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My own drawing, stippling, cross hatch & hatch of a classic bike arrangement. Frame, fork, wheels, hubs, cranks, pedals, handlebars and all the works. Take apart, put back together, ride around. Bicycles are a lot of fun and bring folks and community together.
Artwork by Karl Addison
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We donated to Mercy For Animals to help assist in their efforts for animal compassion, education, investigations, grassroots activism and more.
What Is “Mercy For Animals”?
Mercy For Animals is a national 501(c)(3) non-profit animal advocacy organization. Founded in 1999 and over 25,000 members strong, MFA works to create a society where animals are treated with the respect and compassion they so rightly deserve.
MFA believes non-human animals are irreplaceable individuals with morally significant interests and hence rights. This includes the right to live free from unnecessary suffering and exploitation.
MFA is dedicated to establishing and defending the rights of all animals. Over 99% of cruelty to animals in the United States occurs at the hands of the meat, dairy, and egg industries - which confine, mutilate, and slaughter over 9 billion animals each year. As such, MFA primarily focuses on farmed animal advocacy and promoting cruelty-free food choices.
MFA works to be a voice for animals through powerful consumer education programs, proactive advertising campaigns, groundbreaking undercover investigations, working with news media, and grassroots activism.
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Am 15. August protestierten rund 50 Frauen in Berlin für die konsequente Umsetzung der Istanbul-Konvention durch die Bundesregierung. Initiiert wurde die spektakuläre Protestaktion von Prof. Dr. Kristina Wolff, Petitionsstarterin der Change.org-Kampagne "Stoppt das Töten von Frauen #saveXX", sowie Hellen Langhorst und Klara Martens, Mitgründer*innen von Femen Deutschland.
Auf dem Bild zu sehen ist die Protestaktion gegen Femizide vor dem Brandenburger Tor.
Weitere Informationen: Change.org/SaveXX
Foto: Change.org
frei zur nichtkommerziellen Nutzung (siehe creative commons-Lizenz) | für kommerzielle Verwendung wenden Sie sich bitte an presse@change.org
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Sea Otter:
Part of my ocean series that I have been drawing for the past couple of months. This cute amazing little guy is available on stationary too. Check out the overloading cuteness of his wet matted hair, and his paws on his belly. Just chillin' in the ocean - swimming around and enjoy life. The way it should be.
Artwork by Karl Addison
Cfr. notes over the above image.
NOTES
1. L’art pour l’art: cfr. V. Cousin 1818; F.W. Nietzsche 1888: GD10,24.
2. Cfr. F.W. Nietzsche 1888: Frammenti postumi 1888-1889 (v. 8.3).
3. J. Baskerville 1754: Baskerville (SG) SB Roman OSF typeface.
REFERENCES
Bordeaux-Saint-Jean or Bordeaux-Midi is the main railway station in the French city of Bordeaux. It is the southern terminus of the Paris–Bordeaux railway, and the western terminus of the Chemin de Fer du Midi main line to Toulouse. The current station building opened in 1898. The station buildings hide a large rooftop, built by Gustave Eiffel, which is 56 m wide and covers 17,000 m². Source: en.wikipedia.org
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Nouvelle-Aquitaine ("New Aquitaine") is the largest administrative region in France, located in the southwest of the country. The region was created by the territorial reform of French Regions in 2014 through the merger of three regions: Aquitaine, Limousin and Poitou-Charentes. It covers 84,061 km2 – or 1⁄8 of the country – and has approximately 5,800,000 inhabitants. (municipal population on 1 January 2012). The new region was established on 1 January 2016, following the regional elections in December 2015.
It is the largest region in France by area, with a territory slightly larger than that of Austria; even French Guiana is smaller. Its largest city, Bordeaux, together with its suburbs and satellite cities, forms the 7th-largest metropolitan area of France, with 850,000 inhabitants. The region has 25 major urban areas, among which the most important after Bordeaux are Bayonne (288,000 inhabitants), Limoges (283,000), Poitiers (255,000), Pau (241,000), and La Rochelle (206,000), as well as 11 major clusters. The growth of its population, particularly marked on the coast, makes this one of the most attractive areas economically in France: the new region outperforms the Île-de-France and Provence-Alpes-Côte d'Azur in terms of demographic dynamism. Source: en.wikipedia.org
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The TGV Atlantique (TGV-A) is a class of high-speed trains used in France by SNCF ; they were built by Alstom between 1988 and 1992, and were the second generation of TGV trains, following on from the TGV Sud-Est.
105 bi-current sets, numbered 301-405, were built for the opening of the LGV Atlantique. Entry into service began in 1989. They are 237.5 m long and 2.904 m wide. They weigh 444 t, and are made up of two power cars and ten carriages with a total of 485 seats. They were built for a maximum speed of 300 km/h with 8,800 kW total power under 25 kV. en.wikipedia.org
Strandfontein Sewage Works
Although the uninitiated will often turn up their noses at the idea of voluntarily visiting a sewage farm, such places are often exceptionally rich in birdlife. This is especially true of the extensive Strandfontein sewage works, arguably the best waterbird locality close to Cape Town, whose existence is under threat from a new motorway. The abundant and diverse birdlife makes it an ideal destination for the beginner and serious twitcher alike, and it is possible to see more than 80 species on a summer morning. A major advantage is the opportunity to bird from the comfort and security of your car, which can be used as a moving hide. The vast network of reed-fringed pans which radiate out from the sewage plant buildings is connected by good gravel roads, but beware of occasionally treacherous sandy patches, especially along the southern coastal road.
To enter the Strandfontein sewage works from the Cape Town side, take the M5 free-way southwards from Cape Town and turn left into Ottery Road at the Ottery turn-off; continue for 4.5 km until the junction with Strandfontein Road (M17); turn right here, and continue (southwards) along Strandfontein Road for 4 km; turn right again at the ‘Zeekoeivlei’ sign (1 on site map, opposite) within a stand of gum trees just after a petrol station and opposite Fifteenth Avenue. To enter the works from the False Bay side, turn north onto Strandfontein Road from Baden Powell Drive, 6.8 km east of the Muizenberg traffic circle, and you’ll reach the Zeekoeivlei turn-off after 4.1 km.
Baden Powell Drive (R310) follows the False Bay coast westwards to Muizenberg and Simon’s Town, and eastwards to the N2 highway near Somerset West. Strandfontein can thus conveniently be visited after Sir Lowry’s Pass (p.60).
The poorly marked entrance to the works is adjacent to a derelict building at the south end of Zeekoeivlei (2), where African Fish Eagles are often seen roosting in the trees to the west. Bird numbers and water levels at Strandfontein vary widely depending on the year and season, and the route suggested below is intended as a general guide to the most productive areas.
Continue along the tar road towards the plant buildings, and check the deep pans on both sides of the road (3 and 4) for Black-necked Grebe, Maccoa Duck, Southern Pochard, and Cape Teal. Here too you will see the first of various other waterfowl species that are common throughout the sewage works, such as Cape Shoveller, Yellow-billed Duck and Red-billed Teal, while Purple Gallinule stalk along the reed-lined edges. Levaillant’s Cisticola is very common in long grass fringing the pans, and agitated birds draw attention to themselves with their characteristically frenetic calls. White-throated and European Swallows (summer) and Brown-throated Martin dart low overhead.
Where the road meets the sewage plant itself, continue to the left of the buildings, and scan pan 5 for a good variety of waterfowl. The adjacent small, muddy pan at 6 often host somewhat scarcer species such as Southern Pochard and Wood Sandpiper. The road between the two pans is regularly used in summer as a roost by large numbers of White-winged Terns, which can be seen flying over pans throughout the area.
At this point, retrace your route and continue to the pan at 7. This pan, and the small, reed-enclosed pond at its northern end, are usually also productive. At the ‘hub’ of the wheel of large pans, turn left. Pan 8, on your right, invariably holds good numbers of birds, notably Black-necked Grebe, White Pelican, Greater Flamingo and Maccoa Duck.
The western and northern corners of pan 9 are always worth investigating. The former often has an exposed beach frequented by waders (including Avocet); the latter is good for scarcer ducks such as Cape Teal and South African Shelduck, and occasionally Hottentot Teal. Continue around the northern apex of pan 9 and head south past pan 0. The reeds in this vicinity are particularly good for African Sedge Warbler, Cape Reed Warbler and, in summer, African Marsh Warbler. Very much more evident in the alien thicket are Cape Francolin and Cape Bulbul. Pan 0 itself usually offers great birding, providing a good selection of waterfowl and wading birds in its northern reaches.
Options are now limited by sandy roads, so we suggest that you retrace your route and turn left along the southern border of pan 9. This is an especially good area for African Marsh Harrier, which is virtually guaranteed to be seen flying low over the alien thicket and adjacent reedbeds. Head south again, and cast a glance over pan A for African Black Oystercatcher. Turn right where the road meets the coastal dunes, where Swift and Sandwich Terns and Little Stint (summer) often roost. Spare a moment to look up from your telescope and enjoy the splendid view over False Bay and its embracing mountains!
Good numbers of waterbirds can reliably be found on pan B. Cape and White-breasted Cormorants, White Pelicans and miscellaneous waterfowl roost on the large, sandy island and on the pan edge (C on map), while rafts of assorted ducks bob on the usually choppy water. A pair of South African Shelduck often frequents this pan, as do flocks of Greater Flamingo.
Having absorbed all pan B has to offer, continue past a series of relatively unexceptional pans before re-entering the central wheel at E. The small pan at D is often productive, as is E. Before leaving, you might find it worthwhile to check pan F for Great Crested Grebe.
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
en.wikipedia.org/wiki/Thierry_Geoffroy
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
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#formatart
#documentacritic
#biennalist
#ultracontemporary art
#protestart
This activist boy was our youngest marcher.
Photo by Miriam Kashia - we did get permission from his mother.
Miami est. 1896, pop. 2.6MM
• historically "Little San Juan" Puerto Rican neighborhood • in addition to Art District, Wynwood has Fashion District and Technology District, and is directly south of Miami's Design District
• Wynwood began as 160 acre subdivision developed in 1917 by Downtown “racket” (variety) store owner Josiah (Joe) F. Chaille (1874-1970) & super-salesman Hugh M. Anderson (1881-1941) • Chaille's store was located at Miami Ave/Flagler St, current site of Burdines (now Macy’s), which purchased his business
• Anderson, was a principal in development of Miami Shores, Venetian Causeway & Biscayne Blvd. • ran contest to name new subdivision, awarding a lot to winner Mrs. S.H. Ward • winning entry was WYNDWOOD • city of Miami soon built public park in subdivision, dropped the "d," naming it Wynwood Park, which was later renamed Roberto Clemente Park, 07 Jul, 1974, in honor of the Puerto Rican major league baseball star who died on a humanitarian mission to Nicaragua • History of Wynwood Miami -Miami-History Blog
• over 70 art galleries in Art District • "ArtWalk" 2nd Saturday/month • one of biggest street art districts in world • adaptive reuse of exterior walls: 30 x 5 blocks of windowless factories & warehouses converted to open air art gallery, curated by Primary Flight • over 300 murals • 50K visitors to Winwood Walls during 6 days of Art Basel Miami Beach, 2013
• idea of Winwood Walls credited to Tony Goldman (1943-2012): "By presenting [grafitti and street art] in a way that has not been done before, I was able to expose the public to something they had only seen peripherally." • Goldman Properties history
"The Wynwood Walls is a creative oasis of the highest order. The worlds only outdoor street art museum, free to the public. Encompassing over 40 large and medium scale works by national and international street artists representing countries such as Brazil, Germany, Japan, the Ukraine, Greece, Spain and France."
• Wynwood homepage • thewynwoodwalls.com • Daughter of Wynwood pioneer carries on father’s mission -Miami Herald • The New Wynwood -Miami Rail • How Wynwood Earned It's Street Cred -Ocean Drive • Getting a New Life, and Art -NY Times • The Party Has Overtaken the Art -Miami Herald • Goldman Properties -Curbed Miami
Source:
www.acrimed.org/Medias-de-classe-haine-de-classe
Médias de classe, haine de classe
par Mathias Reymond, jeudi 16 septembre 2021
Le Nouveau Monde -Tableau de la France néolibérale a paru aux éditions Amsterdam le 10 septembre. Ce livre collectif accorde notamment une large place à la critique des médias et des industries culturelles. En attendant d’en débattre le 23 septembre à 19h au Monte-en-l’air à Paris (avec Samuel Gontier et d’autres auteurs), le 13 octobre à 18h30 à l’auditorium de la Maison internationale de Rennes (avec Sophie Eustache et Renaud Lambert) et le 19 novembre à 19h à la Carmagnole à Montpellier (en présence de Laurence de Cock, Thierry Discepolo et Mathias Reymond), nous publions ici un chapitre. (Acrimed)
« Tout se passe, explique le sociologue Alain Accardo, comme si le “peuple” n’était intéressant pour les médias qu’autant qu’il est inoffensif, désorganisé, souffrant, pitoyable, mûr pour les Restos du cœur, l’intervention caritative et le miracle du loto [1]. » Invisibles à la télévision ou à la radio, les classes populaires sont rappelées à l’ordre dès lors qu’elles ne s’y résignent plus. Méprisés sur tous les plateaux, leurs porte-parole se font gronder quand ils cessent d’y faire de la figuration.
