, soul, and rock.
Philadelphia is a city of many firsts, including the nation's first library (1731), hospital (1751), medical school (1765), national capital (1774), university (by some accounts) (1779), stock exchange (1790), zoo (1874), and business school (1881). Philadelphia contains 67 National Historic Landmarks, including Independence Hall. From the city's 17th century founding through the present, Philadelphia has been the birthplace or home to an extensive number of prominent and influential Americans. In 2021, Time magazine named Philadelphia one of the world's greatest 100 places.
Additional Foreign Language Tags:
(United States) "الولايات المتحدة" "Vereinigte Staaten" "アメリカ" "美国" "미국" "Estados Unidos" "États-Unis"
(Pennsylvania) "بنسلفانيا" "宾夕法尼亚州" "Pennsylvanie" "पेंसिल्वेनिया" "ペンシルベニア" "펜실베니아" "Пенсильвания" "Pensilvania"
(Philadelphia) "فيلادلفيا" "费城" "Philadelphie" "फिलाडेल्फिया" "フィラデルフィア" "필라델피아" "Филадельфия" "Filadelfia"
en.wikipedia.org/wiki/Aswan_Dam
The Aswan Dam, or more specifically since the 1960s, the Aswan High Dam, is the world's largest embankment dam, which was built across the Nile in Aswan, Egypt, between 1960 and 1970. Its significance largely eclipsed the previous Aswan Low Dam initially completed in 1902 downstream. Based on the success of the Low Dam, then at its maximum utilization, construction of the High Dam became a key objective of the government following the Egyptian Revolution of 1952; with its ability to better control flooding, provide increased water storage for irrigation and generate hydroelectricity, the dam was seen as pivotal to Egypt's planned industrialization. Like the earlier implementation, the High Dam has had a significant effect on the economy and culture of Egypt.
Before the High Dam was built, even with the old dam in place, the annual flooding of the Nile during late summer had continued to pass largely unimpeded down the valley from its East African drainage basin. These floods brought high water with natural nutrients and minerals that annually enriched the fertile soil along its floodplain and delta; this predictability had made the Nile valley ideal for farming since ancient times. However, this natural flooding varied, since high-water years could destroy the whole crop, while low-water years could create widespread drought and consequently famine. Both these events had continued to occur periodically. As Egypt's population grew and technology increased, both a desire and the ability developed to completely control the flooding, and thus both protect and support farmland and its economically important cotton crop. With the greatly increased reservoir storage provided by the High Aswan Dam, the floods could be controlled and the water could be stored for later release over multiple years.
The Aswan Dam was designed by the Moscow-based Hydroproject Institute.
The earliest recorded attempt to build a dam near Aswan was in the 11th century, when the Arab polymath and engineer Ibn al-Haytham (known as Alhazen in the West) was summoned to Egypt by the Fatimid Caliph, Al-Hakim bi-Amr Allah, to regulate the flooding of the Nile, a task requiring an early attempt at an Aswan Dam. His field work convinced him of the impracticality of this scheme.
The British began construction of the first dam across the Nile in 1898. Construction lasted until 1902 and the dam was opened on 10 December 1902. The project was designed by Sir William Willcocks and involved several eminent engineers, including Sir Benjamin Baker and Sir John Aird, whose firm, John Aird & Co., was the main contractor.
In 1952, the Greek-Egyptian engineer Adrian Daninos began to develop the plan of the new Aswan Dam. Although the Low Dam was almost overtopped in 1946, the government of King Farouk showed no interest in Daninos's plans. Instead the Nile Valley Plan by the British hydrologist Harold Edwin Hurst was favored, which proposed to store water in Sudan and Ethiopia, where evaporation is much lower. The Egyptian position changed completely after the overthrow of the monarchy, led by the Free Officers Movement including Gamal Abdel Nasser. The Free Officers were convinced that the Nile Waters had to be stored in Egypt for political reasons, and within two months, the plan of Daninos was accepted. Initially, both the United States and the USSR were interested in helping development of the dam. Complications ensued due to their rivalry during the Cold War, as well as growing intra-Arab tensions.
In 1955, Nasser was claiming to be the leader of Arab nationalism, in opposition to the traditional monarchies, especially the Hashemite Kingdom of Iraq following its signing of the 1955 Baghdad Pact. At that time the U.S. feared that communism would spread to the Middle East, and it saw Nasser as a natural leader of an anticommunist procapitalist Arab League. America and the United Kingdom offered to help finance construction of the High Dam, with a loan of $270 million, in return for Nasser's leadership in resolving the Arab-Israeli conflict. While opposed to communism, capitalism, and imperialism, Nasser identified as a tactical neutralist, and sought to work with both the U.S. and the USSR for Egyptian and Arab benefit.[8] After the UN criticized a raid by Israel against Egyptian forces in Gaza in 1955, Nasser realized that he could not portray himself as the leader of pan-Arab nationalism if he could not defend his country militarily against Israel. In addition to his development plans, he looked to quickly modernize his military, and he turned first to the U.S. for aid.
American Secretary of State John Foster Dulles and President Dwight Eisenhower told Nasser that the U.S. would supply him with weapons only if they were used for defensive purposes and if he accepted American military personnel for supervision and training. Nasser did not accept these conditions, and consulted the USSR for support.
Although Dulles believed that Nasser was only bluffing and that the USSR would not aid Nasser, he was wrong: the USSR promised Nasser a quantity of arms in exchange for a deferred payment of Egyptian grain and cotton. On 27 September 1955, Nasser announced an arms deal, with Czechoslovakia acting as a middleman for the Soviet support. Instead of attacking Nasser for turning to the Soviets, Dulles sought to improve relations with him. In December 1955, the US and the UK pledged $56 and $14 million, respectively, toward construction of the High Aswan Dam.
Though the Czech arms deal created an incentive for the US to invest at Aswan, the UK cited the deal as a reason for repealing its promise of dam funds. Dulles was angered more by Nasser's diplomatic recognition of China, which was in direct conflict with Dulles's policy of containment of communism.
Several other factors contributed to the US deciding to withdraw its offer of funding for the dam. Dulles believed that the USSR would not fulfil its commitment of military aid. He was also irritated by Nasser's neutrality and attempts to play both sides of the Cold War. At the time, other Western allies in the Middle East, including Turkey and Iraq, were resentful that Egypt, a persistently neutral country, was being offered so much aid.
In June 1956, the Soviets offered Nasser $1.12 billion at 2% interest for the construction of the dam. On 19 July the U.S. State Department announced that American financial assistance for the High Dam was "not feasible in present circumstances."
On 26 July 1956, with wide Egyptian acclaim, Nasser announced the nationalization of the Suez Canal that included fair compensation for the former owners. Nasser planned on the revenues generated by the canal to help fund construction of the High Dam. When the Suez War broke out, the United Kingdom, France, and Israel seized the canal and the Sinai. But pressure from the U.S. and the USSR at the United Nations and elsewhere forced them to withdraw.
In 1958, the USSR proceeded to provide support for the High Dam project.
In the 1950s, archaeologists began raising concerns that several major historical sites, including the famous temple of Abu Simbel were about to be submerged by waters collected behind the dam. A rescue operation began in 1960 under UNESCO
Despite its size, the Aswan project has not materially hurt the Egyptian balance of payments. The three Soviet credits covered virtually all of the project's foreign exchange requirements, including the cost of technical services, imported power generating and transmission equipment and some imported equipment for land reclamation. Egypt was not seriously burdened by payments on the credits, most of which were extended for 12 years with interest at the very low rate of 2-1/2%. Repayments to the USSR constituted only a small net drain during the first half of the 1960s, and increased export earnings derived from crops grown on newly reclaimed land have largely offset the modest debt service payments in recent years. During 1965–70, these export earnings amounted to an estimated $126 million, compared with debt service payments of $113 million.
