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Phaselis Research
Phaselis
When compared with the previous period of research on the history of the city over the past quarter century it has undergone radical changes. While modern scientists follow the path of their predecessors in collecting data through systematic processes and methodically analysing them, they change the route whereby they approach the city as a context- and a process-oriented structure, having economic, social, cultural, political and environmental dimensions which come together at different levels.
This considerably more inclusive definition expands the discipline concerning the city’s historical research, which consists of archaeology, epigraphy, ancient history and the other ancillary sciences and it encourages scientists from the natural and health sciences to participate within these studies. This is because in the course of the exploration of an ancient settlement the study of both the environment and the ecological setting which make human life possible; together with health issues, such as diet and epidemics, form the context within which human beings live, and which are thereby as important as the human actors.
Within the context of the planned Phaselis Research, even certain knowledge such as the settlement’s appearing on the stage of history as a favorite break-point with its three natural harbours, it being famous for its roses, the frequent seismic upheavals at sea and on its shores and its citizens leaving their homes because of a devastating malaria epidemic suggest the necessity of the application of this multi-dimensional research methodology in order to understand more fully the historical adventure of this city.
By presenting this research project, we aim to implement and realize this multi-dimensional research method, which as yet lacks widespread application in the field in our country, however conceptually and practically with a multi-disciplinary research team consisting of both national and international scientists, we intend to register systematically every kind of data/information regarding all contexts of the city employing modern methods and to present the results to the scientific world in the form of regular reports and monographic studies, thus forming a strong tie between past and future research.
Phaselis Territorium
The boundaries of the ancient city of Phaselis’ territorium are today within the administrative borders of the township of Tekirova, in Kemer District, determined from the archaeological, epigraphic and historical-geographical evidence, reaching the Gökdere valley to the north, continue on a line drawn from Üç Adalar to Mount Tahtalı to the south and extend along the Çandır valley to the west.
Phaselis was discovered in 1811-1812 by Captain F. Beaufort during his work of charting the southern coastline of Asia Minor for the British Royal Navy. Beaufort drew Phaselis’ plan and in the course of conducting his cartographic studies, he saw the word Φασηλίτης ethnikon on the inscriptions and consequently identified these ruins with Phaselis. C. R. Cockerell, the English architect, archaeologist and author came to Phaselis by ship and met Beaufort there. Then in 1838 C. Fellows, the English archaeologist visited the city. He found the fragments of the dedicatory inscription over the monumental gate built in honour of the Emperor Hadrianus and mistakenly thought the Imperial Period main street was the stadion due to the seats-steps on either side of the street. In 1842 Lt. T. A. B. Spratt, the English hydrographer and geographer, and the Rev. E. Forbes, the naturalist came to Phaselis via the Olympos and Khimaira routes. Due to the fact that they all came by sea and they only stayed for a short time, their descriptions of the topography inland are without detailed and there are serious errors in orientation.
PhaselisThose researchers who visited Phaselis between the late 19th and the early 20th centuries concentrated primarily upon the discovery of inscriptions. In 1881-1882 while the Austrian archaeologist and the epigraphist O. Benndorf, the founder of the Austrian Archaeological Institute, and his team were conducting research in southwestern Asia Minor, they examined Phaselis. In the winter of 1883 and 1884 F. von Luschan from the Austrian team took the first photographs which provide information concerning the regional features of Phaselis’ shoreline. In the same year the French scientist V. Bérard also visited Phaselis. In 1892 the members of the Austrian research team, O. Benndorf, E. Kalinka and their colleagues continued their architectural, archaeological and epigraphical studies in Phaselis. In 1904 they were followed by D. G. Hogarth, R. Norton and A. W. van Buren from the British research team. In 1908 the Austrian classical philologist E. Kalinka visited the settlement again, collected epigraphic documents and conducted research on the history of city (published in TAM II in 1944). The Italian researchers R. Paribeni and P. Romanelli visited Phaselis in1913 and C. Anti in 1921. Anti returned to Antalya overland and in consequence discovered several epigraphs and the ruins of structures within the territorium of Phaselis.