Depuis 2014, les grands médias doivent diffuser des programmes qui contribuent à la lutte contre les préjugés sexistes et les violences faites aux femmes. Un progrès, tout de même, tant par ailleurs l’inégalité sociale semble, elle, toujours aller de soi. Ou presque de soi. Si le législateur a confié en 2006 le soin au CSA (Conseil supérieur de l’audiovisuel) de veiller à la représentation de la diversité de la société française, son dernier rapport annuel est accablant : « les CSP+ sont surreprésentées dans tous les genres de programmes. Elles représentent jusqu’à 79 % des personnes visibles dans les divertissements, 78 % dans l’information et 73 % dans les fictions. » La proportion des cadres, professions libérales et chefs d’entreprise à la télévision atteint 61 % en 2019 alors que ce groupe ne représente que 10 % de la société ; pour les ouvriers, ces proportions atteignent, respectivement, 3 % et 12 %. Autrement dit, les CSP+ sont quinze fois plus présents que les ouvriers alors qu’ils sont moins nombreux dans la population…
À la radio, aussi, l’écart est saillant. Une enquête du Monde diplomatique pointait que, la semaine du 18 au 24 novembre 2019, « les studios de la radio de service public France Inter ont accueilli 177 invités. Tous issus de classes moyennes supérieures, culturellement et économiquement favorisées. À deux petites exceptions près, à des heures de faible écoute. [Une] étudiante boursière et une chômeuse de longue durée ont apporté leur “témoignage” dans l’émission “Le nouveau rendez-vous”, entre 22 heures et 23 heures [2]. » D’autres stations se préoccupent davantage de la diversité sociale. « Les Grandes Gueules » sur RMC accordent du temps d’antenne à toutes les classes sociales et, comme le relève Vincent Goulet, cette émission « a un côté polémique […] proche de l’ethos populaire [3] ». Mais le sociologue constate aussi que « le cadrage idéologique » reste, notamment par le choix des thèmes et des polémiques, « très proche du pôle libéral et entrepreneurial. » On en revient ainsi très fréquemment à la figure du « patron » qui « se bat seul contre le fisc pour donner du boulot aux pauvres gens ». Et, in fine, les milieux populaires constituent toujours ce que Pierre Bourdieu nommait une « classe-objet », soit un groupe qui est parlé par d’autres plutôt qu’il ne parle de sa voix propre. Ainsi des classes populaires périurbaines : comme le constate le CSA, « les personnes demeurant dans les grands ensembles de banlieues populaires […] n’apparaissent qu’à hauteur de 7 % dans les programmes visionnés alors que ces zones seraient habitées par 27 % de la population ». En revanche, 52 % des intervenants à la télévision résident en centre-ville alors que cette situation caractérise 32 % de la population. De plus, les habitants de ces « banlieues » sont systématiquement présentés à travers des clichés (jeunes des cités, rappeurs, petits dealers) et renvoyés à une identité ethnoculturelle (d’origine africaine, de confession musulmane…) plutôt qu’à leur appartenance aux classes populaires [4].
L’exclusion des classes populaires procède aussi de la sélection des sujets. La couverture des « sports d’hiver » et des vacances à la montagne occupe chaque année une place considérable dans les journaux télévisés (JT) durant les mois de décembre, janvier et février. On s’émerveille des chutes de neige, on compatit aux embouteillages et on salive devant la fondue du soir ! Sur TF1, en février, la cadence est d’un sujet par JT [5]. À quoi s’ajoute la « météo des neiges ». Pourtant, deux tiers des Français ne partent jamais en vacances l’hiver. 9 % des ouvriers se rendent à la montagne à cette saison au moins une fois tous les deux ans, contre 40 % des cadres et professions intellectuelles supérieures [6]. Le choix d’un thème, d’un angle ou d’un invité permet même parfois d’expulser les classes populaires de chez elles – quand Le Monde consacre l’essentiel d’un dossier sur Marseille à la création culturelle, à l’attractivité renouvelée de la ville et à ses bonnes adresses (« Il fait bobo à Marseille ») [7] – ou de les déposséder de leur Histoire – quand la commémoration médiatique de Mai 68 consiste encore et toujours à inviter Serge July ou Daniel Cohn-Bendit.
Et en 2018 ? Comment ont été traités les Gilets jaunes ? De manière générale, par de la condescendance, voire du mépris. Un peu de paternalisme aussi [8], celui de Franz-Olivier Giesbert sur BFM-TV – « Ils ne vivent pas comme nous […]. Ce sont des gens qui veulent juste qu’on leur parle, qu’on leur explique » – ou celui de Christophe Barbier sur France 5 – « Beaucoup de Gilets jaunes sont des gens qui regardent la télé parce qu’ils n’ont pas beaucoup d’autres distractions dans la vie » ; dès lors, pour mettre fin au conflit pourquoi ne pas « supprimer la redevance télé » ? Trois jours après la première manifestation du 17 novembre 2018, Cyril Hanouna invite quatre Gilets jaunes dans son émission sur C8 pour « faire avancer les choses dans le calme » et faire en sorte « que tout le monde se sente bien dans cette société ». Il tient à le faire savoir aux personnes mobilisées : « Sur les chaînes du groupe Canal+, on est avec vous. » Avec, surtout pour tempérer les revendications et modérer les ardeurs : « Est-ce que vous ne pensez pas que les débordements, ça pollue un peu le débat, et ça fait que les choses avancent moins bien au niveau du gouvernement ? » ; « Je suis persuadé que le gouvernement ne demande qu’à discuter avec vous. » ; « J’ai des infos. Je sais que le gouvernement travaille dans votre sens. » Et, lorsque les Gilets jaunes affichent leur détermination, notamment à obtenir la destitution de Macron, l’animateur morigène : « C’est pas bon, de parler comme ça » ; ou : « Alors là, Maxime, je vous aime beaucoup, mais non. C’est un truc qui va décrédibiliser le mouvement. »
Viendra ensuite le temps de la déception. « Je ne comprends plus rien aux Gilets jaunes, se lamente l’animateur de RMC Éric Brunet le 2 décembre. Cette profonde grogne anti-taxes est devenue au fil des jours un mouvement pour l’augmentation du Smic et des minimas sociaux… J’ai lu avec attention leur plateforme revendicative : elle est plus à gauche que le programme de Mélenchon. » La condescendance vire à la haine de classe. « Il y a dans le mouvement des Gilets jaunes, déplore Thomas Legrand le 11 février 2019, une incapacité à s’exprimer, une incapacité à hiérarchiser ses revendications, une incapacité à dire ce qu’ils veulent. » Éric Drouet et Maxime Nicolle que Legrand identifie comme les « leaders » du mouvement ? « Leurs propos sont absolument débiles. C’est-à-dire qu’ils sont incommentables. Moi je me penche sur leurs textes, sur ce qu’ils disent, et là il ne s’agit pas d’orthographe, il s’agit du contenu : c’est débile. » Pour l’ancien dessinateur au Monde, Xavier Gorce, aussi, les Gilets jaunes sont dépourvus de sens politique (« Nous exigeons ! Et n’essayez pas de nous piéger en nous demandant quoi », fait-il dire à l’un d’entre eux), hargneux, individualistes, bêtes (« troupeaux d’abrutis »), méchants, et même nazis : un dessin représente un Gilet jaune tatoué « Über alles » [9]. Des « beaufs d’extrême-droite » aussi pour le journaliste de Libération Jean Quatremer, qui les dépeint comme « factieux » à « embastiller » d’urgence, « poujadistes », évidemment « antisémites » et « homophobes » [10]. Mais nous cacherait-on des choses ? Jean-Michel Aphatie l’assure : « dans ce mouvement [des Gilets jaunes], je pense depuis le début qu’il y a une organisation souterraine, cachée. Il y a des tireurs de ficelles [11]. »
Les saillies contre les classes populaires se doublent d’attaques contre ceux et celles qui les défendent ou qui les représentent. Sommations à négocier, procès en archaïsme, et rappels à l’ordre : à chaque mobilisation sociale, des syndicalistes ou d’autres personnalités subissent un déferlement de violence médiatique. En 2019 et 2020, au cours des mobilisations contre la réforme des retraites, Philippe Martinez, le secrétaire général de la CGT, a constitué la cible préférée des journalistes. Lors de la matinale de France Inter le 7 janvier 2020, les deux animateurs ne lui ont laissé aucun répit. Quand Léa Salamé ironise – « Quel est l’objectif d’appeler à faire la grève dans les raffineries ? C’est d’empêcher les Français de mettre de l’essence en fait ? » –, Nicolas Demorand se fait plus sentencieux. « C’est désormais la plus longue grève à la SNCF depuis Mai 68 », explique l’animateur avant de dérouler : « les Français, surtout les franciliens d’ailleurs, se débrouillent comme ils peuvent pour circuler pour se rendre à leur travail. Des commerçants ont perdu beaucoup de chiffre d’affaires pendant les fêtes. Certains redoutent même, on le disait hier, à Paris de mettre la clé sous la porte. » Et Demorand de s’interroger : « Est-ce que vous assumez toutes ces conséquences, tous ces effets de la mobilisation ? Et est-ce que ça vous fait réfléchir et pourquoi pas douter ? »
Tant qu’ils défilent sans entraver le fonctionnement de la société, les manifestants sont tolérés. Dès qu’ils vont au-delà, plutôt que de les interroger sur les motifs de leur colère, les journalistes enjoignent à leur porte-parole de s’expliquer sur cette « violence » et, surtout, de la condamner. Lors du mouvement des Gilets jaunes, François Ruffin est interrogé sur France Bleu Provence le 18 mars 2019 ; la première question qui lui est posée est « toute simple » : « Est-ce que vous condamnez les violences sur les Champs-Élysées, samedi à Paris ? » Les suivantes sont de la même eau. Trois ans plus tôt, dans une séquence surréaliste diffusée sur BFM-TV, Apolline de Malherbe pose huit fois la même question à Olivier Besancenot à la suite de débordements en marges des défilés du 1er Mai : « Est-ce que vous condamnez les violences ? » Les réponses du porte-parole du NPA (Nouveau Parti anticapitaliste) et sa volonté de débattre du fond (la loi dite « El Khomri ») n’entament en rien la pugnacité de l’animatrice. Elle répétera onze fois une deuxième question : « Les casseurs sont-ils des manifestants [12] ? »
La même morgue s’observe à chaque campagne présidentielle. Le 19 mars 2017, invité d’Europe 1, à la veille du « grand débat », Hervé Gattegno – directeur de la rédaction du Journal du dimanche et éditorialiste à RMC et BFM-TV – revient sur le choix de TF1 de ne convier que les cinq « gros » candidats : « Si on veut un débat sérieux, un débat où on aborde les vrais thèmes, il faut se concentrer sur les candidats qui peuvent prétendre vraiment gouverner le pays. Vous savez, avec onze candidats, dont un complotiste, deux trotskistes et celui qui veut coloniser la planète Mars, ce n’est plus un débat, c’est un jeu télévisé. C’est-à-dire que c’est au mieux "Questions pour un champion", au pire, "Le Maillon faible". » Ouvrier et candidat du NPA pour les élections présidentielles de 2012 et de 2017, Philippe Poutou explique la disposition des médias à sélectionner les « bons clients » : « La plupart du temps, c’est Olivier [Besancenot] qui est invité […]. Depuis quelques semaines, nous proposions à nouveau que ce soit moi qui participe aux émissions, en tant que candidat à la prochaine présidentielle mais aussi en tant que porte-parole du parti, histoire de montrer un autre visage du NPA. Parfois, les télévisions acceptent, mais c’est rare. On nous répond souvent : “C’est promis, on invitera Poutou la prochaine fois !” Et puis, la fois suivante, c’est encore Olivier. Tous agissent de la même manière [13]. » Les médias entendent choisir eux-mêmes les porte-parole des organisations politiques ou des mouvements sociaux, ceux qui font de l’audience, ceux qui maîtrisent les « codes » comme la concision de l’expression.
Mais, de manière plus générale, « pour parler à la télévision, résume l’Observatoire des inégalités, mieux vaut savoir maîtriser le discours en public. La parole est donc donnée, dans l’immense majorité des cas, à ceux qui la manient le mieux, c’est-à-dire aux plus diplômés et aux catégories favorisées [14]. » Lors de la crise sanitaire de 2020-2021, ce sont presque toujours des médecins qui ont été conviés aux matinales des grandes chaînes de radio (92 % des invitations durant les mois de mars et avril 2020) [15] et, plus encore, des chefs de services. Les autres travailleurs médicaux, travailleuses pour la plupart, n’ont pas eu droit de cité. Ce sont pourtant les infirmières, les aides-soignantes ou les agents des services hospitaliers chargées de l’entretien et de la désinfection des locaux qui sont les plus nombreuses à l’hôpital. Ce sont elles aussi qui ont été directement chargées de mettre en œuvre la réorganisation des services, de gérer les plannings et le matériel ou qui furent les plus mobilisées pour dénoncer la destruction de l’hôpital public en 2019-2020 ou les pénuries à répétition (lits, respirateurs, masques).