A central pylon of the monument to Arab-Soviet Friendship. The memorial commemorates the completion of the Aswan High Dam. The coat of arms of the Soviet Union is on the left and the coat of arms of Egypt is on the right.
The Soviets also provided technicians and heavy machinery. The enormous rock and clay dam was designed by the Soviet Hydroproject Institute along with some Egyptian engineers. 25,000 Egyptian engineers and workers contributed to the construction of the dams.
Originally designed by West German and French engineers in the early 1950s and slated for financing with Western credits, the Aswan High Dam became the USSR's largest and most famous foreign aid project after the United States, the United Kingdom, and the International Bank for Reconstruction and Development (IBRD) withdrew their support in 1956. The first Soviet loan of $100 million to cover construction of coffer dams for diversion of the Nile was extended in 1958. An additional $225 million was extended in 1960 to complete the dam and construct power-generating facilities, and subsequently about $100 million was made available for land reclamation. These credits of some $425 million covered only the foreign exchange costs of the project, including salaries of Soviet engineers who supervised the project and were responsible for the installation and testing of Soviet equipment. Actual construction, which began in 1960, was done by Egyptian companies on contract to the High Dam Authority, and all domestic costs were borne by the Egyptians. Egyptian participation in the venture has raised the construction industry's capacity and reputation significantly.
On the Egyptian side, the project was led by Osman Ahmed Osman's Arab Contractors. The relatively young Osman underbid his only competitor by one-half.
1960: Start of construction on 9 January
1964: First dam construction stage completed, reservoir started filling
1970: The High Dam, as-Sad al-'Aali, completed on 21 July[18]
1976: Reservoir reached capacity.
Specifications
The Aswan High Dam is 3,830 metres (12,570 ft) long, 980 m (3,220 ft) wide at the base, 40 m (130 ft) wide at the crest and 111 m (364 ft)[ tall. It contains 43,000,000 cubic metres (56,000,000 cu yd) of material. At maximum, 11,000 cubic metres per second (390,000 cu ft/s) of water can pass through the dam. There are further emergency spillways for an extra 5,000 cubic metres per second (180,000 cu ft/s), and the Toshka Canal links the reservoir to the Toshka Depression. The reservoir, named Lake Nasser, is 500 km (310 mi) long[20] and 35 km (22 mi) at its widest, with a surface area of 5,250 square kilometres (2,030 sq mi). It holds 132 cubic kilometres (1.73×1011 cu yd) of water.
Due to the absence of appreciable rainfall, Egypt's agriculture depends entirely on irrigation. With irrigation, two crops per year can be produced, except for sugar cane which has a growing period of almost one year.
The high dam at Aswan releases, on average, 55 cubic kilometres (45,000,000 acre⋅ft) water per year, of which some 46 cubic kilometres (37,000,000 acre⋅ft) are diverted into the irrigation canals.
In the Nile valley and delta, almost 336,000 square kilometres (130,000 sq mi) benefit from these waters producing on average 1.8 crops per year. The annual crop consumptive use of water is about 38 cubic kilometres (31,000,000 acre⋅ft). Hence, the overall irrigation efficiency is 38/46 = 0.826 or 83%. This is a relatively high irrigation efficiency. The field irrigation efficiencies are much less, but the losses are reused downstream. This continuous reuse accounts for the high overall efficiency.
The following table shows the distribution of irrigation water over the branch canals taking off from the one main irrigation canal, the Mansuriya Canal near Giza.
Branch canalWater delivery in m3/feddan *
Kafret Nasser4,700
Beni Magdul3,500
El Mansuria3,300
El Hammami upstream2,800
El Hammami downstream1,800
El Shimi1,200
* Period 1 March to 31 July. 1 feddan is 0.42 ha or about 1 acre.
* Data from the Egyptian Water Use Management Project (EWUP)
The salt concentration of the water in the Aswan reservoir is about 0.25 kilograms per cubic metre (0.42 lb/cu yd), a very low salinity level. At an annual inflow of 55 cubic kilometres (45,000,000 acre⋅ft), the annual salt influx reaches 14 million tons. The average salt concentration of the drainage water evacuated into the sea and the coastal lakes is 2.7 kilograms per cubic metre (4.6 lb/cu yd). At an annual discharge of 10 cubic kilometres (2.4 cu mi) (not counting the 2 kilograms per cubic metre [3.4 lb/cu yd] of salt intrusion from the sea and the lakes, see figure "Water balances"), the annual salt export reaches 27 million ton. In 1995, the output of salt was higher than the influx, and Egypt's agricultural lands were desalinizing. Part of this could be due to the large number of subsurface drainage projects executed in the last decades to control the water table and soil salinity.
Drainage through subsurface drains and drainage channels is essential to prevent a deterioration of crop yields from waterlogging and soil salinization caused by irrigation. By 2003, more than 20,000 square kilometres (7,700 sq mi) have been equipped with a subsurface drainage system and approximately 7.2 square kilometres (2.8 sq mi) of water is drained annually from areas with these systems. The total investment cost in agricultural drainage over 27 years from 1973 to 2002 was about $3.1 billion covering the cost of design, construction, maintenance, research and training. During this period 11 large-scale projects were implemented with financial support from World Bank and other donors.
Effects
The High Dam has resulted in protection from floods and droughts, an increase in agricultural production and employment, electricity production, and improved navigation that also benefits tourism. Conversely, the dam flooded a large area, causing the relocation of over 100,000 people. Many archaeological sites were submerged while others were relocated. The dam is blamed for coastline erosion, soil salinity, and health problems.
The assessment of the costs and benefits of the dam remains controversial decades after its completion. According to one estimate, the annual economic benefit of the High Dam immediately after its completion was LE 255 million, $587 million using the exchange rate in 1970 of $2.30 per LE 1): LE 140 million from agricultural production, LE 100 million from hydroelectric generation, LE 10 million from flood protection, and LE 5 million from improved navigation. At the time of its construction, total cost, including unspecified "subsidiary projects" and the extension of electric power lines, amounted to LE 450 million. Not taking into account the negative environmental and social effects of the dam, its costs are thus estimated to have been recovered within only two years. One observer notes: "The impacts of the Aswan High Dam have been overwhelmingly positive. Although the Dam has contributed to some environmental problems, these have proved to be significantly less severe than was generally expected, or currently believed by many people." Another observer disagreed and he recommended that the dam should be torn down. Tearing it down would cost only a fraction of the funds required for "continually combating the dam's consequential damage" and 500,000 hectares (1,900 sq mi) of fertile land could be reclaimed from the layers of mud on the bed of the drained reservoir. Samuel C. Florman wrote about the dam: "As a structure it is a success. But in its effect on the ecology of the Nile Basin – most of which could have been predicted – it is a failure".
Periodic floods and droughts have affected Egypt since ancient times. The dam mitigated the effects of floods, such as those in 1964, 1973, and 1988. Navigation along the river has been improved, both upstream and downstream of the dam. Sailing along the Nile is a favorite tourism activity, which is mainly done during the winter when the natural flow of the Nile would have been too low to allow navigation of cruise ships.[clarification needed] A new fishing industry has been created around Lake Nasser, though it is struggling due to its distance from any significant markets. The annual production was about 35 000 tons in the mid-1990s. Factories for the fishing industry and packaging have been set up near the Lake.