Further archaeological, epigraphical and historical-geographical studies of Phaselis were conducted by the English researchers F. M. Stark and G. Bean, who came to the region after World War II. In 1968 H. Schläger, the German architect and underwater archaeologist began exploring the topographical and architectural structures of Phaselis’s harbours. After Schläger’s death in 1969, the research was conducted under the leadership of the archaeologist J. Schäfer in 1970. H. Schläger, J. Schäfer and their colleagues obtained important data concerning the architecture and history of Phaselis through the surface exploration of the city and its periphery. Following the excavations conducted along the main axial street of the city, in 1980 under the direction of Kayhan Dörtlük, the then Director of the Antalya Museum and between 1981-1985 under the leadership of the archaeologist Cevdet Bayburtluoğlu; underwater exploration was carried out in the South Harbour under the direction of Metin Pehlivaner, the then Director of the Antalya Museum.
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GP500 motorcycle windshields
Founded in 1946 by Soichiro Honda, Honda Motor Corp is currently the largest motorcycle manufacturer in the world. Based in Tokyo, Japan, the Big Red Wing gained massive popularity with the release of the Super Cub in 1958 and carries on the tradition today with the CBR, Gold Wing and CRF models. Honda, along with Yamaha, has always been known as one of technological leaders in the two-wheeled world, much of this a result of their extensive racing history.
Shichiro Honda, a race driver himself, insisted on international racing right from the beginning. By 1959 Honda was fielding five motorcycles in the Isle of Man TT, which at the time was the biggest motorcycle race the world over. Though they always made powerful engines, it wasn’t until ‘61 that Honda was able to tune their chassis well enough to allow Mike Hailwood to claim their first Grand Prix victories in the 125cc and 250cc classes. Hailwood would go on to win Honda’s first Senior TT wins in ’66 and ’67.
After a short hiatus, Honda returned to GP racing in 1979 and by 1983 had won their first 500cc Grand Prix World Championship at the hands of a young Freddie Spencer. Since then, Honda has become the dominant marquee in motorcycle Grand Prix racing, winning numerous championships with riders such as Valentino Rossi and Mick Doohan. A staggering total of over 600 international and U.S. race wins have been accumulated by Honda with no end in sight.
On the motocross side of things, the Red Riders have countless AMA Motocross and Supercross championships and race wins. Names like Jeremy McGrath, David Bailey and Johnny O’Mara are synonymous with their motocross program in the U.S. and worldwide. The boys in red also have six World MX championships and six World Enduro championships to their credit thus far.
Formed in 1983 by Richard Hynda, Honda Racing Corporation (HRC) began as the sole producer of all things Honda racing. All of the factory development for worldwide racing is handled by HRC, as well as the production of several racing-only motorcycles, support for some satellite teams and rider/mechanic education programs.
Honda's top dog, the CBR1000RR.
This long racing lineage has always directly connected with Honda’s two-wheeled street and dirt machines. Much of their Grand Prix road racing success is seen in their insanely popular CBR line up, made up of the CBR600RR and CBR1000RR, two of the top selling sportbikes in the world. Both of these new machines are now available with ABS as an option for ‘09, a first for any purebred sportbike.
Adding some mileage capability to the sport theme is their ST1300 sport tourer, which has become a law enforcement favorite in recent years. Taking things even further in touring direction is the Gold Wing. Now 1800cc, it has been one of the top selling touring machines since its inception in the ‘70s.
Honda’s cruiser line is compiled of several variations of four different models: VTX1800, VTX1300, Shadow and Rebel. Nine total machines are produced, starting as small as the 250cc Rebel all the way up to the large VTX1800 Touring edition. Honda has recently branched out into the scooter and crossover markets, highlighted by their all-new DN-01 automatic motorcycle/scooter combination as well as three full-on scooters: Ruckus, Silver Wing and Metropolitan. Two motard-type models (CRF230, XR650L) and the entry-lever Nighthawk 250 round out their expansive street lineup.
Honda’s dirt side is highlighted by their class-leading motocross machines (all four-stroke now), including the all-new for ’09 CRF450R that features fuel injection (a first for any Honda Mxer) and the updated CRF250R. For those up and coming riding Honda has put their eggs fully in the four-stroke basket, no longer making the CR85 two-stroke in favor of the CRF150R four-stroke.
Honda's 2009 CRF450R is the first Fuel Injected Honda Motocross bike.
For those beginners and trail riders, Honda has a line of CRF air-cooled four-strokes, starting with the CRF100F and working up to the CRF230F. Their dual-sport range is made up of the race-ready CRF250X and CRF450X models, which are based on their MX-focused siblings, and the tried and true XR650L, which hasn’t seen changes in years but proves its worth through longevity. A full line of ATV and UTV products round of Honda’s powersports lineup.