À quoi tient cette disparité ? Sans doute en grande partie au profil des journalistes, un peu le même dans toutes les rédactions. Cette uniformité est liée à la longueur de leurs études, souvent analogues [16], aux origines sociales communes (et aisées), aux lieux de résidence identiques (20 000 des 35 000 détenteurs de la carte de presse habitaient en région parisienne en 2018) et à des salaires supérieurs à la moyenne (le salaire médian des journalistes titulaires – 74 % de la profession – était de 2 800 euros net par mois en 2016. Celui de l’ensemble des Français était de 1 800 euros en 2015 selon l’Insee) [17]. En bas de la grille des salaires, les journalistes pigistes et en CDD touchent autour de 1 800 euros bruts. Une précarité que ne connaissent pas les chefferies du journalisme qui occupent l’espace médiatique, sélectionnent les sujets, construisent et éditorialisent l’information. Leurs revenus fluctuent entre 5 000 et 15 000 euros par mois pour les présentateurs/animateurs d’émission et journaux sur les télévisions et radios publiques, et entre 25 000 et 50 000 euros pour les mêmes fonctions dans les médias privés [18].
Stéphane Courbit, lui, habite à Neuilly-sur-Seine (ou à Saint-Tropez l’été). 114e fortune de France, l’homme d’affaires à la tête de Banijay a importé les émissions de téléréalité en France. Après « Loft Story » en 2001, c’est lui qui a produit en 2011 l’émission à succès « Les Ch’tis » sur W9, puis, en 2012, sa déclinaison provençale, « Les Marseillais ». Le « concept » est le suivant : suivre quotidiennement durant plus d’un mois des candidats locaux issus principalement de milieux modestes et travaillant dans le monde de la nuit (barman, serveuse, DJ, danseuse…). À chaque saison, ils découvrent un lieu paradisiaque (Ibiza, Las Vegas, Hollywood, Cancún, Rio…). Le succès de l’émission repose sur un montage perfide surlignant les fautes de français des uns ou les réflexions niaises des autres, en saupoudrant le tout de disputes et de larmes. Les « héros » – et surtout les « héroïnes » – ne semblent préoccupés que par leur apparence et leur succès (éphémère).
Si, à des fins commerciales, ces émissions de divertissement accordent davantage de place aux classes populaires – et si ces émissions sont sans doute davantage regardées par les classes populaires –, ce qu’elles disent du peuple, ou d’un certain rapport au peuple, ne diffère pas vraiment de ce qu’on entend sur les plateaux ou dans les studios des programmes d’information. Dans son roman Comme un empire dans un empire [19], Alice Zeniter décrit les jurés du télécrochet « The Voice », feignant « de souffrir plus que les candidats qu’ils éliminaient », leur volant « toute possibilité de parler de la violence du procédé, secondés en cela par la réalisation qui braquait les caméras sur les chanteurs connus, émus aux larmes ». Et la romancière de comparer à « la casse sociale à l’œuvre dans le pays. Après tout, c’était le même show : un patron millionnaire ou un ministre à la retraite assurée venait déclarer à la télévision que c’était dur pour lui, cette fermeture d’usine, vraiment dur, quelle vacherie, la réalité économique se fout des sentiments, elle les piétine, pourtant j’aurais voulu… »
Consterné devant cette mascarade, le héros du roman de Zeniter « aurait voulu voir des Gilets jaunes faire irruption sur le plateau ». Avec leur mobilisation, en tout état de cause, deux mondes se sont affrontés : d’un côté des manifestants s’organisant en dehors des cadres habituels (hors syndicats, partis politiques…), via les réseaux sociaux, et contre les grands médias ; et, de l’autre, des journalistes (et leurs auditeurs) refusant de sortir de leur confort et arcboutés sur l’image (le cliché) qu’ils se faisaient des Gilets jaunes. Ce traitement réservé à la classe ouvrière, à ses représentants et aux syndicalistes relève aussi du refus de toute opposition au libéralisme économique. Comme l’expliquait le journaliste Michel Naudy, dans le film Les Nouveaux Chiens de garde, « pour la très grande majorité [des journalistes], dès l’instant où [les membres des classes populaires] sortent de leur rôle, […] alors ils deviennent dangereux. Parce qu’ils rompent avec le consensus mou de la démocratie molle. Ils rompent la règle du jeu, ils brûlent des pneus, ils occupent des usines, ils séquestrent des patrons, ils sont hors le champ social. Et là, l’appareil idéologique montre ses dents et mord cruellement. Et ce qui est moquerie de classe devient, à certains égards, exclusion, voire haine de classe [20]. »
Et, à l’inverse, les médias traditionnels, quels sentiments inspirent-ils au peuple ? S’ils ont exercé leur emprise sur le public tout au long du XXe siècle, leur crédit a depuis été fortement entamé : les charniers de Timisoara, les guerres du Golfe, les armes de destruction massive en Irak, le Kosovo, le Traité constitutionnel européen, les « faits divers » (Outreau, RER D, etc.), sont passés par là et ont laissé des traces. Mais il faut le souligner : il n’y a pas que des animateurs vedettes et des commentateurs qui ont été impliqués dans la propagation de fake news et dans la propagande en tous genres. Il y a eu des directeurs de journaux, des rédacteurs en chef, mais aussi des journalistes, des reporters, des photographes… Des journalistes inconnus, des reporters inconnus, des photographes inconnus. La pression subie, la précarité réelle, ne doivent pas faire oublier que les journalistes – tous les journalistes – ont une responsabilité qui mérite une exigence sans faille.
Florence Aubenas raconte comment, à la fin de son enquête pour Le Quai de Ouistreham [21], lorsqu’elle est allée trouver ses collègues femmes de ménage pour leur révéler qu’elle était journaliste, l’une d’entre elle lui a répondu : « Depuis quand les journalistes s’intéressent à nous ? » Pour la grande reporter, « l’échec du journalisme, c’est vraiment ce manque de confiance que les lecteurs, les auditeurs ont vis-à-vis de nous […]. Les informations qu’on donne de la société […] ne sont pas celles qu’ils aimeraient partager ou celles qu’ils aimeraient connaître. Elles sont celles qui nous intéressent, qui intéressent ce monde clos de la presse, qui a ses codes, qui a ses intérêts […] Et je pense ça, c’est un sacré problème [22]. »
« Ça et la proximité avec nos sources, ajoute Aubenas. On me demande souvent “mais vous n’êtes pas trop proche des gens ?” et effectivement à Ouistreham j’ai gardé des copines […]. Mais, le problème, ce n’est pas d’être copine avec une femme qui fait le ménage à Ouistreham ou quelqu’un qui travaille dans une usine de plastique à Montréal-la-Cluse. Non, le problème c’est quand on est copain avec Macron ou avec un chef d’entreprise puissant qui vous tient en son pouvoir. » En effet, si les médias ne réussissent plus à prescrire ce qu’il faut penser, ils continuent de fixer, avec l’aide des dirigeants politiques et économiques, l’agenda médiatique. Ils imposent ainsi ce à quoi il faut penser. Pour le sociologue Patrick Champagne, « ce que l’on appelle le “pouvoir des médias” pourrait bien n’être pour l’essentiel que le pouvoir de ceux qui ont un intérêt à croire et à faire croire au pouvoir des médias, et dont font partie, au premier chef, tous ceux qui participent du pouvoir des médias [23]. » Loin, très loin du peuple.
Mathias Reymond
Sean Mallon's extremely heartfelt build and the organization the 4uDrew Foundation's charity work is covered in this latest Canibeat.com Feature!
It was an honor to hear the story and shoot the car.
Definitely showcases the beneficial and giving power of the car community! Thank you Sean for sharing the car and story!
Read it here! www.canibeat.com/2014/09/a-community-united-the-4udrew-fo...
Museo de Bellas Artes de Sevilla
es.wikipedia.org/wiki/Museo_de_Bellas_Artes_de_Sevilla
El Museo de Bellas Artes de Sevilla fue instituido en septiembre del año 1835 e inaugurado oficialmente en 1841. Se ubica en la llamada Plaza del Museo, que está presidida por una escultura dedicada a Bartolomé Esteban Murillo. Es un museo fundamental para conocer tanto la pintura barroca sevillana, especialmente de Zurbarán,Murillo y Valdés Leal, como la pintura andaluza del siglo XIX.3
Historia
El edificio que en la actualidad alberga el Museo se construyó en un principio como convento de la Merced, para la Orden de la Merced Calzada de la Asunción, fundada por san Pedro Nolasco en época de Fernando III. Este rey, tras la reconquista de la ciudad, cedió unas tierras con la finalidad de levantar el edificio conventual, que por la época de su construcción era de estilo mudéjar.
Tras unas remodelaciones promovidas en el siglo XVII por Fray Alonso de Monroy (General de la Orden desde 1602) y ejecutadas por el arquitecto y escultor Juan de Oviedo y de la Bandera a partir de 1603, se comienza el edificio que actualmente contemplamos, después de derribar el antiguo Convento que ocupaba el solar, terminándose la obra principal en1612, si bien la obra no concluyó definitivamente hasta 50 años más tarde, resultando de ello un edificio de estilo manierista andaluz, del que es uno de sus principales referentes.
En 1625, el dramaturgo Tirso de Molina, perteneciente a la Orden de la Merced, fue desterrado de Madrid a Sevilla por dictamen de la Junta de Reformación, residiendo en este antiguo Convento de la Merced.
La Orden que ocupaba el edificio fue expulsada en 1835, tras la desamortización de Mendizábal.
En 1839 pasó a ser museo. Desde esa fecha ha sido modificado estructuralmente en tres ocasiones: en primer lugar, entre 1868 y 1898 en que se restauraron las arquerías y muros del piso primero, el solado de los claustros y alicatado con azulejos de otros conventos desamortizados; por segunda vez se retocó entre 1942 y 1945. En esta ocasión se actuó sobre la antigua sacristía,que pasó a convertirse en el patio de las Conchas y sobre la fachada principal, que cambió de lugar, cerrándose la portada barroca por la que se accedía anteriormente. La tercera vez que sufrió una modificación fue entre 1985 y 1993, en que se rehabilitó en su totalidad y acondicionó realmente para que sirviera como museo, rigiéndose por las exigencias existentes para ello.
Edificio
Exterior
La fachada principal se presenta frente a la plaza del Museo, su portada, es la primitiva del convento, que estaba colocada en el extremo contrario del edificio y fue diseñada por Miguel de Quintana en 1729, presenta arco de medio punto con un par de columnas paredas a cada lado, que descansan sobre pedestales. Sobre la misma se abre una gran hornacina en cuyo interior se encuentran las figuras de la Virgen de la Merced, San Pedro Nolasco, fundador de la Orden y el rey Jaime I de Aragón, su protector. A ambos lados la flanquean dos columnas salomónicas, y sobre ella se encuentra a modo de remate un frontón en cuyo centro se sitúa el escudo de laOrden de la Merced.
Interior
La estructura actual del edificio se corresponde con la reforma llevada a cabo a partir de 1602 por Juan de Oviedo. El edificio se estructura alrededor de tres patios comunicados por una gran escalera y la iglesia, situada en uno de los extremos del convento. El vestíbulo se encuentra decorado con azulejería procedentes de diversos conventos sevillanos.
Patios
·Claustro grande, que consta de dos cuerpos:
·Inferior, formado por arcos de medio punto que apean sobre columnas pareadas de mármol
·Superior, reformado en 1724 por Leonardo de Figueroa, asoman balcones enmarcados por pilastras jónicas.
·Claustro pequeño o de los bojs fue diseñado por Juan de Oviedo
·Claustro del aljibe que sirve como patio de ingreso al museo. Destaca el panel de cerámica de la Virgen del Rosario, realizado por Cristóbal de Augusta en 1577 para el convento de Madre de Dios.
Iglesia
La iglesia fue construida entre 1603 y 1612, proyectada por Juan de Oviedo. La nave tiene forma de cruz latina, con bóveda de cañón y bóveda semiesférica sobre el crucero. La portada se encuentra en el lado izquierdo, está atribuida a José Álvarez, y fue ejecutada en el último tercio del siglo XVIII.
Contenido
El origen de la colección comenzó con obras procedentes de conventos ymonasterios desamortizados por el gobierno liberal de Mendizábal, razón por la cual el grueso de obras estaba formado por pintura religiosa, mayormente barroca sevillana. Desde principios del siglo XX comienza a crecer en variedad gracias principalmente a las donaciones de colecciones particulares, entre las que destacan las de Rafael González Abreu (1928), José Gestoso y Pérez(1931) y Andrés Parladé (1945) compuestas de pinturas, armas, cerámica, tejidos y mobiliario; en esas fechas, cada cual tuvo dedicada una sala, pasando el museo a denominarse “casa-museo”.