According to a 1971 CIA declassified report, Although the High Dam has not created ecological problems as serious as some observers have charged, its construction has brought economic losses as well as gains. These losses derive largely from the settling in dam's lake of the rich silt traditionally borne by the Nile. To date (1971), the main impact has been on the fishing industry. Egypt's Mediterranean catch, which once averaged 35,000-40,000 tons annually, has shrunk to 20,000 tons or less, largely because the loss of plankton nourished by the silt has eliminated the sardine population in Egyptian waters. Fishing in high dam's lake may in time at least partly offset the loss of saltwater fish, but only the most optimistic estimates place the eventual catch as high as 15,000-20,000 tons. Lack of continuing silt deposits at the mouth of the river also has contributed to a serious erosion problem. Commercial fertilizer requirements and salination and drainage difficulties, already large in perennially irrigated areas of Lower and Middle Egypt, will be somewhat increased in Upper Egypt by the change to perennial irrigation.
The dams also protected Egypt from the droughts in 1972–73 and 1983–87 that devastated East and West Africa. The High Dam allowed Egypt to reclaim about 2.0 million feddan (840,000 hectares) in the Nile Delta and along the Nile Valley, increasing the country's irrigated area by a third. The increase was brought about both by irrigating what used to be desert and by bringing under cultivation of 385,000 hectares (950,000 acres) that were previously used as flood retention basins. About half a million families were settled on these new lands. In particular the area under rice and sugar cane cultivation increased. In addition, about 1 million feddan (420,000 hectares), mostly in Upper Egypt, were converted from flood irrigation with only one crop per year to perennial irrigation allowing two or more crops per year. On other previously irrigated land, yields increased because water could be made available at critical low-flow periods. For example, wheat yields in Egypt tripled between 1952 and 1991 and better availability of water contributed to this increase. Most of the 32 km3 of freshwater, or almost 40 percent of the average flow of the Nile that were previously lost to the sea every year could be put to beneficial use. While about 10 km3 of the water saved is lost due to evaporation in Lake Nasser, the amount of water available for irrigation still increased by 22 km3. Other estimates put evaporation from Lake Nasser at between 10 and 16 cubic km per year.
Electricity production
The dam powers twelve generators each rated at 175 megawatts (235,000 hp), with a total of 2.1 gigawatts (2,800,000 hp). Power generation began in 1967. When the High Dam first reached peak output it produced around half of Egypt's production of electric power (about 15 percent by 1998), and it gave most Egyptian villages the use of electricity for the first time. The High Dam has also improved the efficiency and the extension of the Old Aswan Hydropower stations by regulating upstream flows.
All High Dam power facilities were completed ahead of schedule. 12 turbines were installed and tested, giving the plant an installed capacity of 2,100 megawatts (MW), or more than twice the national total in 1960. With this capacity, the Aswan plant can produce 10 billion kWh of energy yearly. Two 500-kilovolt trunk lines to Cairo have been completed, and initial transmission problems, stemming mainly from poor insulators, were solved. Also, the damage inflicted on a main transformer station in 1968 by Israeli commandos has been repaired, and the Aswan plant is fully integrated with the power network in Lower Egypt. By 1971 estimation, Power output at Aswan, won't reach much more than half of the plant's theoretical capacity, because of limited water supplies and the differing seasonal water-use patterns for irrigation and power production. Agricultural demand for water in the summer far exceeds the amount needed to meet the comparatively low summer demand for electric power. Heavy summer irrigation use, however, will leave insufficient water under Egyptian control to permit hydroelectric power production at full capacity in the winter. Technical studies indicate that a maximum annual output of 5 billion kWh appears to be all that can be sustained due to fluctuations in Nile flows.
Resettlement and compensations
In Sudan, 50,000 to 70,000 Sudanese Nubians were moved from the old town of Wadi Halfa and its surrounding villages. Some were moved to a newly created settlement on the shore of Lake Nasser called New Wadi Halfa, and some were resettled approximately 700 kilometres (430 mi) south to the semi-arid Butana plain near the town of Khashm el-Girba up the Atbara River. The climate there had a regular rainy season as opposed to their previous desert habitat in which virtually no rain fell. The government developed an irrigation project, called the New Halfa Agricultural Development Scheme to grow cotton, grains, sugar cane and other crops. The Nubians were resettled in twenty five planned villages that included schools, medical facilities, and other services, including piped water and some electrification.
In Egypt, the majority of the 50,000 Nubians were moved three to ten kilometers from the Nile near Edna and Kom Ombo, 45 kilometers (28 mi) downstream from Aswan in what was called "New Nubia". Housing and facilities were built for 47 village units whose relationship to each other approximated that in Old Nubia. Irrigated land was provided to grow mainly sugar cane.
In 2019–20, Egypt started to compensate the Nubians who lost their homes following the dam impoundment.
Archaeological sites
Twenty-two monuments and architectural complexes that were threatened by flooding from Lake Nasser, including the Abu Simbel temples, were preserved by moving them to the shores of the lake under the UNESCO Nubia Campaign. Also moved were Philae, Kalabsha and Amada.
These monuments were granted to countries that helped with the works:
The Debod temple to Madrid
The Temple of Dendur to the Metropolitan Museum of Art of New York
The Temple of Taffeh to the Rijksmuseum van Oudheden of Leiden
The Temple of Ellesyia to the Museo Egizio of Turin
These items were removed to the garden area of the Sudan National Museum of Khartoum:
The temple of Ramses II at Aksha
The temple of Hatshepsut at Buhen
The temple of Khnum at Kumma
The tomb of the Nubian prince Djehuti-hotep at Debeira
The temples of Dedwen and Sesostris III at Semna
The granite columns from the Faras Cathedral
A part of the paintings of the Faras Cathedral; the other part is in the National Museum of Warsaw.
The Temple of Ptah at Gerf Hussein had its free-standing section reconstructed at New Kalabsha, alongside the Temple of Kalabsha, Beit el-Wali, and the Kiosk of Qertassi.
The remaining archaeological sites, including the Buhen fort and the cemetery of Fadrus have been flooded by Lake Nasser.
Loss of sediments
Before the construction of the High Dam, the Nile deposited sediments of various particle size – consisting of fine sand, silt and clay – on fields in Upper Egypt through its annual flood, contributing to soil fertility. However, the nutrient value of the sediment has often been overestimated. 88 percent of the sediment was carried to the sea before the construction of the High Dam. The nutrient value added to the land by the sediment was only 6,000 tons of potash, 7,000 tons of phosphorus pentoxide and 17,000 tons of nitrogen. These amounts are insignificant compared to what is needed to reach the yields achieved today in Egypt's irrigation. Also, the annual spread of sediment due to the Nile floods occurred along the banks of the Nile. Areas far from the river which never received the Nile floods before are now being irrigated.
A more serious issue of trapping of sediment by the dam is that it has increased coastline erosion surrounding the Nile Delta. The coastline erodes an estimated 125–175 m (410–574 ft) per year.
Waterlogging and increase in soil salinity
Before the construction of the High Dam, groundwater levels in the Nile Valley fluctuated 8–9 m (26–30 ft) per year with the water level of the Nile. During summer when evaporation was highest, the groundwater level was too deep to allow salts dissolved in the water to be pulled to the surface through capillary action. With the disappearance of the annual flood and heavy year-round irrigation, groundwater levels remained high with little fluctuation leading to waterlogging. Soil salinity also increased because the distance between the surface and the groundwater table was small enough (1–2 m depending on soil conditions and temperature) to allow water to be pulled up by evaporation so that the relatively small concentrations of salt in the groundwater accumulated on the soil surface over the years. Since most of the farmland did not have proper subsurface drainage to lower the groundwater table, salinization gradually affected crop yields.[31] Drainage through sub-surface drains and drainage channels is essential to prevent a deterioration of crop yields from soil salinization and waterlogging. By 2003, more than 2 million hectares have been equipped with a subsurface drainage system at a cost from 1973 to 2002 of about $3.1 billion.