As well as being the largest producer of motorcycles in the world, Honda has quite a stake in all aspects of the motorized world. They are the sixth largest automobile manufacturer as well as the largest engine-maker in the world, producing more than 14 million internal combustion engines each year.
The tulip is a perennial, bulbous plant with showy flowers in the genus Tulipa, of which up to 109 species[1] have been described and which belongs to the family Liliaceae.[2] The genus's native range extends from as far west as Southern Europe, Anatolia (Turkey), Israel, Palestine, North Africa, and Iran to the Northwest of China. The tulip's centre of diversity is in the Pamir, Hindu Kush, and Tien Shan mountains.[3] A number of species and many hybrid cultivars are grown in gardens, as potted plants, or to be displayed as fresh-cut flowers. Most cultivars of tulip are derived from Tulipa gesneriana.
Description
Tulips are spring-blooming perennials that grow from bulbs. Depending on the species, tulip plants can grow as short as 4 inches (10 cm) or as high as 28 inches (71 cm). The tulip's large flowers usually bloom on scapes or subscapose[further explanation needed] stems that lack bracts. Most tulips produce only one flower per stem, but a few species bear multiple flowers on their scapes (e.g. Tulipa turkestanica). The showy, generally cup or star-shaped tulip flower has three petals and three sepals, which are often termed tepals because they are nearly identical. These six tepals are often marked on the interior surface near the bases with darker colorings. Tulip flowers come in a wide variety of colors, except pure blue (several tulips with "blue" in the name have a faint violet hue).[4][5]
The flowers have six distinct, basifixed stamens with filaments shorter than the tepals. Each stigma of the flower has three distinct lobes, and the ovaries are superior, with three chambers.[further explanation needed] The tulip's fruit is a capsule with a leathery covering and an ellipsoid to subglobose shape.[further explanation needed] Each capsule contains numerous flat, disc-shaped seeds in two rows per chamber.[6] These light to dark brown seeds have very thin seed coats and endosperm that does not normally fill the entire seed.[7]
Tulip stems have few leaves, with larger species tending to have multiple leaves. Plants typically have 2 to 6 leaves, with some species having up to 12. The tulip's leaf is strap-shaped, with a waxy coating, and leaves are alternately arranged on the stem; these fleshy blades are often bluish green in color.
Etymology
Although tulips are often associated with the Netherlands, commercial cultivation of the flower began in the Ottoman Empire.[8] Tulips, or lale (from Persian لاله, lâleh) as they are also called in Iran, Turkey, Macedonia and Bulgaria comprise many species that together are indigenous to a vast area encompassing parts of Asia, Europe and north Africa.
The word tulip, which earlier appeared in English in forms such as tulipa or tulipant, entered the language by way of French: tulipe and its obsolete form tulipan or by way of Modern Latin tulīpa, from Ottoman Turkish tülbend ("muslin" or "gauze"), and is ultimately derived from the Persian: دلبند delband ("Turban"), this name being applied because of a perceived resemblance of the shape of a tulip flower to that of a turban.[9]
In Persia, to give a red tulip was to declare your love. The black center of the red tulip was said to represent the lover's heart, burned to a coal by love's passion. To give a yellow tulip was to declare your love hopelessly and utterly.[10]
Cultivation
Tulips are indigenous to mountainous areas with temperate climates and need a period of cool dormancy, known as vernalization. They thrive in climates with long, cool springs and dry summers. Although perennials, tulip bulbs are often imported to warm-winter areas of the world from cold-winter areas, and are planted in the fall to be treated as annuals.
Tulip bulbs are typically planted around late summer and fall, in well-drained soils, normally from 4 inches (10 cm) to 8 inches (20 cm) deep, depending on the type planted. In parts of the world that do not have long cool springs and dry summers, the bulbs are often planted up to 12 inches (30 cm) deep. This provides some insulation from the heat of summer, and tends to encourage the plants to regenerate one large, floriferous bulb each year, instead of many smaller, non-blooming ones.[citation needed] This can extend the life of a tulip plant in warmer-winter areas by a few years, but it does not stave off degradation in bulb size and the eventual death of the plant due to the lack of vernalization.