Ya en los años 1970, se normalizó el contenido del museo, al igual que en todos los museos nacionales, reduciéndose su contenido y depurándose la presentación de la colección que iba a ser permanente.
En los últimos décadas se ha incrementado la colección por las adquisiciones públicas de la Administración andaluza y las donaciones efectuadas por descendientes de artistas de primeros del siglo XX.
Destaca la colección de pintura sevillana del siglo XVII, de la que se pueden contemplar obras de los más representativos pintores españoles como Murillo,Velázquez, Zurbarán, Juan de Valdés Leal, Lucas Valdés, Gonzalo Bilbao,Valeriano Bécquer y Eugenio Hermoso y otros pintores como Lucas Cranach el Viejo4 , El Greco (Retrato de su hijo Jorge Manuel) y Marten de Vos.
La distribución actual del museo, que consta de 14 salas, es la siguiente:
Planta Baja
·Sala I: Arte medieval español.
·Sala II: Arte del Renacimiento.
·Sala III: Francisco de Pachecho y su escuela, los retablos.
·Sala IV: Pequeñas obras maestras.
·Sala V: Antigua iglesia del convento. El Barroco sevillano: los grandes maestros. Destacan las obras de Murillo colocadas en el frente de la iglesia y el crucero.
Planta Alta
·Sala VI: El Barroco sevillano.
·Sala VII: Selección de pintura de Murillo y sus discípulos, entre ellos Juan Simón Gutiérrez.
·Sala VIII: Pintura de Juan de Valdés Leal.
·Sala IX: Pintura Barroca europea.
·Sala X: dedicada a la pintura de Francisco de Zurbarán.
·Santo Domingo de Guzmán, de Juan Martínez Montañés
·San Bruno, Juan Martínez Montañés
·San Juan Baustista, por Juan de Mesa
·La Virgen de las Cuevas, Juan de Mesa
·San Ramón Nonato, Juan de Mesa
·San Hugo en el refectorio de los Cartujos (Francisco de Zurbarán)
·La Virgen de los cartujos o de las Cuevas, Zurbarán
·Visita de San Bruno al papa Urbano II, Zurbarán
·Sala XI: Pintura española y sevillana siglo XVIII.
·Serie de ocho cuadros para conmemorar la subida al trono del rey Fernando VI (Domingo Martínez)
·Sala XII: Pintura sevillana del siglo XIX, el tránsito del Romanticismo al Realismo.
·Cigarreras (Gonzalo Bilbao)
·Sala XIII: Romanticismo.
·En esta sala destaca el Retrato de Gustavo Adolfo Bécquer realizado por su hermano Valeriano
·Sala XIV: Pintura sevillana de la primera mitad del Siglo XX, como Juan Miguel Sánchez, Alfonso Grosso, Diego López, Manuel González Santos,5 Santiago Martínez, José Rico Cejudo y Eugenio Hermoso:
·Retrato de su esposa (Juan Miguel Sánchez)
·Monaguillo (Alfonso Grosso)
·Sevilla en fiestas (Gustavo Bacarisas)
·Retrato de la señora Malinowska (Ignacio Zuloaga)
ANZ Customers in Dunedin, New Zealand close their banks accounts with the
message, "we will no longer stand by and watch silently as ANZ funds the
destruction of our planet"
- Photos from December 2, campaign ongoing.
Facebook: December 2
Thank you,
Charlie
The Children of Lir by Ed Org. I've done this for the Show & Tell theme - Animal, Vegetable or Mineral. This is a Celtic mythic tale of metamorphosis, when sons and a daughter are turned into swans for 900 years, and a wicked stepmother into a demon of the air.
This beautiful limited edition print hangs on my wall, but the jigsaw was cut from a calendar of Ed Org's works (he issued two a few years ago), which included the fabulous art nouveau border. Heather Prydderch of Puzzlewood has cut me two jigsaws from the calendar. The other being Angel - see below. Her jigsaws are meticulously line-cut and this is no exception.
From Wikipedia:
The subject was also painted by John Duncan in 1914 - Heather has already cut me his beautiful painting St Bride Carried By Angels as a 3d-enhanced jigsaw.
Ed Org has taken artistic licence with the Lir story, making the children shown two daughters - not a daughter and three sons.
The Children of Lir (Irish: Oidheadh chloinne Lir) is a legend from Irish mythology which may have originated in the 14thC. It is a tale from the post-Christianisation period that mixes magical elements such as druidic wands and spells with a Christian message of faith bringing freedom from suffering.
To appease the disaffected Lir, Bodb Derg elected king of the Tuatha Dé Danann, gave his daughter Aoibh, to Lir in marriage.
Aoibh bore Lir four children: one girl, Fionnghuala, and three sons, Aodh and twins, Fiachra and Conn. After the birth of the twins, Aoibh died, causing great grief to Lir and Boadb sent a second daughter Aoife to become Lir's wife. Aoife became jealous of the affection given to the four stepchildren by the two men and tried to have them killed. Failing in this, she took them to Loch Dairbhreach and made them bathe, but once in the water, she cast a spell of metamorphosis to transform them into four white swans.
Fionnghuala rebuked Aoife and warned of revenge, asking her to set a limit on the time of the spell. She set a period of three hundred years as a swan on Loch Dairbhreach; three hundred more on Sruth na Maoilé; and three hundred at Iorrus Domnann and Inis Gluairé. She also foretold that when the spell ended, Lairgenn (the great-grandson of the King of Connacht), and Deoch (the great-granddaughter of the King of Munster) would be wed. Aoife allowed the children to retain the power of speech, stating they would sing plaintive songs without equal, and that they would not be distressed by being in the forms of birds. Aoife then returned to her father's court but Bodb was suspicious about the children's absence and sent messengers to Lir. Lir discovered the singing swans and told Boadb, who cursed his daughter Bodb to suffer the worst fate she could imagine and she was turned into a Demon of the air.
The Children served their sentence at the three lakes enduring hardships. Eventually Saint Patrick and Christianity came to Ireland, and one day the holy man Mochaomhóg arrive at Inis Gluairé — the swans heard him ringing a bell calling matins, and became frightened at the sound. However Fionnghuala declared the sound of the bell would liberate them from the curse of the spell, and so they listened to it. When it finished they sang a song. The holy man heard their song, and discovered that it was swans that sang it. Speaking to them he asked if they were the Children of Lir, stating that he had travelled to that place for their sake.
The swans put their trust in the holy man, and allowed him to bind them with silver chains. The birds felt no fatigue or distress in their situation in the company of the monk. Eventually the account of the swans reached Deoch, the wife of Lairgnen, the King of Connacht — she asked him to get the swans for her. He sent messengers immediately but the monk Mochaomhóg refused, making Lairgnen angry. He went to Mochaimhóg himself, and attempted to grasp the swans, but on his touch the swans' feathers fell off revealing three very old men, and an old woman, all lean, and very bony. On this Lairgnen left. Fionnghuala asked the monk to baptise them and to bury each, stating she sensed they were close to death. They were baptised, then died, and were buried. Mochaomhóg was sad for them. That was the fate of the children of Lir.
pt.wikipedia.org/wiki/Castro_de_Santa_Trega
English
The outline of Mount Santa Tegra form an archaeological site, which is in the Castro de Santa Tegra, belonging to the Celtic culture and the most emblematic and visited the forts Galicians. It was declared a National Historic-Artistic Monument (Spain) in 1931 and also has the consideration of Cultural Interest.
The castro, according to the thesis maintained by de la Peña Santos, director of the last campaigns of archaeological excavations in the 1980s, had a continued occupation between the first century BC, soon to begin the process of Romanization of Galicia, and the first century AD , and from that moment began a slow process of abandonment, which could well have been interrupted by sporadic temporary reoccupations in late-Roman era. Petroglyphs were also found in several of the stones from the mountain, drawn around 2000 years before the occupation of the fort.
It is located on Mount Santa Tegra, 341 m of altitude, in the most southwestern extreme of Galicia, in the municipality of Guarda, a privileged place from which dominates the mouth of the river Minho. The hill slopes has some very pronounced cun visual field contour that made him possibly a strategic posted long before the lifting of the castro.
Archaeological excavations
Although the population of the Guard should have known of the existence of traces of old buildings on the hill for a long time, in 1745, when Father Sarmiento visited Guard, made no mention of them, but, on the contrary, made him the lot, its shrine and pilgrimage.
The first discovery of what has been constant in 1862, a sculpture of Hercules made in bronze was found by a stonemasons who worked near the hermitage. This sculpture was stolen from the museum in the 1970s.
In the second half of the nineteenth century the ruins began to be valued at their fair measure. Realize up the first written references to the ruins of the archaeological apontes Ramón López García in 1864, [2] and the witness Manuel Murguía in his work "Historia de Galicia" in 1888, which is deduced from the ruins of a kinship with the inhabitants "race" Celtic family of roosters.
In the twentieth century, the Guard was created in 1912, the Society Pro-Monte Santa Tecla, which promoted a year later to perform work of packing the outskirts of the chapel and the layout of an access road to the summit. The works of this road put in the open, in the place known as Campo Redondo, walls and foundations of buildings spans the outer wall of the fort.
Given these findings, the company requested an official authorization to initiate systematic excavations in place, that authorization was granted on February 26, 1914, [3] and that the chief archaeologist named Ignacio Calvo Rodríguez, the National Archaeological Museum (Spain) .
From this moment the site began appearing in the media. Also in 1914 the canon Fontela Domínguez, without any argument, the remains attributed to the "Iberian-Roman civilization" and identified them with the historic "Abóbrica" mentioned by Pliny the Elder (theory still followed today by some authors).
First excavations (1914-1923)
From 1914 until 1923 the director of the archaeological work was Ignacio Calvo, who was making known the outcome of proceedings in several articles. The Society Pro-Ride also participates in a zone known as the New Source. Calvo gave the town an occupation from the beginning of the Bronze Age to the Roman period. It was the first author to call it "citadel" (following the example of Portuguese archeology) and discuss the possibility of identifying it with the mythical Mount Medulio where classical writers also stood the ultimate mythical and heroic resistance of Galician.
Mergelina campaigns (1928-1933)
Between 1928 and 1933, the professor at the University of Valladolid, Cayetano de Luna y Mergelina directed, using the most advanced methods of the time, a series of archaeological campaigns focusing in particular on the eastern slopes, putting the open lot of houses and other buildings .
In 1945 he published the results of its work in a study titled "La citania Santa Tecla. La Guardia (Pontevedra)." Following the majority "invasionistas theories" of the moment, with a settlement dated the occupation since the sixth century BC to the third century AD, with a new occupation in the fifth century, and awarded him its inhabitants a nature "post-hallstáttica" of Celtic origin.
Abandonment period (1933-1979)
Despite having been declared a National Artistic Monument in 1931, the site has suffered in those years the expansion of the highway route of ascent and an aggressive reforestation of severely deteriorated hill site.
Since 1933, date last campaign Mergelina, traces the open positions have suffered the consequences of its abandonment filling with vegetation. This period of abandonment lasted until 1979.
During these years there have been few and brief interventions, such as Manuel Fernández Rodríguez in the vicinity of the building known as Casa Forest or reconstructions made in 1965 and 1972 in two houses on both sides of the highway, reconstructions that from a scientific standpoint, present serious problems of fidelity, but that soon became an icon of the Celtic culture.
This step of neglect ended in 1979, when Alfredo Garcia drove Alén cleaning and consolidation of structures closer to the highway, these works promoted by the Ministry of Culture (Spain).
Português
O contorno do monte de Santa Tegra forma um sítio arqueológico, no qual se encontra o Castro de Santa Tegra, pertencente à cultura castreja e o mais emblemático e visitado dos castros galegos. Foi declarado Monumento Histórico Artístico Nacional (Espanha) em 1931 e também tem a consideração de Bem de Interesse Cultural.
O castro, segundo a tese mantida por de la Peña Santos, diretor das últimas campanhas de escavações arqueológicas na década de 1980, teve uma ocupação continuada entre o século I a.C., ao pouco de começar o processo de romanização da Galiza, e o século I d.C., e que a partir desse momento começou um lento processo de abandono, que bem pôde ter sido interrompido por reocupações esporádicas temporárias em época tardo-romana. Foram encontrados também petróglifos, em várias das pedras do monte, elaborados por volta de 2000 anos antes da ocupação do castro.
Situa-se no monte de Santa Tegra, de 341 m de altitude, no extremo mais a Sudoeste da Galiza, no concelho da Guarda, num lugar privilegiado desde o que domina a desembocadura do rio Minho. O monte tem umas ladeiras muito pronunciadas, cun domínio visual do contorno que fez dele, possivelmente, um lugar estratégico destacado desde muito antes do levantamento do castro.