Health
Contrary to many predictions made prior to the Aswan High Dam construction and publications that followed, that the prevalence of schistosomiasis (bilharzia) would increase, it did not. This assumption did not take into account the extent of perennial irrigation that was already present throughout Egypt decades before the high dam closure. By the 1950s only a small proportion of Upper Egypt had not been converted from basin (low transmission) to perennial (high transmission) irrigation. Expansion of perennial irrigation systems in Egypt did not depend on the high dam. In fact, within 15 years of the high dam closure there was solid evidence that bilharzia was declining in Upper Egypt. S. haematobium has since disappeared altogether. Suggested reasons for this include improvements in irrigation practice. In the Nile Delta, schistosomiasis had been highly endemic, with prevalence in the villages 50% or higher for almost a century before. This was a consequence of the conversion of the Delta to perennial irrigation to grow long staple cotton by the British. This has changed. Large-scale treatment programmes in the 1990s using single-dose oral medication contributed greatly to reducing the prevalence and severity of S. mansoni in the Delta.
Other effects
Sediment deposited in the reservoir is lowering the water storage capacity of Lake Nasser. The reservoir storage capacity is 162 km3, including 31 km3 dead storage at the bottom of the lake below 147 m (482 ft) above sea level, 90 km3 live storage, and 41 km3 of storage for high flood waters above 175 m (574 ft) above sea level. The annual sediment load of the Nile is about 134 million tons. This means that the dead storage volume would be filled up after 300–500 years if the sediment accumulated at the same rate throughout the area of the lake. Obviously sediment accumulates much faster at the upper reaches of the lake, where sedimentation has already affected the live storage zone.
Before the construction of the High Dam, the 50,000 km (31,000 mi) of irrigation and drainage canals in Egypt had to be dredged regularly to remove sediments. After construction of the dam, aquatic weeds grew much faster in the clearer water, helped by fertilizer residues. The total length of the infested waterways was about 27,000 km (17,000 mi) in the mid-1990s. Weeds have been gradually brought under control by manual, mechanical and biological methods.
Mediterranean fishing and brackish water lake fishery declined after the dam was finished because nutrients that flowed down the Nile to the Mediterranean were trapped behind the dam. For example, the sardine catch off the Egyptian coast declined from 18,000 tons in 1962 to a mere 460 tons in 1968, but then gradually recovered to 8,590 tons in 1992. A scientific article in the mid-1990s noted that "the mismatch between low primary productivity and relatively high levels of fish production in the region still presents a puzzle to scientists."
A concern before the construction of the High Dam had been the potential drop in river-bed level downstream of the Dam as the result of erosion caused by the flow of sediment-free water. Estimates by various national and international experts put this drop at between and 2 and 10 meters (6.6 and 32.8 ft). However, the actual drop has been measured at 0.3–0.7 meters (0.98–2.30 ft), much less than expected.[30]
The red-brick construction industry, which consisted of hundreds of factories that used Nile sediment deposits along the river, has also been negatively affected. Deprived of sediment, they started using the older alluvium of otherwise arable land taking out of production up to 120 square kilometers (46 sq mi) annually, with an estimated 1,000 square kilometers (390 sq mi) destroyed by 1984 when the government prohibited, "with only modest success," further excavation. According to one source, bricks are now being made from new techniques which use a sand-clay mixture and it has been argued that the mud-based brick industry would have suffered even if the dam had not been built.
Because of the lower turbidity of the water sunlight penetrates deeper in the Nile water. Because of this and the increased presence of nutrients from fertilizers in the water, more algae grow in the Nile. This in turn increases the costs of drinking water treatment. Apparently few experts had expected that water quality in the Nile would actually decrease because of the High Dam.
Appraisal of the Project
Although it is moot whether the project constitutes the best use of the funds spent, the Aswan Dam project unquestionably is and will continue to be economically beneficial to Egypt. The project has been expensive and it took considerable time to complete, as is usually the case with large hydroelectric developments, But Egypt now has a valuable asset with a long life and low operating costs. Even so, the wisdom of concentrating one-third of domestic saving and most of available foreign aid on a slow growth project is questionable. Since 1960, GNP has grown 50%, but mainly as a result of other investment.
Egyptian authorities were well aware that equivalent gains in output could have been achieved more quickly and more cheaply by other means. A series of low dams, similar to the barrages now contemplated, was suggested by Egyptian engineers as a more economical means of achieving up to 2,000 mW of additional generating capacity, US and WorldBank agricultural experts had long recommended improved drainage, introduction of hybrid seeds, and other such low-cost alternatives to land reclamation as a means of increasing agricultural output, In other areas, most notably the once efficient cotton textile industry, investment was needed to forestall an output decline, Implementation of these and other alternatives has been postponed rather than precluded by the High Dam project.
However, the decision to concentrate Egyptian savings and energies on the Aswan project for a decade was heavily based on non-economic factors. Nasser undoubtedly believed that a project of considerable symbolic appeal was needed to mobilize the population behind the government's economic goals, He also apparently felt that the East and West would be more easily persuaded to bid against each other for a project of this scope.
The Aswan High Dam made an appreciable contribution to Egyptian GNP, however the returns were well below what the planners had anticipated. The principal limiting factors on the High Dam's contribution to Egyptian output are a shortage of land suitable for reclamation, the high cost and long time required to bring reclaimed land to full productivity, and an inadequate water supply to meet power and irrigation goals simultaneously. The last limitation arises in part from the allocation in a 1959 agreement of more water to Sudan than was originally foreseen and in part from differences in the seasonal demand pattern of agriculture and the hydroelectric plant for the water. Irrigation requires very heavy use of water during summer months, while power generation needs peak during the winter. Ecological problems created by the dam, most of which were anticipated, have not seriously harmed the economy, although a few minor industries have been damaged.
The dam is, nonetheless, a viable project. Eventually the contribution to GNP equals as much as 20% of total investment. Moreover, the dam and associated projects provided returns that at least offset the cost of operation, repayment of foreign loans and amortisation of domestic loans.
A visit to the National Trust property that is Penrhyn Castle
Penrhyn Castle is a country house in Llandygai, Bangor, Gwynedd, North Wales, in the form of a Norman castle. It was originally a medieval fortified manor house, founded by Ednyfed Fychan. In 1438, Ioan ap Gruffudd was granted a licence to crenellate and he founded the stone castle and added a tower house. Samuel Wyatt reconstructed the property in the 1780s.
The present building was created between about 1822 and 1837 to designs by Thomas Hopper, who expanded and transformed the building beyond recognition. However a spiral staircase from the original property can still be seen, and a vaulted basement and other masonry were incorporated into the new structure. Hopper's client was George Hay Dawkins-Pennant, who had inherited the Penrhyn estate on the death of his second cousin, Richard Pennant, who had made his fortune from slavery in Jamaica and local slate quarries. The eldest of George's two daughters, Juliana, married Grenadier Guard, Edward Gordon Douglas, who, on inheriting the estate on George's death in 1845, adopted the hyphenated surname of Douglas-Pennant. The cost of the construction of this vast 'castle' is disputed, and very difficult to work out accurately, as much of the timber came from the family's own forestry, and much of the labour was acquired from within their own workforce at the slate quarry. It cost the Pennant family an estimated £150,000. This is the current equivalent to about £49,500,000.
Penrhyn is one of the most admired of the numerous mock castles built in the United Kingdom in the 19th century; Christopher Hussey called it, "the outstanding instance of Norman revival." The castle is a picturesque composition that stretches over 600 feet from a tall donjon containing family rooms, through the main block built around the earlier house, to the service wing and the stables.