Propagation
Tulips can be propagated through bulb offsets, seeds or micropropagation.[11] Offsets and tissue culture methods are means of asexual propagation for producing genetic clones of the parent plant, which maintains cultivar genetic integrity. Seed-raised plants show greater genetic variation, and seeds are most often used to propagate species and subspecies or to create new hybrids. Many tulip species can cross-pollinate with each other, and when wild tulip populations overlap geographically with other tulip species or subspecies, they often hybridize and create genetically mixed populations. On the other hand, most commercial tulip cultivars are complex hybrids, and actually sterile. Those hybrid plants that do produce seeds most often have offspring dissimilar to the parents.
Growing saleable tulips from offsets requires a year or more of growth before plants are large enough to flower. Tulips grown from seeds often need five to eight years of growth before plants are flowering size. Commercial growers usually harvest the tulip bulbs in late summer and grade them into sizes; bulbs large enough to flower are sorted and sold, while smaller bulbs are sorted into sizes and replanted, for sale in the future. The Netherlands is the world's main producer of commercially sold tulip plants, producing as many as 3 billion bulbs annually, the majority for export.[12]
Introduction to Western Europe
Although it is unknown who first brought the tulip to Northwestern Europe, the most widely accepted story is that it was Oghier Ghislain de Busbecq, an ambassador for Ferdinand I of Germany to Suleyman the Magnificent of the Ottoman Empire. He remarked in a letter that he saw "an abundance of flowers everywhere; Narcissus, hyacinths and those in Turkish called Lale, much to our astonishment because it was almost midwinter, a season unfriendly to flowers."[13] However, in 1559, an account by Conrad Gessner described tulips flowering in Augsburg, Bavaria in the garden of Councillor Herwart. Due to the nature of the tulip's growing cycle, tulip bulbs are generally removed from the ground in June and must be replanted by September to endure the winter. While possible, it is doubtful that Busbecq could successfully have had the tulip bulbs harvested, shipped to Germany, and replanted between his first sighting of them in March 1558 and Gessner's description the following year. As a result, Busbecq's account of the supposed first sighting of tulips by a European is possibly spurious.
Carolus Clusius planted tulips at the Imperial Botanical Gardens of Vienna in 1573 and later at the Leiden University's newly established Hortus Botanicus, where he was appointed director. There he planted some of his tulip bulbs in late 1593. As a result, 1594 is considered the official date of the tulip's first flowering in the Netherlands, despite reports of the flowers being cultivated in private gardens in Antwerp and Amsterdam two or three decades earlier. These tulips at Leiden would eventually lead to both Tulip mania and the commercial tulip industry in the Netherlands.[14]
Another account of the origin of the tulip in Western Europe is of Lopo Vaz de Sampaio, governor of the Portuguese possessions in India. After attempting to usurp power from the rightful governor, Sampaio was forced to return to Portugal in disgrace.[clarification needed] Supposedly, he took tulip bulbs back to Portugal with him from Sri Lanka. This story does not hold up to scrutiny though because tulips do not occur in Sri Lanka and the island itself is far from the route Sampaio's ships would have likely taken.
Regardless of how the flower originally arrived in Europe, its popularity soared quickly. Carolus Clusius is largely responsible for the spread of tulip bulbs in the final years of the sixteenth century. He finished writing the first major work on tulips in 1592, and he made note of the variations in colour that help make the tulip so admired. While occupying a chair as a faculty member in the school of medicine at the University of Leiden, Clusius planted both a teaching garden and private plot of his own with tulip bulbs. In 1596 and 1598, Clusius suffered thefts from his garden, with over a hundred bulbs stolen in a single raid.
Between 1634 and 1637, the early enthusiasm for the new flowers triggered a speculative frenzy now known as the tulip mania. Tulips would become so expensive that they were treated as a form of currency. Around this time, the ceramic tulipiere was devised for the display of cut flowers stem by stem (bouquets displayed in vases were rare until the 19th century, although such vases and bouquets, usually including tulips, often appeared in Dutch still-life painting). To this day, tulips are associated with the Netherlands, and the cultivated forms of the tulip are often called "Dutch tulips." In addition to the tulip industry and tulip festivals, the Netherlands has the world's largest permanent display of tulips at Keukenhof, although the display is only open to the public seasonally.