Escavações arqueológicas
Embora a população da Guarda devesse ter conhecimento da existência de vestígios de antigas edificações no monte desde faz muito tempo, em 1745, quando o Pai Sarmiento visitou A Guarda, não fez menção delas, mas, pelo contrário, fê-lo do monte, sua ermida e a romaria.
A primeira descoberta da que se tem constância foi, em 1862, a de uma escultura de Hércules feita em bronze que foi encontrada por uns canteiros que trabalhavam perto da ermida. Esta escultura foi roubada do museu na década de 1970.
Na segunda metade do século XIX as ruínas começaram a ser valoradas na sua justa medida. Constatam-se as primeiras referências escritas das ruínas nos apontes arqueológicos de Ramón López García em 1864,[2] e na testemunha de Manuel Murguía na sua obra "Historia de Galicia" em 1888, que deduze das ruínas um parentesco dos seus habitantes com a "raça" celta da família dos galos.
Já no século XX, foi criada na Guarda, em 1912, a Sociedade Pro-Monte de Santa Tecla, a qual um ano mais tarde promoveu a realização de obras de acondicionamento das cercanias da ermida e o traçado de uma rodovia de acesso ao cume. As obras desta rodovia puseram ao descoberto, no lugar conhecido como Campo Redondo, muros de edificações e alicerces de vãos da muralha exterior do castro.
Perante estas descobertas, a sociedade solicitou uma autorização oficial para iniciar escavações sistemáticas no lugar, autorização que foi concedida em 26 de Fevereiro de 1914,[3] e na que se nomeou arqueólogo chefe a Ignacio Calvo Rodríguez, do Museu Arqueológico Nacional (Espanha).
A partir deste momento o sítio começou a aparecer nos meios de comunicação. Também em 1914 o cônego Domínguez Fontela, sem nenhum tipo de argumentação, atribuiu os restos à "civilização ibérico-romana" e identificou-os com a histórica "Abóbrica" mencionada por Plínio o Velho (teoria ainda seguida na atualidade por alguns autores).
Primeiras escavações (1914-1923)
Desde 1914 até 1923 o diretor dos trabalhos arqueológicos foi Ignácio Calvo, que foi dando a conhecer o resultado dos trabalhos em vários artigos. A Sociedade Pro-Monte também participa nos trabalhos da zona conhecida como a Fonte Nova. Calvo atribuiu ao povoado uma ocupação desde os inícios da Idade do Bronze até a época romana. Foi o primeiro autor em denominá-lo "citânia" (seguindo o exemplo da arqueologia portuguesa) e em falar da possibilidade de identificá-lo com o mítico Monte Medulio, onde os escritores clássicos situaram a também mítica derradeira e heróica resistência dos galaicos.
As campanhas de Mergelina (1928-1933)
Entre 1928 e 1933, o catedrático da Universidade de Valladolid, Cayetano de Mergelina y Luna dirigiu, utilizando os mais avançados métodos da época, uma série de campanhas arqueológicas centradas, nomeadamente, na ladeira oriental, pondo ao descoberto grande quantidade de moradias e outros edifícios.
Em 1945 publicou o resultado dos seus trabalhos num estudo titulado "La citania de Santa Tecla. La Guardia (Pontevedra)". Seguindo as majoritárias "teorias invasionistas" do momento, datou o povoado com uma ocupação desde o século VI a.C. até o século III d.C., com uma nova ocupação no século V, e atribuiu-lhe aos seus habitantes uma natureza "post-hallstáttica" de origem celta.
Período de abandono (1933-1979)
Em que pese a ter sido declarado Monumento Histórico Artístico Nacional em 1931, o sítio sofreu nesses anos a ampliação do traçado da rodovia de subida e um agressivo reflorestamento do monte que deterioraram gravemente o sítio.
Desde 1933, data da última campanha de Mergelina, os vestígios postos ao descoberto sofreram as conseqüências do seu abandono enchendo-se de vegetação. Este período de abandono durou até 1979.
Durante estes anos houve poucas e breves intervenções, como a de Manuel Fernández Rodríguez nas cercanias do edifício conhecido como Casa Florestal ou as reconstruções feitas em 1965 e 1972 em duas moradias a ambos os lados da rodovia, reconstruções que, do ponto de vista científico, apresentam sérios problemas de fidelidade, mas que se tornaram em pouco tempo num ícone da cultura castreja.
Esta etapa de abandono terminou em 1979, quando Alfredo García Alén dirigiu trabalhos de limpeza e consolidação das estruturas mais próximas à rodovia, trabalhos estes promovidos pelo Ministério de Cultura (Espanha).
(1)
Connectome
In their words:
"A connectome is a synapse-resolution mapping of connections between
all neurons in a model organism's brain. In other words, a
synapse-resolution circuit diagram of the brain. Current approaches to
mapping the connectomes of model organisms employ serial block face
scanning electron microscopy (SBF-SEM) and transmission electron
microscopy (TEM). The only connectome that has been mapped out to date
has been from the flatworm, C. elegans, which has only around 300
neurons."
(2)
ConnectomeViewer
In their words:
"The field of Connectomics research benefits from recent advances in
structural neuroimaging technologies on all spatial scales. The need
for software tools to visualize and analyse the emerging data is
urgent. ... The Connectome Viewer application was developed to meet
the needs of basic and clinical neuroscientists, as well as complex
network scientists, providing an integrative, extensible platform to
visualize and analyze Connectomics data.With the Connectome File
Format, interlinking different datatypes such as networks, surface
data, and volumetric data is easy and might provide new ways of
analyzing and interacting with data."
In addition to the viewer, this site also provides quite a variety of
that can be used to test different features and functions.
(3)
Human Connectome Project
In their words:
"The HCP will map the human connectome as accurately as possible in a
large number of normal adults and will make this data freely available
to the scientific community using a powerful, user-friendly
informatics platform."
"Successful charting of the human connectome in normal adults will be
enormously informative. Even more importantly, it will pave the way
for studies that reveal how brain circuitry changes during development
and aging and how it differs in numerous neurological and psychiatric
disorders. In short, it will transform our understanding of the human
brain in health and disease."
(4)
BrainMaps
In their words:
"Brain atlases have traditionally been one resolution and
non-interactive. The next-generation brain atlas is multiresolution,
highly interactive, and fully integrated with the latest research
literature. This is BrainMaps.org, a complete online brain atlas
founded on the principle that a brain atlas is a dynamic, interactive,
multiresolution research and didactic tool that facilitates brain
exploration and knowledge discovery."
As if that isn't enough, BrainMaps also has an API for
developers and and open source /
OpenGL-based 3D
viewer!
(5)
BrainMeta
In their words:
"BrainMeta was established for the purpose of accelerating the
development of neuroscience through web-based initiatives, which
include the development, implementation and support of a wide range of
neuroinformatics tools, services, and databases."
(6)
Allen Institute for Brain Science: Brain Atlas
In their words:
"A growing collection of online public resources integrating extensive
gene expression and neuroanatomical data, complete with a novel suite
of search and viewing tools."
(7)
Brain Museum: Comparative Mammalian Brain Collections
www.brainmuseum.org/index.html
In their words:
"This web site provides browsers with images and information from one
of the world's largest collection of well-preserved, sectioned and
stained brains of mammals. Viewers can see and download photographs of
brains of over 100 different species of mammals (including humans)
representing over 20 Mammalian Orders."
(8)
MSU: Brain Biodiversity Bank
www.msu.edu/~brains/index.html
In their words:
"The Brain Biodiversity Bank refers to the repository of images of and
information about brain specimens contained in the collections
associated with the National Museum of Health and Medicine at the
Armed Forces Institute of Pathology in Washington, DC. These
collections include, besides the Michigan State University Collection,
the Welker Collection from the University of Wisconsin, the
Yakovlev-Haleem Collection from Harvard University, the Meyer
Collection from the Johns Hopkins University, and the Huber-Crosby and
Crosby-Lauer Collections from the University of Michigan.
Our purpose here is to provide some examples of ways in which images
and information from the Collections, in digital format, can be used
in educational, research and commercial enterprises. Millions of
beautifully stained sections from hundreds of different brains,
assembled in many locations over the past century can be made
available for a broad variety of purposes."
Want more pics?
Wikipedia: List of neuroscience databases
en.wikipedia.org/wiki/List_of_neuroscience_databases
Want more neuro imaging software?
UCLA: Laboratory of Neuro-Imaging
Concatedral de San Pedro de Soria
De Wikipedia, la enciclopedia libre
es.wikipedia.org/wiki/Concatedral_de_San_Pedro_de_Soria
La colegiata de San Pedro, auténtica joya de la arquitectura románica castellana con la que cuenta la ciudad de Soria (España), acumula también el título de concatedral desde 1959, fecha a partir de la cual comparte la sede catedralicia con El Burgo de Osma.
Rivalidad por establecer la Sede Catedralicia
Desde sus inicios, la rivalidad entre la sede obispal de Osma y este centro religioso fue constante. Favorecidos por un rey castellano muy agradecido a la ciudad, Alfonso VIII solicitó en el siglo XIII al Papa Clemente IV la categoría de ciudad para Soria y el paso de colegiata a catedral, cosa que fue concedida por bula pontifical. El cabildo catedralicio de Osma protesto y a partir de ese momento, todas las peticiones de que se le concediera a Soria una nueva sede obispal o, más drásticamente, que se trasladara la de Osma a Soria, fueron denegadas por los reyes tras consulta con los de Osma al no atreverse a hacer cambios drásticos que provocaran conflictos eclesiásticos.
La historia sobre el derrumbamiento de la colegiata, se hace creíble sabiendo que unos años antes el cabildo de la colegiata había solicitado al rey el traslado hacia el interior de la ciudad de la sede colegial, debido a que el centro de Soria se había ido trasladando al este y la colegiata, antiguamente central, había perdido su posición de privilegio. Se pensó en la iglesia de Santa Maria la Mayor hasta el punto de disputar durante siglos la dignidad de colegiata. El rey se negó aduciendo la belleza de San Pedro y su categoría de obra artística.
Tras el derrumbe el obispo Pedro Acosta se reunió con la nobleza de la ciudad y el cabildo y les ofreció cumplir el deseo inicial de trasladar la colegiata al centro de la ciudad. Dicen que es posible que el obispo pensara construir su propia sede personal allí además de su enterramiento, en una forma encubierta de trasladar la sede obispal de Osma a Soria pero estos se negaron a asumir gastos importantes y el obispo, irritado por lo que describió documentalmente como la pusilanimidad de los sorianos, aflojó la bolsa para la reconstrucción del edificio en el mismo lugar donde se encontraba pero sin gastos adicionales ni obras complementarias.
Finalmente tras años de peticiones el 9 de marzo de 1959, el Papa Juan XXIII, con la Bula 'Quandoquidem Animorum', concedió el título de concatedral, fecha a partir de la cual comparte la sede catedralicia con el Burgo de Osma.
Colegiata del siglo XVI
Inmediatamente se iniciaron las obras de reedificación de las que se encargó el maestro Juan Martínez Mutio y San Juan de Obieto. Se siguió el modelo de la colegiata de Berlanga de Duero y se terminó sobre 1575 acabándola los hermanos Pérez de Villavid. A finales de siglo, con la construcción del campanario quedó culminada la nueva colegiata.
La iglesia renacentista se construyó con anchura igual a la longitud del crucero de la primitiva, por lo que los cerramientos laterales hubieron de desplazarse 7 metros hacia el exterior. Esta operación no presentó ninguna dificultad en el lado sur libre de impedimentos, no así en el norte al que estaba adosado el claustro. Sin ningún miramiento ni aprecio por el valor de este claustro, del que Gaya Nuño ha dicho que es el más bello de España, por la elegancia de las proporciones, la esbeltez de las arquerías y lo nuevo de la decoración, derribaron el ala meridional del mismo, y aún hay que congratularse de que no sucumbiera en su totalidad por cualquier fútil motivo.
Exterior de la concatedral
La iglesia es de planta de salón de cinco naves con bóvedas de crucería estrelladas de combados, soportadas por columnas dóricas de sección circular, con cabecera poligonal. Tanto la nave central como las laterales constan de cinco tramos separados por arcos fajones levemente apuntados. En las naves laterales entre los contrafuertes hay numerosas capillas. El templo se terminó bajo el mecenazgo del Obispo Acosta, cuyo escudo fue esculpido en una columna en 1573. La nave mayor tiene la misma altura que las colaterales, lo que conforma un tipo de edificio conocido como "iglesia salón", muy frecuente en la primera mitad del siglo XVI en Castilla.
Portadas
Portada Sur
El aparejo románico con tres ventanales de medio punto y un óculo pertenecientes al hastial meridional del primitivo crucero encuadra la magnífica portada plateresca realizada hacia 1520. Esta enmarcada por dos pilastras de orden corintio recubiertas por una rica decoración a candelieri, es decir, con elementos ornamentales que imitan candelabros. Se abre en arco de medio punto con arquivoltas y un alto friso adornados con ricas labores de grutescos que cubren toda la portada excepto las albanegas. Esta presidida por la imagen de San Pedro con las llaves de la iglesia situada en una hornacina de concha achaparrada. Curiosamente la hornacina se enmarca repitiendo el modelo de la fachada con pilastras y friso. A ambos lados rematan el conjunto dos jarrones en relieve flanqueados por dos pequeños ángeles.