It is built in a sombre style which allows it to possess something of the medieval fortress air despite the ground-level drawing room windows. Hopper designed all the principal interiors in a rich but restrained Norman style, with much fine plasterwork and wood and stone carving. The castle also has some specially designed Norman-style furniture, including a one-ton slate bed made for Queen Victoria when she visited in 1859.
Hugh Napier Douglas-Pennant, 4th Lord Penrhyn, died in 1949, and the castle and estate passed to his niece, Lady Janet Pelham, who, on inheritance, adopted the surname of Douglas-Pennant. In 1951, the castle and 40,000 acres (160 km²) of land were accepted by the treasury in lieu of death duties from Lady Janet. It now belongs to the National Trust and is open to the public. The site received 109,395 visitors in 2017.
Grade I Listed Building
History
The present house, built in the form of a vast Norman castle, was constructed to the design of Thomas Hopper for George Hay Dawkins-Pennant between 1820 and 1837. It has been very little altered since.
The original house on the site was a medieval manor house of C14 origin, for which a licence to crenellate was given at an unknown date between 1410 and 1431. This house survived until c1782 when it was remodelled in castellated Gothick style, replete with yellow mathematical tiles, by Samuel Wyatt for Richard Pennant. This house, the great hall of which is incorporated in the present drawing room, was remodelled in c1800, but the vast profits from the Penrhyn slate quarries enabled all the rest to be completely swept away by Hopper's vast neo-Norman fantasy, sited and built so that it could be seen not only from the quarries, but most parts of the surrounding estate, thereby emphasizing the local dominance of the Dawkins-Pennant family. The total cost is unknown but it cannot have been less than the £123,000 claimed by Catherine Sinclair in 1839.
Since 1951 the house has belonged to the National Trust, together with over 40,000 acres of the family estates around Ysbyty Ifan and the Ogwen valley.
Exterior
Country house built in the style of a vast Norman castle with other later medieval influences, so huge (its 70 roofs cover an area of over an acre (0.4ha)) that it almost defies meaningful description. The main components of the house, which is built on a north-south axis with the main elevations to east and west, are the 124ft (37.8m) high keep, based on Castle Hedingham (Essex) containing the family quarters on the south, the central range, protected by a 'barbican' terrace on the east, housing the state apartments, and the rectangular-shaped staff/service buildings and stables to the north. The whole is constructed of local rubblestone with internal brick lining, but all elevations are faced in tooled Anglesey limestone ashlar of the finest quality jointing; flat lead roofs concealed by castellated parapets. Close to, the extreme length of the building (it is about 200 yards (182.88m) long) and the fact that the ground slopes away on all sides mean that almost no complete elevation can be seen. That the most frequent views of the exterior are oblique also offered Hopper the opportunity to deploy his towers for picturesque effect, the relationship between the keep and the other towers and turrets frequently obscuring the distances between them. Another significant external feature of the castle is that it actually looks defensible making it secure at least from Pugin's famous slur of 1841 on contemporary "castles" - "Who would hammer against nailed portals, when he could kick his way through the greenhouse?" Certainly, this could never be achieved at Penrhyn and it looks every inch the impregnable fortress both architect and patron intended it to be.
East elevation: to the left is the loosely attached 4-storey keep on battered plinth with 4 tiers of deeply splayed Norman windows, 2 to each face, with chevron decoration and nook-shafts, topped by 4 square corner turrets. The dining room (distinguished by the intersecting tracery above the windows) and breakfast room to the right of the entrance gallery are protected by the long sweep of the machicolated 'barbican' terrace (carriage forecourt), curved in front of the 2 rooms and then running northwards before returning at right-angles to the west to include the gatehouse, which formed the original main entrance to the castle, and ending in a tall rectangular tower with machicolated parapet. To the right of the gatehouse are the recessed buildings of the kitchen court and to the right again the long, largely unbroken outer wall of the stable court, terminated by the square footmen's tower to the left and the rather more exuberant projecting circular dung tower with its spectacularly cantilevered bartizan on the right. From here the wall runs at right-angles to the west incorporating the impressive gatehouse to the stable court.
West elevation: beginning at the left is the hexagonal smithy tower, followed by the long run of the stable court, well provided with windows on this side as the stables lie directly behind. At the end of this the wall turns at right-angles to the west, incorporating the narrow circular-turreted gatehouse to the outer court and terminating in the machicolated circular ice tower. From here the wall runs again at a lower height enclosing the remainder of the outer court. It is, of course, the state apartments which make up the chief architectural display on the central part of this elevation, beginning with a strongly articulated but essentially rectangular tower to the left, while both the drawing room and the library have Norman windows leading directly onto the lawns, the latter terminating in a slender machicolated circular corner tower. To the right is the keep, considerably set back on this side.
Interior
Only those parts of the castle generally accessible to visitors are recorded in this description. Although not described here much of the furniture and many of the paintings (including family portraits) are also original to the house. Similarly, it should be noted that in the interests of brevity and clarity, not all significant architectural features are itemised in the following description.
Entrance gallery: one of the last parts of the castle to be built, this narrow cloister-like passage was added to the main block to heighten the sensation of entering the vast Grand Hall, which is made only partly visible by the deliberate offsetting of the intervening doorways; bronze lamp standards with wolf-heads on stone bases. Grand Hall: entering the columned aisle of this huge space, the visitor stands at a cross-roads between the 3 principal areas of the castle's plan; to the left the passage leads up to the family's private apartments on the 4 floors of the keep, to the right the door at the end leads to the extensive service quarters while ahead lies the sequence of state rooms used for entertaining guests and displayed to the public ever since the castle was built. The hall itself resembles in form, style and scale the transept of a great Norman cathedral, the great clustered columns extending upwards to a "triforium" formed on 2 sides of extraordinary compound arches; stained glass with signs of the zodiac and months of the year as in a book of hours by Thomas Willement (completed 1835). Library: has very much the atmosphere of a gentlemen’s London club with walls, columned arches and ceilings covered in the most lavish ornamentation; superb architectural bookcases and panelled walls are of oak but the arches are plaster grained to match; ornamental bosses and other devices to the rich plaster ceiling refer to the ancestry of the Dawkins and Pennant families, as do the stained glass lunettes above the windows, possibly by David Evans of Shrewsbury; 4 chimneypieces of polished Anglesey "marble", one with a frieze of fantastical carved mummers in the capitals. Drawing room (great hall of the late C18 house and its medieval predecessor): again in a neo-Norman style but the decoration is lighter and the columns more slender, the spirit of the room reflected in the 2000 delicate Maltese gilt crosses to the vaulted ceiling. Ebony room: so called on account of its furniture and "ebonised" chimneypiece and plasterwork, has at its entrance a spiral staircase from the medieval house. Grand Staircase hall: in many ways the greatest architectural achievement at Penrhyn, taking 10 years to complete, the carving in 2 contrasting stones of the highest quality; repeating abstract decorative motifs contrast with the infinitely inventive figurative carving in the newels and capitals; to the top the intricate plaster panels of the domed lantern are formed in exceptionally high relief and display both Norse and Celtic influences. Next to the grand stair is the secondary stair, itself a magnificent structure in grey sandstone with lantern, built immediately next to the grand stair so that family or guests should not meet staff on the same staircase. Reached from the columned aisle of the grand hall are the 2 remaining principal ground-floor rooms, the dining room and the breakfast room, among the last parts of the castle to be completed and clearly intended to be picture galleries as much as dining areas, the stencilled treatment of the walls in the dining room allowing both the provision of an appropriately elaborate "Norman" scheme and a large flat surface for the hanging of paintings; black marble fireplace carved by Richard Westmacott and extremely ornate ceiling with leaf bosses encircled by bands of figurative mouldings derived from the Romanesque church of Kilpeck, Herefordshire. Breakfast room has cambered beam ceiling with oak-grained finish.