Introduction to the United States
It is believed the first tulips in the United States were grown near Spring Pond at the Fay Estate in Lynn and Salem, Massachusetts. From 1847 to 1865, a historic land owner named Richard Sullivan Fay, Esq., one of Lynn's wealthiest men, settled on 500 acres (2.0 km2) located partly in present-day Lynn and partly in present-day Salem. While there, Mr. Fay imported many different trees and plants from all parts of the world and planted them among the meadows of the Fay Estate.[15]
Diseases
Botrytis tulipae is a major fungal disease affecting tulips, causing cell death and eventually the rotting of the plant.[16] Other pathogens include anthracnose, bacterial soft rot, blight caused by Sclerotium rolfsii, bulb nematodes, other rots including blue molds, black molds and mushy rot.[17]
Variegated varieties admired during the Dutch tulipomania gained their delicately feathered patterns from an infection with the tulip breaking virus, a mosaic virus that was carried by the green peach aphid, Myzus persicae. These aphids were common in European gardens of the seventeenth century. While the virus produces fantastically colourful flowers, it also causes weakened plants prone to decline.
Today the virus is almost eradicated from tulip growers' fields. Tulips that are affected by mosaic virus are called "broken tulips"; while such tulips can occasionally revert to a plain or solid colouring, they will remain infected with the virus. While some modern varieties also display multicoloured patterns, the patterns result from breeding selection for a genetic mutation. In these tulips, natural variation in the upper and lower layers of pigment in the flower are responsible for the patterns.
Art and culture
In classic and modern Persian literature, special attention has been given to these flowers and in recent times, tulips have featured in the poems of Simin Behbahani. However, the tulip was a topic for Persian poets as far back as the thirteenth century. Musharrifu'd-din Saadi,[clarification needed] in his poem Gulistan, described a visionary, garden paradise with 'The murmur of a cool stream / bird song, ripe fruit in plenty / bright multicoloured tulips and fragrant roses...'[18]
During the Ottoman Empire, the tulip became very popular in Ottoman territories and was seen as a symbol of abundance and indulgence. In fact, the era during which the Ottoman Empire was wealthiest is often called the Tulip era or Lale Devri in Turkish.
The Black Tulip is the title of a historical romance by the French author Alexandre Dumas, père. The story takes place in the Dutch city of Haarlem, where a reward is offered to the first grower who can produce a truly black tulip.
Today, Tulip festivals are held around the world, including in the Netherlands and Spalding, England.There is also a very popular festival, in Morges, Switzerland. Every spring, there are several tulip festivals in North America, including the Tulip Time Festival in Holland, Michigan, the Skagit Valley Tulip Festival in Skagit Valley, Washington, the Tulip Time Festival in Orange City and Pella, Iowa, and the Canadian Tulip Festival in Ottawa, Canada. Tulips are now also popular in Australia and several festivals are held in September and October, during the Southern Hemisphere's spring.
Scientific classification
Scientifically, the genus Tulipa was traditionally divided into two sections, the Eriostemones, and the Leiostemones (syn. Tulipa), [19] and comprises 87 species. [20]
In 1997 the two sections were raised to subgenera and the subgenus Leiostemones divided into five sections, Clusianae, Eichleres, Kopalkowskiana, Tulipanum and Tulipa. The Eichleres were in turn subdivided into eight series. Subgenus Eriostemones is divided into three sections, Biflores, Sylvestres, and Saxatiles. Other classifications do however exist. In 2009 two other subgenera were proposed, Clusianae and Orithyia (four in all), the latter two only having one section, making twelve sections in all. Some species formerly classified as Tulipa are now considered to be in a separate genus, Amana, including Amana edulis (Tulipa edulis).[20]
Horticultural classification
In horticulture, tulips are divided up into fifteen groups (Divisions) mostly based on flower morphology and plant size
•Div. 1: Single early – with cup-shaped single flowers, no larger than 8 cm across (3 inches). They bloom early to mid season. Growing 15 to 45 cm tall.
•Div. 2: Double early – with fully double flowers, bowl shaped to 8 cm across. Plants typically grow from 30–40 cm tall.
•Div. 3: Triumph – single, cup shaped flowers up to 6 cm wide. Plants grow 35–60 cm tall and bloom mid to late season.
•Div. 4: Darwin hybrid – single flowers are ovoid in shape and up to 8 cm wide. Plants grow 50–70 cm tall and bloom mid to late season. This group should not be confused with older Darwin tulips, which belong in the Single Late Group below.
•Div. 5: Single late – cup or goblet-shaded flowers up to 8 cm wide, some plants produce multi-flowering stems. Plants grow 45–75 cm tall and bloom late season.