Portada Oeste
Se supone que esta es la entrada principal de la Concatedral y así lo fue durante la época medieval en la que la Plaza Mayor estaba situada en la Plaza de San Pedro frente de la entrada principal de la primitiva colegiata románica. Entonces era el centro del casco urbano de la población con casas y palacios hoy desaparecidos. Posteriormente la Plaza Mayor se trasladó a la plaza de las Cinco Villas y ya, en el siglo XVI, a su emplazamiento actual.
Más sencilla y elevada que la portada sur, se abre en arco de medio punto entre dos pilastras acanaladas que sostienen un estrecho entablamiento y se sitúan sobre dos altos plintos. Se puede datar hacia la mitad del siglo XVI en el que se impone el purismo, caracterizado por una mayor austeridad decorativa. Comparándola con la portada sur se puede comprobar que hay un cierto cansancio de la exuberancia decorativa y se impone un estilo de aspecto más sereno.
Portada del Claustro
Al claustro, declarado Monumento Nacional en 1929, se accede desde una portada alzada en el ángulo suroccidental junto a la torre. Es una portada de arco de medio punto y data de comienzos del siglo XVII. Tiene arquivolta casetonada sobre jambas cajeadas y está flanqueada por dos columnas acanaladas que soportan un entablamiento y se apoyan sobre altos plintos cajeados. Se completa con medallones en las enjutas, un motivo heráldico y una hornacina superior sin escultura alguna.
También se puede acceder al claustro desde el interior de la iglesia por otra portada, situada en el ángulo suroriental, muy simple abierta en arco rebajado sin ninguna decoración.
Torre Campanario
La torre es de sillería, y de planta sensiblemente cuadrada de tres cuerpos rematada en balaustrada con flameros. Fue levantada por Juan Ocampo. Se articula en torno a un pilar central, sobre la que reposan alternativamente las losas que conforman los escalones de acceso. Tiene dos vanos por lado, ocupados por sendas campanas, excepto en el lado norte, donde se ubica la campana mayor. Para su construcción se reutilizaron sillares de la desmantelación de la antigua iglesia de San Miguel de Montenegro.
Otro Bien de apreciable valor son las campanas ya que nos encontramos ante uno de los conjuntos de campanas más espectaculares e importantes de las Catedrales de España. De las siete campanas existentes, cinco son anteriores a 1701 y por tanto merecedoras de ser consideradas, individualmente, como Bienes Muebles de Interés Cultural, valor que se añade a la antigüedad de las campanas y a la belleza de sus melenas de madera. El campanillo, anepígrafo, esto es sin ninguna otra decoración que no sea una serie de siete finos cordones dobles, puede ser de mitad del siglo XIV (hacia 1350), por su forma y esos cordones.
Las otras cuatro campanas, tres esquilones y una romana, son del XVII, y dos de ellas están lamentablemente rajadas, exigiendo una necesaria restauración. Son respectivamente de 1601, 1657, 1666 y 1700. Las dos nuevas son de 1984 y 2000 carecen de decoraciones y de inscripciones que las llenen de significado. Una de las refundidas era de 1823 y merecía ser restaurada, nada podemos decir de la otra refundida, cuya antigüedad, visto e conjunto debería ser notable.
Restos conservados de la antigua colegiata de San Pedro
De lo que fue el conjunto monacal construido tras la conversión de San Pedro en colegiata, quedan algunos vestigios integrados en la actual iglesia. Se trata de la mayor parte del brazo Sur de lo que seria el transepto, y de los muros laterales del brazo Norte donde se abre la sala capitular. Son visibles desde el interior en dicho transepto, tres ventanas pertenecientes a la fábrica románica. Lo que aún permanece patente al exterior es el pequeño óculo que se abría en el primitivo frontón y hoy ha quedado en el centro del lienzo. La arquivolta de las tres ventanas va decorada en su bisel con motivos que son idénticos en las laterales a base de entrelazos y medallones, y cenefa diferente en la central. En sus jambas, columnillas con capiteles de ornamentación vegetal. Imposta inferior decorada. Otras dos ventanas, también cegadas, menos esbeltas que las anteriores se sitúan una a cada lado del lado Norte.
Fuera del templo, se conservan, además de las crujías Norte, Este y Oeste del claustro, el frente del muro oriental del mismo. En el se abren hasta tres portadas de acceso a diferentes dependencias, entre las que se encuentra la sala capitular con una esplendida portada que da al claustro se abre en arco de medio punto con chambrana y tres arquivoltas e intradós lobulado en los extremos de cada una de las ocho dovelas que forman la rosca; a los lados de la puerta de acceso se disponen dos arcos de medio punto con arquivoltas. Cobijan sendos óculos calados lobulados y dos arquillos de herradura germinados, de evocación mozárabe, apoyados en dobles columnas, con capiteles de centauros, dragones, grifos y motivos vegetales de evocación silense.
Desvinculados a la actual construcción, y alejados unos metros del cierre oriental de la iglesia, han sido exhumados restos, recientemente restaurados, de una potente estructura arquitectónica, perteneciente al conjunto.
El claustro
Su construcción se inició por el ala Oeste a mediados del siglo XII, continuándose por los lados Norte y Este. De la fecha de una inscripción funeraria que se encuentra en el muro oriental cabe deducir que el claustro estaba concluido en 1205, es decir, en los primeros años del siglo XIII.
Sobre un podio corrido se asienta una sucesión de basas de garras sobre las que descansan parejas de esbeltos fustes rematados por capiteles dobles que soportan a su vez los arcos de medio punto. Cada ala del claustro está dividida en varios tramos por elementos prismáticos a cuyas caras interior y exterior se adosan columnillas en dos órdenes superpuestos de gran originalidad. Hay una gran variedad de capiteles que ostentan diversos motivos decorativos, desde vegetales, palmetas y roleos, hasta sirenas, grifos, guerreros, además de escenas historiadas.
Crujía Este
Después de la mutilación, han quedado 24 metros de longitud distribuidos en tres tramos: dos de cuatro arcos y otro de cinco. Se separan por medio de pilares de sección rectangular. Los tramos de cuatro arcos, los adyacentes al ala Norte son de la misma tipología que los de ésta y pudieran pertenecer a la misma época y artífice; no obstante, los arcos del tramo mayor, el más próximo a la iglesia, difieren de los demás por disponer de una columnillas encaramadas sobre sus ábacos y que, quebrando las chambranas por su punto de unión, se remontan hasta el alero rematadas por un pequeño capitel que sustituye al correspondiente modillón. La decoración de los capiteles es de palmetas, hojas de acanto, piñas, hojas de laurel, grifos, aves exóticas y dos con figuras humanas. Uno de los capiteles historiados representa al Rey Salomón, tocado con corona real, con un libro abierto que sujeta su mano izquierda y señalándolo con la derecha a la Reina de Saba con corona real. El otro capitel tiene una figura de un monje que recibe las ofrendas de los fieles. La mayor parte de los canecillos son sencillos, aparecen motivos vegetales, rollos dragones, liebres, cabezas humanas y ángeles.
Crujía Norte
Es la única crujía que se conserva completa. Tiene 30 metros de longitud divididos en tres tramos de cinco arcos cada uno separados por pilastras prismáticas. No son estas iguales, sino que la más occidental de ellas posee adosadas a sus caras exterior e interior un doble orden de columnillas en número de tres en la parte inferior y de cuatro en la superior. En la otra pilastra se reduce este número a dos en el orden inferior, como sudece en los demás lados. Los capiteles ofrecen formas vegetales, leones, centauros, mujeres desnudas, San Pedro y San Pablo, San Jorge, San José, la Anunciación, los Reyes Magos y otros motivos. Hay relieves relativos a la lujuria, la cacería de un ciervo y de la psicostasis (o peso de las almas). En este muro norte se abre la puerta de entrada del antiguo refectorio, con arco de medio punto cobijando arcos germinados con capiteles de diversa decoración y una pequeña hornacina con un arquito de cierre.
Crujía Oeste
Este lado, también cercenado como el Este, se compone hoy de tres tramos: dos de ellos de cinco arcos y el restante de arco y medio. Mide 23 metros aproximadamente y puede ser anterior en algunos años a las otras dos alas que parecen coetáneas entre sí. Los capiteles de las arquerías y de los pilares están decorados con hojas de acanto estriadas, palmetas, roleos y otros motivos vegetales, sirenas, grifos y escenas figuradas como la Anunciación y la Adoración de los Magos. También se pueden apreciar numerosas marcas de cantero.
Restos pictóricos
A lo largo del claustro aparecen ciertos rastros pictóricos. Hacia 1920 Mélida apreciaba “verdaderos retablos” pintados a lo largo de toda la crujía septentrional que representaban un Cristo mayestático, la Anunciación y dos ángeles elevando un alma junto a ciertos escudos heráldicos; en la oriental la existencia de una Adoración de los Magos. Para el autor, las pinturas murales databan del siglo XIV. En la actualidad sólo se conservan ciertos vestigios entre las dos portadas de la galería oriental, con cenefas vegetales, una especie de peltas (escudo ligero usado por los antiguos soldados griegos), simulación de veteados en madera y una deteriorada escena figurada con dos donantes y un santo frente a un ángel y la Virgen con el Niño. Por encima aparecen dos escudos con parejas de llaves, dos con soles radiantes y otro más decorado con las armas de Castilla y León. Su aspecto permite sugerir una datación avanzada dentro ya del siglo XV.
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The US Army WT 85 has been known by a number of names over the years and has had multiple owners, see list below.
After the second world war the Australian Navy took ownership of the boat and it was renamed the HMAS Koolya.
Nicholson Bros. Harbour Transport, Sydney aquired the boat from the Navy and renamed it the Protrude, a name it has carried additional to its "US Army WT 85" name for many of its 76 years (1943 to 2020.
The US Army WT 85 was built in 1943 by Ernest Wright of John Wright and Sons Shipyards in Tuncurry on the NSW Mid North Coast. the vessel was however not taken over the Tuncurry bar until 24 July 1944.
The vessel is a 45 foot tug boat originally designed to see service in northern Australian Pacific Ocean waters threatened by Japanese ocean mines during WW2.
Wooden Boats were considered less likely to set mine explosions off than steel built boats.
Wright's Shipyards and the Taree based yards of Ryan's constructed quite a few of these boats for the war effort but the US Army WT 85 is the last one still affloat and as such is a very important historical link to Tuncurry's John Wright & Son Shipyards which, for many of its 84 year history, was one of the largest wooden ship building companies in the Southern Hemishere having had the reputation of building the largest wooden vessel ever to see service in the Southern Hemisphere. That vessel was the 47 metre long 603 gross tonnage Uralba.
The owners of the US Army WT85 have been as follows.
Builder Ernest Wright Shipyards 1943 - Tuncurry, NSW
Launched 24 July 1944.
Commissioned by US Army - Named as US Army WT85
Purchased by Australian Navy - Renamed as HMAS Koolya
Nicholson Bros. Harbour Transport, Sydney - Renamed as Protrude
Stannards Bros Launch Services, Sydney
Aaron Maher, Concord
Alan Draper, Owner of the Lady Kendall Cruise Boat, Brisbane Water
Booker Bay Marina, Booker Bay, Brisbane Water
Larry Elliot, Woy Woy
David Winning, Gosford
Roger Kyle, Abbotsford Boatshed, Sydney
Matt Palmer - Scotland Island (2020)
Yoga (Sanskrit, Pāli: योग yóga) refers to traditional physical and mental disciplines originating in India.[1] The word is associated with meditative practices in Hinduism, Buddhism and Jainism.[2][3][4] In Hinduism, it also refers to one of the six orthodox (āstika) schools of Hindu philosophy, and to the goal toward which that school directs its practices.[5][6] In Jainism it refers to the sum total of all activities—mental, verbal and physical.
Major branches of yoga in Hindu philosophy include Raja Yoga, Karma Yoga, Jnana Yoga, Bhakti Yoga, and Hatha Yoga.[7][8][9] Raja Yoga, compiled in the Yoga Sutras of Patanjali, and known simply as yoga in the context of Hindu philosophy, is part of the Samkhya tradition.[10] Many other Hindu texts discuss aspects of yoga, including Upanishads, the Bhagavad Gita, the Hatha Yoga Pradipika, the Shiva Samhita and various Tantras.