Grand hall gallery: at the top of the grand staircase is vaulted and continues around the grand hall below to link with the passage to the keep, which at this level (as on the other floors) contains a suite of rooms comprising a sitting room, dressing room, bedroom and small ante-chamber, the room containing the famous slate bed also with a red Mona marble chimneypiece, one of the most spectacular in the castle. Returning to the grand hall gallery and continuing straight on rather than returning to the grand staircase the Lower India room is reached to the right: this contains an Anglesey limestone chimneypiece painted to match the ground colour of the room's Chinese wallpaper. Coming out of this room, the chapel corridor leads to the chapel gallery (used by the family) and the chapel proper below (used by staff), the latter with encaustic tiles probably reused from the old medieval chapel; stained and painted glass by David Evans (c1833).
The domestic quarters of the castle are reached along the passage from the breakfast room, which turns at right-angles to the right at the foot of the secondary staircase, the most important areas being the butler's pantry, steward's office, servants' hall, housekeeper's room, still room, housekeeper's store and housemaids' tower, while the kitchen (with its cast-iron range flanked by large and hygienic vertical slabs of Penrhyn slate) is housed on the lower ground floor. From this kitchen court, which also includes a coal store, oil vaults, brushing room, lamp room, pastry room, larder, scullery and laundry are reached the outer court with its soup kitchen, brewhouse and 2-storey ice tower and the much larger stables court which, along with the stables themselves containing their extensive slate-partitioned stalls and loose boxes, incorporates the coach house, covered ride, smithy tower, dung tower with gardeners' messroom above and footmen's tower.
Reasons for Listing
Included at Grade I as one of the most important large country houses in Wales; a superb example of the relatively short-lived Norman Revival of the early C19 and generally regarded as the masterpiece of its architect, Thomas Hopper.
Ice Tower - you can go up it to the first floor.
Fonte dell'immagine: La Chiesa di Dio Onnipotente
Condizioni d'Uso: Avviso legale e condizioni per l’uso
Il vero amore per Dio è spontaneo
Tutte le persone sono state sottoposte al raffinamento tramite le parole di Dio. Se non fosse stato per il Dio incarnato, l’umanità non sarebbe affatto benedetta in tale sofferenza. Questo concetto può anche essere espresso come segue: coloro che sono in grado di accettare le prove delle parole di Dio sono persone benedette. Sulla base del calibro originale delle persone, del loro comportamento e dei loro atteggiamenti verso Dio, non sono degne di ricevere questo tipo di raffinamento. Hanno goduto di tale benedizione perché sono state innalzate da Dio. Dicevano che non erano degne di vedere il volto di Dio o di ascoltare le Sue parole. Oggi, è interamente grazie all’elevazione di Dio e alla Sua misericordia che le persone hanno ricevuto il raffinamento delle Sue parole. Questa è la benedizione di ogni singola persona che vive negli ultimi giorni, lo avete sperimentato personalmente? In quali aspetti gli individui debbano soffrire e avere delle battute d’arresto dipende da Dio, e non dalle esigenze delle persone. Questo è assolutamente vero. Ogni credente deve possedere la capacità di subire le prove delle parole di Dio e di soffrire nell’ambito delle Sue parole. Riuscite a capirlo con chiarezza? Pertanto, la sofferenza che hai subito è stata scambiata con le benedizioni odierne; se non soffri per Dio, non puoi ottenere la Sua lode. Forse ti sei lamentato in passato, ma per quanto tu ti sia lamentato, Dio non se ne ricorderà. Oggi è un altro giorno e non vi è motivo di soffermarsi sui problemi di ieri.
Alcune persone dichiarano che cercano di amare Dio ma non ci riescono, e quando sentono dire che Dio sta per allontanarsi, allora provano amore per Lui. In generale, alcune persone non mettono in pratica la verità, e quando sentono dire che Dio sta per allontanarsi adirato, si presentano al Suo cospetto e pregano: “Oh, Dio, Ti prego, non andarTene. Dammi una possibilità! Dio! Non Ti ho soddisfatto in passato; Sono stato Tuo debitore e Ti ho resistito. Oggi sono disposto a offrire pienamente il mio corpo e il mio cuore per poter finalmente soddisfarTi e amarTi. Non avrò più questa opportunità”. Hai mai pregato così? Quando qualcuno prega in questo modo è perché la sua coscienza è stata risvegliata dalle parole di Dio. Gli esseri umani sono tutti intorpiditi e annebbiati mentalmente. Sono soggetti al castigo e al raffinamento ma non sanno ciò che Dio sta realizzando. Se Dio non operasse così, le persone sarebbero ancora confuse e nessuno potrebbe ispirare sentimenti spirituali nei loro cuori. Solo le parole di Dio che esprimono giudizio e rivelano le persone possono portare tale frutto. Pertanto, tutto si ottiene e si adempie tramite le parole di Dio, ed è solo attraverso le Sue parole che è stato suscitato l’amore dell’umanità per Dio. Se le persone amassero Dio basandosi solo sulla propria coscienza, non vedrebbero alcun risultato. Non avveniva forse già in passato che le persone fondassero il loro amore per Dio sulla coscienza? È mai esistita una sola persona che abbia preso l’iniziativa di amare Dio? È solo attraverso l’incoraggiamento delle parole di Dio che Lo hanno amato. Alcune persone dicono: “Seguo Dio da tanti anni e ho ricevuto grandi manifestazioni della Sua grazia, e una moltitudine di benedizioni. Sono stato raffinato e giudicato dalle Sue parole. Tramite ciò sono riuscito a comprendere molte cose e ho visto l’amore di Dio. Devo ringraziarLo, devo ripagare la Sua grazia. Io soddisferò Dio con la morte e baserò il mio amore per Lui sulla mia coscienza”. Basandosi unicamente sui sentimenti della coscienza, le persone non riescono a sentire l’amabilità di Dio; basandosi unicamente sulla coscienza, l’amore per Dio sarà debole. Se parli solo di ripagare la grazia e l’amore di Dio, non avrai alcun impulso nell’amore per Lui; amarLo in base ai sentimenti della coscienza è un approccio passivo. Perché dico che è un approccio passivo? Si tratta di un problema pratico. Che tipo di amore è questo? Non è come cercare di ingannare Dio e agire solo meccanicamente per Lui? La maggior parte delle persone crede che non ci sia alcuna ricompensa per il fatto di amare Dio, e che saranno condannate ugualmente per il fatto di non amarLo, per cui basta semplicemente non peccare. Pertanto, amare Dio e ripagare il Suo amore sulla base dei sentimenti della propria coscienza è un approccio passivo, che non corrisponde all’amore per Dio che sgorga spontaneo dal cuore. L’amore per Dio dovrebbe essere un sentimento autentico che procede dal profondo del cuore di una persona. Alcuni dicono: “Sono disposto a perseguire Dio e a seguirLo. Ora Dio vuole abbandonarmi ma io desidero ancora seguirLo. Che Lui mi voglia o meno, io Lo amerò comunque e alla fine Lo conquisterò. Offro il mio cuore a Dio, e qualunque cosa Egli faccia, Lo seguirò per tutta la vita. Nonostante tutto, devo amare Dio e devo conquistarLo; non avrò pace finché non Lo avrò conquistato”. Possiedi tale volontà?
Il percorso della fede in Dio è il percorso dell’amore per Lui. Se credi in Lui devi amarlo; tuttavia, amare Lui non comporta solo ripagare il Suo amore o amarLo in base ai sentimenti della coscienza: si tratta di amore puro per Dio. A volte le persone si basano solo sulla coscienza e non riescono a sentire l’amore di Dio. Perché ho sempre detto: “Possa lo Spirito di Dio muovere il nostro spirito”? Perché non ho parlato di muovere le coscienze affinché amino Dio? Perché le coscienze delle persone non riescono a sentire la bellezza di Dio. Se non ti lasci convincere da queste parole, puoi usare la tua coscienza per sentire il Suo amore, e avrai un po’ di motivazione in quel momento ma poi essa scomparirà. Se usi la tua coscienza solo per percepire l’amabilità di Dio, hai una motivazione quando preghi, ma dopo essa sparisce, si dissolve. Come mai? Se usi soltanto la tua coscienza, dentro di te non sarai in grado di suscitare l’amore per Dio; quando percepisci davvero la Sua amabilità nel cuore, il tuo spirito sarà mosso da Lui, e solo in quel momento la tua coscienza potrà svolgere il suo ruolo originario. Ciò significa che quando le persone sono state mosse da Dio nel loro spirito e quando il loro cuore ha acquisito conoscenza e incoraggiamento, ossia dopo aver acquisito esperienza, solo allora saranno in grado di amare effettivamente Dio con la coscienza. Amare Dio con la coscienza non è sbagliato: si tratta del livello più basso di amore per Dio. Il modo di amare degli esseri umani, che rende a malapena giustizia alla grazia di Dio, non può assolutamente spingere il loro ingresso proattivo in essa. Quando le persone ottengono una parte dell’opera dello Spirito Santo, cioè quando vedono e gustano l’amore di Dio nella loro esperienza pratica, quando hanno qualche conoscenza di Dio e si accorgono veramente che Dio è autenticamente degno dell’amore dell’umanità e che Egli è infinitamente amabile, ebbene solo allora sono in grado di amare veramente Dio.
Quando le persone contattano Dio tramite i loro cuori ed essi sono in grado di volgersi completamente a Lui, compiono il primo passo dell’amore umano per Dio. Se vuoi amare Dio, devi prima essere in grado di volgere il tuo cuore a Lui. Che significa volgere il cuore a Dio? Significa che tutto ciò che persegui nel tuo cuore è volto all’amore e alla conquista di Dio, e ciò indica che hai rivolto completamente il tuo cuore a Dio. A parte Dio e le Sue parole, non esiste quasi nient’altro nel tuo cuore (famiglia, ricchezza, marito, moglie, figli o altre cose). Anche se esiste, tutto ciò non può occupare il tuo cuore, e non pensi alle tue prospettive future, ma ricerchi solo l’amore per Dio. Quando arriverai a fare ciò, avrai completamente rivolto il tuo cuore a Dio. Supponi che tu stia ancora facendo piani per te stesso nel tuo cuore e che stia continuando a perseguire il tuo vantaggio personale, pensando sempre: “Quando posso fare una piccola richiesta a Dio? La mia famiglia, quando diventerà benestante? Come posso procurarmi dei begli abiti? …” Se stai vivendo in tale stato, ciò prova che il tuo cuore non è pienamente rivolto a Dio. Se hai solo le parole di Dio nel tuo cuore e sei in grado di pregare Dio e di avvicinarti a Lui in ogni momento, come se Egli ti fosse molto vicino, come se fosse dentro di te e tu fossi in Lui, se sei in tale stato, significa che il tuo cuore è stato alla presenza di Dio. Se preghi Dio, nutrendoti ogni giorno delle Sue parole, pensando sempre all’opera della Chiesa, dimostrando considerazione per la volontà di Dio, usando il tuo cuore per amarLo veramente e soddisfare il Suo cuore, il tuo cuore apparterrà a Dio. Se il tuo cuore è occupato da tante altre cose, allora è ancora occupato da Satana e non è veramente rivolto a Dio. Quando il cuore di qualcuno è veramente rivolto a Dio, proverà amore genuino e spontaneo per Lui e potrà ponderare l’opera di Dio. Pur essendoci ancora degli stati di stoltezza e irragionevolezza, queste persone saranno comunque in grado di avere considerazione per gli interessi della casa di Dio, per il Suo lavoro, e per un loro cambiamento di indole. Il loro cuore sarà assolutamente nel giusto Alcune persone sventolano sempre la bandiera della Chiesa, qualunque cosa facciano; la verità è che lo fanno solo per il proprio vantaggio. Sono persone che non possiedono la giusta motivazione. Sono disoneste e ingannevoli, e la maggior parte delle cose che fanno è volta a ricercare il loro tornaconto personale. Questo tipo di persona non persegue l’amore di Dio; il suo cuore appartiene ancora a Satana e non può volgersi verso Dio. Dio non ha modo di ottenere questo tipo di persona.
Il primo passo per amare Dio veramente ed essere conquistati da Lui consiste nel volgere completamente il cuore a Dio. In ogni singola cosa che fai, esamina quello che hai dentro e chiediti: “Ciò che sto facendo scaturisce da un cuore pieno di amore per Dio oppure è mosso da qualche intenzione personale? Qual è il mio obiettivo reale?” Se vuoi consegnare il cuore a Dio, devi prima sottometterlo, rinunciando a tutte le tue intenzioni e raggiungendo il punto di esistere totalmente per Dio. Questa è la strada da seguire per dare il cuore a Dio. Che cosa vuol dire sottomettere il cuore? Significa prendere le distanze dai desideri smodati della propria carne, non desiderare le benedizioni di uno stato sociale o le comodità, fare ogni cosa per soddisfare Dio, e dedicare pienamente il cuore a Lui, e non a sé stessi. Ecco cos’è.
Il vero amore per Dio viene dalla profondità del cuore; è un amore che esiste solo sulla base della conoscenza di Dio da parte dell’umanità. Quando il cuore di qualcuno si rivolge completamente a Dio, nutre l’amore per Dio, ma questo amore non è necessariamente puro né necessariamente completo. Ciò avviene perché esiste una certa distanza tra il cuore di una persona che si rivolge completamente a Dio e la possibilità che essa consegua una vera comprensione e adorazione per Lui. Il modo in cui si può ottenere il vero amore di Dio e conoscere l’indole di Dio consiste nel volgere il proprio cuore a Lui. Dopo aver autenticamente consegnato il proprio cuore a Dio, si comincia a entrare nell’esperienza della vita, con conseguente cambiamento di indole, crescita graduale dell’amore per Dio e della conoscenza di Dio. Quindi, volgere il proprio cuore a Dio rappresenta il prerequisito per imboccare la retta via dell’esperienza di vita. Quando si volge il cuore al cospetto di Dio, esso è pieno di desiderio per Lui, ma non di amore per Lui, perché non si possiede la comprensione di Dio. Anche se in questa circostanza si prova un certo amore per Lui, esso non è né spontaneo né sincero. Ciò avviene perché tutto ciò che proviene dalla carne dell’uomo è un prodotto emotivo e non deriva da una comprensione autentica. Si tratta solo di un impulso momentaneo che non riesce a trasformarsi in adorazione a lungo termine. Quando le persone non hanno comprensione di Dio, possono amarlo solo in base alle proprie preferenze e alle loro nozioni individuali; questo tipo di amore non può essere definito né spontaneo né genuino. Quando il cuore di qualcuno si rivolge veramente verso Dio, è in grado di pensare agli interessi di Dio in tutto, ma se non si possiede alcuna comprensione di Dio non si potrà avere un amore veramente spontaneo. Tutto ciò che si potrà fare sarà compiere alcune funzioni per la Chiesa e svolgere qualche dovere, ma senza avere alcun fondamento. Questo tipo di individuo ha un’indole difficile da cambiare; sono tutte persone che non perseguono la verità o non la capiscono. Anche se una persona rivolge completamente il proprio cuore a Dio, non significa che il cuore pieno di amore per Dio sia completamente puro, perché coloro che hanno Dio nel cuore non necessariamente nutrono amore per Lui. Ciò riguarda la distinzione tra chi persegue e chi non persegue la comprensione di Dio. Se una persona ha comprensione di Lui, è chiaro che il suo cuore si è volto completamente a Dio, e che il suo amore sincero per Dio nel cuore è spontaneo. Solo questo tipo di persona ha Dio nel cuore. Rivolgere il proprio cuore verso Dio è un prerequisito per imboccare la strada giusta, per comprendere Dio e per raggiungere l’amore di Dio. Non rappresenta un indicatore di adempimento del dovere di amare Dio, né è un segno di vero amore per Lui. L’unico modo in cui si può ottenere l’amore genuino di Dio consiste nel rivolgere il cuore a Lui, e ciò dovrebbe anche essere la prima cosa che una delle Sue creature dovrebbe fare. Coloro che amano Dio sono tutte persone che cercano la vita, cioè persone che cercano la verità e vogliono veramente Dio; tutte hanno l’illuminazione dello Spirito Santo e sono state sollecitate da Lui. Sono tutte in grado di essere guidate da Dio.