The Sanskrit word yoga has many meanings,[11] and is derived from the Sanskrit root "yuj", meaning "to control", "to yoke" or "to unite."[12] Translations include "joining", "uniting", "union", "conjunction", and "means".[13][14][15] An alternate root from which the word yoga may be derived is "yujir samadhau", which means "contemplation" or "absorption."[16] This translation fits better with the dualist Raja Yoga because it is through contemplation that discrimination between prakrti (nature) and purusha (pure consciousness) occurs. Outside India, the term yoga is typically associated with Hatha Yoga and its asanas (postures) or as a form of exercise. Someone who practices yoga or follows the yoga philosophy is called a yogi or yogini.[17]
Main article: History of yoga
The Vedic Samhitas contain references to ascetics, while ascetic practices (tapas) are referenced in the Brāhmaṇas (900 to 500 BCE), early commentaries on the Vedas.[18] Several seals discovered at Indus Valley Civilization (c. 3300–1700 B.C.E.) sites in Pakistan depict figures in positions resembling a common yoga or meditation pose, showing "a form of ritual discipline, suggesting a precursor of yoga", according to archaeologist Gregory Possehl.[19] Some type of connection between the Indus Valley seals and later yoga and meditation practices is speculated upon by many scholars, though there is no conclusive evidence.[20]
Techniques for experiencing higher states of consciousness in meditation were developed by the shramanic traditions and in the Upanishadic tradition.[21]
While there is no clear evidence for meditation in pre-Buddhist early Brahminic texts, Wynne argues that formless meditation originated in the Brahminic tradition, based on strong parallels between Upanishadic cosmological statements and the meditative goals of the two teachers of the Buddha as recorded in the early Buddhist texts.[22] He mentions less likely possibilities as well.[23] Having argued that the cosmological statements in the Upanishads also reflect a contemplative tradition, he argues that the Nasadiya Sukta contains evidence for a contemplative tradition, even as early as the late Rg Vedic period.[22]
The Buddhist texts are probably the earliest texts describing meditation techniques.[24] They describe meditative practices and states which had existed before the Buddha as well as those which were first developed within Buddhism.[25] In Hindu literature, the term "yoga" first occurs in the Katha Upanishad, where it refers to control of the senses and the cessation of mental activity leading to a supreme state.[26] Important textual sources for the evolving concept of Yoga are the middle Upanishads, (ca. 400 BCE), the Mahabharata including the Bhagavad Gita (ca. 200 BCE), and the Yoga Sutras of Patanjali (150 BCE).
[edit] Yoga Sutras of Patanjali
Main articles: Raja Yoga and Yoga Sutras of Patanjali
In Indian philosophy, Yoga is the name of one of the six orthodox philosophical schools.[27][28] The Yoga philosophical system is closely allied with the Samkhya school.[29] The Yoga school as expounded by the sage Patanjali accepts the Samkhya psychology and metaphysics, but is more theistic than the Samkhya, as evidenced by the addition of a divine entity to the Samkhya's twenty-five elements of reality.[30][31] The parallels between Yoga and Samkhya were so close that Max Müller says that "the two philosophies were in popular parlance distinguished from each other as Samkhya with and Samkhya without a Lord...."[32] The intimate relationship between Samkhya and Yoga is explained by Heinrich Zimmer:
These two are regarded in India as twins, the two aspects of a single discipline. Sāṅkhya provides a basic theoretical exposition of human nature, enumerating and defining its elements, analyzing their manner of co-operation in a state of bondage (bandha), and describing their state of disentanglement or separation in release (mokṣa), while Yoga treats specifically of the dynamics of the process for the disentanglement, and outlines practical techniques for the gaining of release, or 'isolation-integration' (kaivalya).[33]
Patanjali is widely regarded as the founder of the formal Yoga philosophy.[34] Patanjali's yoga is known as Raja yoga, which is a system for control of the mind.[35] Patanjali defines the word "yoga" in his second sutra,[36] which is the definitional sutra for his entire work:
योग: चित्त-वृत्ति निरोध:
( yogaś citta-vṛtti-nirodhaḥ )
- Yoga Sutras 1.2
This terse definition hinges on the meaning of three Sanskrit terms. I. K. Taimni translates it as "Yoga is the inhibition (nirodhaḥ) of the modifications (vṛtti) of the mind (citta)".[37] The use of the word nirodhaḥ in the opening definition of yoga is an example of the important role that Buddhist technical terminology and concepts play in the Yoga Sutra; this role suggests that Patanjali was aware of Buddhist ideas and wove them into his system.[38] Swami Vivekananda translates the sutra as "Yoga is restraining the mind-stuff (Citta) from taking various forms (Vrittis)."[39]
Patanjali's writing also became the basis for a system referred to as "Ashtanga Yoga" ("Eight-Limbed Yoga"). This eight-limbed concept derived from the 29th Sutra of the 2nd book, and is a core characteristic of practically every Raja yoga variation taught today. The Eight Limbs are:
1. Yama (The five "abstentions"): non-violence, non-lying, non-covetousness, non-sensuality, and non-possessiveness.
2. Niyama (The five "observances"): purity, contentment, austerity, study, and surrender to god.
3. Asana: Literally means "seat", and in Patanjali's Sutras refers to the seated position used for meditation.
4. Pranayama ("Suspending Breath"): Prāna, breath, "āyāma", to restrain or stop. Also interpreted as control of the life force.
5. Pratyahara ("Abstraction"): Withdrawal of the sense organs from external objects.
6. Dharana ("Concentration"): Fixing the attention on a single object.
7. Dhyana ("Meditation"): Intense contemplation of the nature of the object of meditation.
8. Samādhi ("Liberation"): merging consciousness with the object of meditation.
In the view of this school, the highest attainment does not reveal the experienced diversity of the world to be illusion. The everyday world is real. Furthermore, the highest attainment is the event of one of many individual selves discovering itself; there is no single universal self shared by all persons.[40]
[edit] Bhagavad Gita
Main article: Bhagavad Gita
The Bhagavad Gita ('Song of the Lord'), uses the term yoga extensively in a variety of ways. In addition to an entire chapter (ch. 6) dedicated to traditional yoga practice, including meditation,[41] it introduces three prominent types of yoga:[42]
* Karma yoga: The yoga of action,
* Bhakti yoga: The yoga of devotion,
* Gnana yoga: The yoga of knowledge.
Madhusudana Sarasvati (b. circa 1490) divided the Gita into three sections, with the first six chapters dealing with Karma yoga, the middle six with Bhakti yoga, and the last six with Jnana (knowledge).[43] Other commentators ascribe a different 'yoga' to each chapter, delineating eighteen different yogas.[44]
[edit] Hatha Yoga
Main articles: Hatha yoga and Hatha Yoga Pradipika
Hatha Yoga is a particular system of Yoga described by Yogi Swatmarama, compiler of the Hatha Yoga Pradipika in 15th century India. Hatha Yoga differs substantially from the Raja Yoga of Patanjali in that it focuses on shatkarma, the purification of the physical body as leading to the purification of the mind (ha), and prana, or vital energy (tha).[45][46] Compared to the seated asana, or sitting meditation posture, of Patanjali's Raja yoga,[47] it marks the development of asanas (plural) into the full body 'postures' now in popular usage [48] and, its many modern variations, is the style that many people associate with the word "Yoga" today.[49]
Am 15. August protestierten rund 50 Frauen in Berlin für die konsequente Umsetzung der Istanbul-Konvention durch die Bundesregierung. Initiiert wurde die spektakuläre Protestaktion von Prof. Dr. Kristina Wolff, Petitionsstarterin der Change.org-Kampagne "Stoppt das Töten von Frauen #saveXX", sowie Hellen Langhorst und Klara Martens, Mitgründer*innen von Femen Deutschland.
Auf dem Bild zu sehen ist Prof. Dr. Kristina Wolff, Initiatorin der Change.org-Kampagne #SaveXX.
Weitere Informationen: Change.org/SaveXX
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CRÓNICA DE Sergio Miguel - lunes, 13 de mayo de 2013 para La Tribuna de Toledo
El deporte sigue siendo un motor solidario en la ciudad y la última prueba se pudo recoger ayer en el paraje natural conocido como la Fuente del Moro, en el barrio de Santa María de Benquerencia. En esta ocasión, la gran beneficiada fue la Asociación de Esclerosis Múltiple de Toledo (Ademto), que se ocupó de llevar a cabo su I Cross de Media Montaña que contó con el seguimiento cerrado del mundo del atletismo y las victorias de Óscar Martín y Miriam Guijarro en las categorías absolutas.
Ya desde el comienzo de la mañana el ambiente en los alrededores del centro comercial Luz del Tajo denotaba ambiente festivo. Sin embargo, para algunos las alegrías se transformaron en un puntito de sufrimiento cuando se situaron en la línea de salida y divisaron la primera de las cuestas que debían sortear.
Y es que, nada más emprender la marcha por el circuito de seis kilómetros, los atletas se tuvieron que enfrentar a una subida de un enorme desnivel que empezó a establecer las primeras diferencias entre los favoritos. Sin embargo, hubo que esperar hasta pasar por el segundo kilómetro para que el gran candidato al triunfo comenzase a marcar el ritmo.
Óscar Martín tomó la cabeza y empezó a abrir una contundente brecha sobre el resto de sus rivales, entre los que se encontraba un Jesús Lungarán que tiene un hechizo especial con el Polígono. No en vano, se ha proclamado en varias ocasiones vencedor de las populares que se celebran en el barrio toledano y ayer no quería dar su brazo a torcer a las primeras de cambio.
Con todo, en el Cross de Media Montaña de Ademto tenía a un rival muy experimentado que en ningún momento flaqueó para adjudicarse una brillante victoria. De esta forma, Óscar Martín se ocupó de controlar bien a sus rivales y no bajar nunca el ritmo hasta que cruzó triunfante la línea de meta.
Por detrás, a unos segundos de distancia y sin posibilidades de echarle el guante, Jesús Lungarán, Miguel Ángel Pulido y Noé Romero Funchal se tuvieron que conformar con ocupar puestos de honor en sus respectivas categorías.
En la carrera de las féminas, el dominio incontestable le correspondió a Miriam Guijarro Leo, que siguió una estrategia similar a la que utilizó Óscar Martín. Como en el caso del fondista toledano, a la ganadora en la Fuente del Moro le bastó imponer un poderoso ritmo para que el circuito se aliara con ella en la selección de favoritas.
Tanto es así que Guijarro consiguió llevarse la victoria por delante de una atleta que, en las últimas semanas, está tocada por una varita mágica. Se trata de Sonia Ruiz Andrade, perteneciente al TrainingRey, quien se tuvo que conformar con la segunda plaza en la categoría sénior, por delante de Susana Romero Hernández, que completó el podio.
Próximo objetivo. Nada más recuperar el resuello, Óscar Martín reconoció que «es un circuito duro, pero me he entrenado aquí en alguna ocasión y estoy encantado de poder correr en Toledo y por una buena causa como ésta», en referencia a la recaudación benéfica en favor de Ademto.
Aunque no destacó ningún punto especialmente duro en el circuito, porque «había muchas pendientes», admitió que «me he marchado en el segundo kilómetro y luego he ido a mi ritmo». Buena estrategia para lograr una victoria que le debe servir de acicate para su siguiente objetivo, que no es otro que «ganar por cuarto año consecutivo la Carrera del Corpus, que para mí es una clásica, al igual que la San Silvestre». De acuerdo con sus propias palabras, «según estoy, creo que podré llegar bien para disputarla».
Autor: José-María Moreno García. Fotógrafo humanista y documentalista. Una de las mejores formas de conocer la historia de un pueblo es a través de sus imágenes; en ellas se conserva no sólo su realidad tangible, calles, plazas, monumentos, sino también sus costumbres, fiestas, tradiciones, lenguaje, indumentaria, gestos y miradas, que nos dicen sin palabras como se vivía, cuales eran sus esperanzas y temores, qué había en su pasado, qué esperaban del futuro. Uno de los objetivos más ambiciosos es recuperar y catalogar todo el material gráfico existente en nuestra familia desde 1.915, para después ponerlo a disposición de vosotros, que la historia volviera a sus protagonistas, y los que aún siguen con nosotros pudieran disfrutar con ello. VISITA La colección "CIEN AÑOS DE FOTOGRAFÍA FAMILIA MORENO (1915-2015)" en www.josemariamorenogarcia.es y www.madridejos.net
SI ALGUIEN NO DESEA APARECER EN EL ÁLBUM POR FAVOR COMUNICALO A josemariamorenogarcia@gmail.com
A visit to Aberconwy House on Castle Street and High Street in Conwy. Was raining outside. The National Trust has owned it since about 1976. Shop on the ground floor, and a couple of floors in a period look on the two upper floors.
Aberconwy House, 2 Castle Street, Conwy, Wales is a medieval merchant's house and one of the oldest, datable, houses in Wales. Constructed in the 15th century it is, along with Plas Mawr, one of the two surviving merchants houses within the town. Its historical and architectural importance is reflected in its status as a Grade I listed building. The house is administered by the National Trust.
Following the conquest of Wales by Edward I in the late 13th century, Conwy, with its castle and walls, became an important strategic and commercial centre.The town was granted a Royal charter in 1284 and English settlers, particularly from the counties of Cheshire and Lancashire, were encouraged to populate the new borough. Aberconwy House is a rare survivor of a number of such houses-cum-warehouses built by English merchants trading on the Welsh Marches in the medieval period. Tree-ring analysis of the roof timbers shows that the trees were felled c. 1417–1420. This dating makes it one of the oldest, datable houses in Wales and the importance of the building was recognised in 1950 when it was designated a Grade I listed building. In the 19th and 20th centuries, the house served as a temperance hotel and, following closure and other subsequent uses, it was left to the National Trust for Places of Historic Interest or Natural Beauty in 1934. The Trust undertook an extensive restoration in 1976 and the house is now run as a museum.
The house is of two upper-storeys, over a cellar. The top floor is jettied, with the overhanging structure supported on corbel stones, "a mark of prosperity". The building is constructed around a timber frame which shows a Kentish or Wealden influence.
Grade I Listed Building
History
A storeyed medieval house, with roof timbers built from trees felled in 1417-20. It was probably a high-status merchant's house built close to the town's Porth Isaf (or Lower Gate) and quay. It was originally probably 2 storeys. Fireplaces were added in the late C16 or C17, probably when the ground floor was divided into 2 storeys by the insertion of another floor, creating a 1st-floor hall and ground-floor service rooms. In the C17 it was the town house of Evan David, who had vegetables from his farm sold on the lower floor. In the C18 and early C19 it was the home of Captain Samuel Williams, dealer in slate, copper and lead. From 1850-1910 it was The Aberconwy Temperance Hotel and coffee shop.
Subsequently it was a bakery and an antiques shop, before it became the property of The National Trust in 1934. Extensive restoration in 1976 first revealed the Kentish-style timber framing. Casement windows, stair and slate roof all belong to this period.
Exterior
A 3-storey house of rubble stone to lower storey, timber-framed in the upper storey, under a steep slate roof (replacing original stone tiles), with projecting lateral stack to the rear and central stone stack to the front roof slope. The ground-floor entrance is at the L end, with steps leading down (the ground floor is below the modern street level). It has a segmental-headed freestone doorway, with replacement half-glazed boarded door. Windows are mainly leaded-casements in wooden frames, mostly in earlier openings. In the lower storey is a 2-light window to the R of the main entrance, and another 2-light window R of the external stair under a renewed stone lintel. At the R end is a probable original doorway with weathered surround, comprising dressed stone jambs and shouldered lintel, under a relieving arch. It has a 2-light casement at pavement level, although the opening was originally lower.
Central external stone steps, added when the additional storey was inserted in the C16 or C17, with simple parapet, lead to the entrance to the 1st-floor hall, which is offset slightly L of centre. The entrance details are C18, a boarded door under a 2-pane overlight. To its L is a corbelled oriel window, also added when the additional storey was created, with 3-light casement. On the R of the entrance is an unequal pair of C19 sash windows, of 8 and 12 panes.
The 2nd floor is jettied on corbelled brackets, and is framed in Kentish style with large panels and arched braces. It has three 2-light windows, in frames designed for 4-light diamond-mullion windows.
The R gable end, to High Street, has a 3-light 1st-floor window under a lintel, although its head and sill have been raised above the original level. On its R side is a doorway cut down to the level of the landing on the main stair, but originally higher, evidence for which is a raised bracket with wooden lintel beneath it. (This doorway is shown blocked in a photograph of 1956.) In the gable is a closed truss and 2-light window similar to the front. The rear is abutted by No 1 High Street, but on the R side is a rubble-stone external stack flanked by shallow outshuts.
Interior
The 1st floor is now 2 units, with timber-framed partition. The hall on the R has a cross beam and dragon beam, with heavy joists. The solar or kitchen, originally the upper end of the hall, has one spine beam, which is on a corbelled bracket to the gable end wall (similar to the external corbelled brackets of the jettied upper storey, and probably re-used from there), and heavy joists. Its lateral fireplace against the rear wall has a re-used timber lintel. The oriel has window seats.
The 2nd floor is divided into 3 rooms by C16 partitions, one with exposed wattle. The central room has a ceiling with spine beam. Four trusses, including the High Street gable, have tie and collar beams, and the roof has one order of windbraces. The L gable end against No 4 High Street is rubble stone and has 2 blocked windows. A blocked window in the gable suggests a former attic storey, evidence for which are 2 sawn-off spine beams in the L end truss.
The ground floor, which is lower than modern street level, was a service room or rooms. It has 3 late C16 or C17 cross beams with stopped chamfers, and a corner fireplace to the L side of the rear. At the R end, next to the medieval opening facing Castle Street, is a corbel in the gable end wall.
The full-height stair, possibly in the position of an earlier stair, was part of the 1976 restoration, and is in C17 style with fretwork balusters.
Reasons for Listing
Listed grade I as one of the oldest securely dated houses in Wales, and the oldest and most complete with a distinctively urban plan.
The second floor
The Bedroom
Fireplace
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
#documenta15
#artformat
#formatart
#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
#documentafifteen
#formatart
#documentacritic
#biennalist
#ultracontemporary art
protestart
Museo de Bellas Artes de Sevilla
es.wikipedia.org/wiki/Museo_de_Bellas_Artes_de_Sevilla
El Museo de Bellas Artes de Sevilla fue instituido en septiembre del año 1835 e inaugurado oficialmente en 1841. Se ubica en la llamada Plaza del Museo, que está presidida por una escultura dedicada a Bartolomé Esteban Murillo. Es un museo fundamental para conocer tanto la pintura barroca sevillana, especialmente de Zurbarán,Murillo y Valdés Leal, como la pintura andaluza del siglo XIX.3
Historia
El edificio que en la actualidad alberga el Museo se construyó en un principio como convento de la Merced, para la Orden de la Merced Calzada de la Asunción, fundada por san Pedro Nolasco en época de Fernando III. Este rey, tras la reconquista de la ciudad, cedió unas tierras con la finalidad de levantar el edificio conventual, que por la época de su construcción era de estilo mudéjar.
Tras unas remodelaciones promovidas en el siglo XVII por Fray Alonso de Monroy (General de la Orden desde 1602) y ejecutadas por el arquitecto y escultor Juan de Oviedo y de la Bandera a partir de 1603, se comienza el edificio que actualmente contemplamos, después de derribar el antiguo Convento que ocupaba el solar, terminándose la obra principal en1612, si bien la obra no concluyó definitivamente hasta 50 años más tarde, resultando de ello un edificio de estilo manierista andaluz, del que es uno de sus principales referentes.
En 1625, el dramaturgo Tirso de Molina, perteneciente a la Orden de la Merced, fue desterrado de Madrid a Sevilla por dictamen de la Junta de Reformación, residiendo en este antiguo Convento de la Merced.
La Orden que ocupaba el edificio fue expulsada en 1835, tras la desamortización de Mendizábal.
En 1839 pasó a ser museo. Desde esa fecha ha sido modificado estructuralmente en tres ocasiones: en primer lugar, entre 1868 y 1898 en que se restauraron las arquerías y muros del piso primero, el solado de los claustros y alicatado con azulejos de otros conventos desamortizados; por segunda vez se retocó entre 1942 y 1945. En esta ocasión se actuó sobre la antigua sacristía,que pasó a convertirse en el patio de las Conchas y sobre la fachada principal, que cambió de lugar, cerrándose la portada barroca por la que se accedía anteriormente. La tercera vez que sufrió una modificación fue entre 1985 y 1993, en que se rehabilitó en su totalidad y acondicionó realmente para que sirviera como museo, rigiéndose por las exigencias existentes para ello.
Edificio
Exterior
La fachada principal se presenta frente a la plaza del Museo, su portada, es la primitiva del convento, que estaba colocada en el extremo contrario del edificio y fue diseñada por Miguel de Quintana en 1729, presenta arco de medio punto con un par de columnas paredas a cada lado, que descansan sobre pedestales. Sobre la misma se abre una gran hornacina en cuyo interior se encuentran las figuras de la Virgen de la Merced, San Pedro Nolasco, fundador de la Orden y el rey Jaime I de Aragón, su protector. A ambos lados la flanquean dos columnas salomónicas, y sobre ella se encuentra a modo de remate un frontón en cuyo centro se sitúa el escudo de laOrden de la Merced.
Interior
La estructura actual del edificio se corresponde con la reforma llevada a cabo a partir de 1602 por Juan de Oviedo. El edificio se estructura alrededor de tres patios comunicados por una gran escalera y la iglesia, situada en uno de los extremos del convento. El vestíbulo se encuentra decorado con azulejería procedentes de diversos conventos sevillanos.
Patios
·Claustro grande, que consta de dos cuerpos:
·Inferior, formado por arcos de medio punto que apean sobre columnas pareadas de mármol
·Superior, reformado en 1724 por Leonardo de Figueroa, asoman balcones enmarcados por pilastras jónicas.
·Claustro pequeño o de los bojs fue diseñado por Juan de Oviedo
·Claustro del aljibe que sirve como patio de ingreso al museo. Destaca el panel de cerámica de la Virgen del Rosario, realizado por Cristóbal de Augusta en 1577 para el convento de Madre de Dios.
Iglesia
La iglesia fue construida entre 1603 y 1612, proyectada por Juan de Oviedo. La nave tiene forma de cruz latina, con bóveda de cañón y bóveda semiesférica sobre el crucero. La portada se encuentra en el lado izquierdo, está atribuida a José Álvarez, y fue ejecutada en el último tercio del siglo XVIII.
Contenido
El origen de la colección comenzó con obras procedentes de conventos ymonasterios desamortizados por el gobierno liberal de Mendizábal, razón por la cual el grueso de obras estaba formado por pintura religiosa, mayormente barroca sevillana. Desde principios del siglo XX comienza a crecer en variedad gracias principalmente a las donaciones de colecciones particulares, entre las que destacan las de Rafael González Abreu (1928), José Gestoso y Pérez(1931) y Andrés Parladé (1945) compuestas de pinturas, armas, cerámica, tejidos y mobiliario; en esas fechas, cada cual tuvo dedicada una sala, pasando el museo a denominarse “casa-museo”.
Ya en los años 1970, se normalizó el contenido del museo, al igual que en todos los museos nacionales, reduciéndose su contenido y depurándose la presentación de la colección que iba a ser permanente.
En los últimos décadas se ha incrementado la colección por las adquisiciones públicas de la Administración andaluza y las donaciones efectuadas por descendientes de artistas de primeros del siglo XX.
Destaca la colección de pintura sevillana del siglo XVII, de la que se pueden contemplar obras de los más representativos pintores españoles como Murillo,Velázquez, Zurbarán, Juan de Valdés Leal, Lucas Valdés, Gonzalo Bilbao,Valeriano Bécquer y Eugenio Hermoso y otros pintores como Lucas Cranach el Viejo4 , El Greco (Retrato de su hijo Jorge Manuel) y Marten de Vos.
La distribución actual del museo, que consta de 14 salas, es la siguiente:
Planta Baja
·Sala I: Arte medieval español.
·Sala II: Arte del Renacimiento.
·Sala III: Francisco de Pachecho y su escuela, los retablos.
·Sala IV: Pequeñas obras maestras.
·Sala V: Antigua iglesia del convento. El Barroco sevillano: los grandes maestros. Destacan las obras de Murillo colocadas en el frente de la iglesia y el crucero.
Planta Alta
·Sala VI: El Barroco sevillano.
·Sala VII: Selección de pintura de Murillo y sus discípulos, entre ellos Juan Simón Gutiérrez.
·Sala VIII: Pintura de Juan de Valdés Leal.
·Sala IX: Pintura Barroca europea.
·Sala X: dedicada a la pintura de Francisco de Zurbarán.
·Santo Domingo de Guzmán, de Juan Martínez Montañés
·San Bruno, Juan Martínez Montañés
·San Juan Baustista, por Juan de Mesa
·La Virgen de las Cuevas, Juan de Mesa
·San Ramón Nonato, Juan de Mesa
·San Hugo en el refectorio de los Cartujos (Francisco de Zurbarán)
·La Virgen de los cartujos o de las Cuevas, Zurbarán
·Visita de San Bruno al papa Urbano II, Zurbarán
·Sala XI: Pintura española y sevillana siglo XVIII.
·Serie de ocho cuadros para conmemorar la subida al trono del rey Fernando VI (Domingo Martínez)
·Sala XII: Pintura sevillana del siglo XIX, el tránsito del Romanticismo al Realismo.
·Cigarreras (Gonzalo Bilbao)
·Sala XIII: Romanticismo.
·En esta sala destaca el Retrato de Gustavo Adolfo Bécquer realizado por su hermano Valeriano
·Sala XIV: Pintura sevillana de la primera mitad del Siglo XX, como Juan Miguel Sánchez, Alfonso Grosso, Diego López, Manuel González Santos,5 Santiago Martínez, José Rico Cejudo y Eugenio Hermoso:
·Retrato de su esposa (Juan Miguel Sánchez)
·Monaguillo (Alfonso Grosso)
·Sevilla en fiestas (Gustavo Bacarisas)
·Retrato de la señora Malinowska (Ignacio Zuloaga)