Quando qualcuno riesce a percepire di essere in debito verso Dio, ciò avviene perché è spinto dallo Spirito; in presenza di tale percezione, tenderà anche ad avere un cuore pieno di desiderio e riuscirà a perseguire l’ingresso nella vita. Se tuttavia ti fermi a un certo punto, non sarai in grado di andare più in profondità; correrai ancora il pericolo di restare intrappolato nella rete di Satana, e, raggiunto un certo punto, ne resterai imprigionato. L’illuminazione di Dio permette alle persone di conoscere sé stesse e, in seguito, di percepire il loro debito verso Dio così come la loro volontà di collaborare con Lui, abbandonando le cose che non Lo compiacciono. Questo è il principio dell’opera di Dio. Siete tutti disposti a perseguire la crescita nella vostra vita e ad amare Dio, e vi siete pertanto liberati della vostra superficialità? Se ti sei solo liberato da questo modo di agire e non causi alcun problema, evitando di metterti in mostra, ciò significa che stai davvero cercando di crescere nella tua vita? Se non mostri alcun comportamento superficiale, ma non entri nelle parole di Dio, significa che sei una persona priva di un progresso proattivo. Qual è l’origine dell’adozione di comportamenti superficiali? Agisci con lo scopo di crescere nella vita? Stai cercando di qualificarti per essere una delle persone scelte da Dio? Qualunque sia la cosa su cui ti concentri, essa corrisponde a ciò che vivi; se ti concentri sulla superficialità, il tuo cuore è focalizzato sulle cose esterne, e non riuscirai in alcun modo a perseguire la crescita nella vita. Dio richiede un cambiamento di indole, ma tu continui a perseguire le cose esterne; questo tipo di persona non avrà modo di cambiare la propria indole! Si comportano tutti in un certo modo prima di diventare maturi nella vita, ossia devono accettare il giudizio, il castigo e il perfezionamento delle parole di Dio. Se non hai le parole di Dio, ma ti basi meramente sulla tua fiducia e sulla tua volontà, tutto quello che fai si fonda semplicemente sullo zelo. In altri termini: se vuoi crescere nella vita, devi nutrirti, e comprendere maggiormente le parole di Dio. Tutti coloro che sono perfezionati dalle Sue parole sono in grado di metterle in pratica; coloro che non subiscono il perfezionamento e il giudizio delle Sue parole, non possono essere idonei a essere usati da Lui. Fino a che punto, quindi, vivete in base alle Sue parole? Solo nutrendovi delle parole di Dio e riuscendo a confrontarle con la vostra condizione di vita, trovando un percorso di pratica nella luce in relazione ai problemi che spiego, la vostra pratica sarà corretta e rispecchierà il cuore di Dio. Solo chi possiede questo tipo di questa pratica ha la volontà di amare Dio.
it.godfootsteps.org/genuine-love-for-god-is-spontaneous.html
Been thinking about capturing this for a while. Wanted to wait for the right sky, to go with the mood.
Herrn de la Cepede's Naturgeschichte der Amphibien, oder der enerlegenden vierfussigen Thiere und der Schlangen :.
Weimar :Verlage des Industrie = Comptoir's,1800-1802..
The Sikorsky SH-60/MH-60 Seahawk is a twin turboshaft engine, multi-mission United States Navy helicopter based on the airframe of the United States Army UH-60 Black Hawk and a member of the Sikorsky S-70 family.
The U.S. Navy uses the H-60 airframe under the model designations SH-60B, SH-60F, HH-60H, MH-60R, and MH-60S. Able to deploy aboard any air-capable frigate, destroyer, cruiser, fast combat support ship, amphibious assault ship, or aircraft carrier, the Seahawk can handle antisubmarine warfare (ASW), undersea warfare (USW), anti-surface warfare (ASUW), naval special warfare (NSW) insertion, search and rescue (SAR), combat search and rescue (CSAR), vertical replenishment (VERTREP), and medical evacuation (MEDEVAC). All Navy H-60s carry either the Lucas Western or Breeze Eastern rescue hoist for SAR/CSAR missions.
The MH-60R is designed to replace the SH-60Bs and SH-60Fs, and be a true multi-mission helicopter. Its sensors include the ASE package, MTS-FLIR, an advanced airborne fleet data link, and a more advanced airborne active sonar. It does not carry the MAD suite. Pilot instrumentation will be based on the MH-60S’s glass cockpit, using several digital monitors instead of the complex array of dials and gauges in Bravo and Foxtrot aircraft. Offensive capabilities are improved by the addition of new Mk-54 air-launched torpedoes and Hellfire missiles. All Helicopter Anti-Submarine Light (HSL) squadrons that receive the Romeo will be redesignated Helicopter Maritime Strike (HSM).
The Fleet Replacement Squadron (FRS), HSM-41, received the R-model aircraft in December 2005 and has begun training the first set of pilots. In 2007, the MH-60R successfully underwent final testing for incorporation into the fleet. As of August 2008, the first 11 combat-ready examples equipped HSM-71, a squadron assigned to the USS John C. Stennis (CVN-74). According to Lockheed Martin, "secondary missions include search and rescue, vertical replenishment, naval surface fire support, logistics support, personnel transport, medical evacuation and communications and data relay."
Helicopter Maritime Strike Squadron 41 (HSM 41) is the Navy’s Fleet Replacement Squadron dedicated to training new MH-60R pilots and aircrew. When commissioned on January 21, 1983, as Helicopter Anti-Submarine Light 41 (HSL-41) it was the Navy’s first Light Airborne Multi-Purpose System (LAMPS) MK III squadron and flew the Sikorsky SH-60B helicopter. HSL-41 trained pilots and aircrew for the west coast HSL squadrons in San Diego, Hawaii, and Japan.
The success of West Coast LAMPS detachments in the Pacific Ocean, Indian Ocean, and Arabian Gulf is a tribute to the quality of initial and follow-on training that has been the hallmark of HSM 41. As a result, the squadron was awarded the Meritorious Unit Commendation in 1985, 1988, 1991 and 2002.
On December 8th, 2006, HSL-41 changed its name from Helicopter Anti-Submarine Squadron Light 41 to Helicopter Maritime Strike Squadron 41. In February 2008, HSM 41 surpassed 140,000 flight hours without a major aircraft incident and celebrated its 25th anniversary. Since 1983, HSM 41 has trained over 3000 Fleet Replacement Pilots and Aircrew for service in LAMPS MK III and MH-60R fleet squadrons.