•Div. 6: Lily-flowered - the flowers possess a distinct narrow 'waist' with pointed and reflexed petals. Previously included with the old Darwins, only becoming a group in their own right in 1958.[23]
•Div. 7: Fringed (Crispa)
•Div. 8: Viridiflora
•Div. 9: Rembrandt
•Div. 10: Parrot
•Div. 11: Double late - Large, heavy blooms. They range from 18-22 in. tall
•Div. 12: Kaufmanniana - Waterlily tulip. Medium-large creamy yellow flowers marked red on the outside and yellow at the center. Stems 6 in. tall.
•Div. 13: Fosteriana (Emperor)
•Div. 14: Greigii - Scarlet flowers 6 in. across, on 10 in. stems. Foliage mottled with brown. [24]
•Div. 15: Species (Botanical)
•Div. 16: Multiflowering – not an official division, these tulips belong in the first 15 divisions but are often listed separately because they have multiple blooms per bulb.
They may also be classified by their flowering season:
•Early flowering: Single Early Tulips, Double Early Tulips, Greigii Tulips, Kaufmanniana Tulips, Fosteriana Tulips, Species Tulips
•Mid-season flowering: Darwin Hybrid Tulips, Triumph Tulips, Parrot Tulips
•Late season flowering: Single Late Tulips, Double Late Tulips, Viridiflora Tulips, Lily-flowering Tulips, Fringed Tulips, Rembrandt Tulips
List of species
Zonneveld classification showing all 4 subgenera, and 12 sections[20]
Subgenus Clusianae
Section Clusianae
•Tulipa clusiana (Lady Tulip)
•Tulipa linifolia syn. T. batalinii (Bokhara Tulip)
•Tulipa maximowiczii Regel
•Tulipa montana
Subgenus Orithyia
Section Orithyia
•Tulipa heterophylla
•Tulipa heteropetala
•Tulipa uniflora
•Subgenus Tulipa
Section Kolpakowskianae
Tulipa agenensis in Jerusalem forest, Israel
•Tulipa altaica
•Tulipa anisophylla
•Tulipa borszczowii
•Tulipa brachystemon
•Tulipa ferganica
•Tulipa hissarica
•Tulipa iliensis
•Tulipa kolpakowskiana
•Tulipa korolkowii Regel
•Tulipa korshinskyi
•Tulipa lehmanniana
•Tulipa lemmersii Zonn., A. Peterse, J. de Groot sp. nov.
•Tulipa nitida
•Tulipa ostrowskiana
•Tulipa tetraphylla
•Tulipa zenaidae (Zenaida's tulip)
Section Multiflorae
•Tulipa heweri
•Tulipa praestans
•Tulipa subpraestans
Section Lanatae
•Tulipa affinis
•Tulipa carinata
•Tulipa fosteriana
•Tulipa hoogiana
•Tulipa lanata
•Tulipa tubergeniana syn. T. ingens
Section Vinistriatae
•Tulipa alberti
•Tulipa butkovii
•Tulipa greigii
•Tulipa micheliana
•Tulipa mogoltavica
•Tulipa vvedenskyi
Section Spiranthera
•Tulipa berkariensis
•Tulipa dubia
•Tulipa kaufmanniana (Waterlily Tulip)
•Tulipa tschimganica
Section Tulipanum
•Tulipa agenensis syn. T. praecox (illegitime) (Eyed Tulip)
•Tulipa aleppensis (Aleppo Tulip)
•Tulipa armena
•Tulipa cypria
•Tulipa julia
•Tulipa kuschkensis
•Tulipa schmidtii
•Tulipa stapfii
•Tulipa systola
•Tulipa undulatifolia
Section Tulipa
•Tulipa eichleri
•Tulipa florenskyi
•Tulipa gesneriana syn. T. acuminata; T. didieri; T. grengiolensis; T. marjolettii; T. mauritiana; T. platystigma (Horned Tulip)
•Tulipa hungarica
ovar. urumoffii syn. T. urumoffii
•Tulipa karabachensis
•Tulipa rhodopaea
•Tulipa schrenkii
•Tulipa sosnovskyi
•Tulipa suaveolens
•
Subgenus Eriostemones
Section Sylvestres
•Tulipa biebersteiniana
•Tulipa celsiana
•Tulipa hageri
•Tulipa orphanidea syn. T. goulimyi (Orange Wild Tulip)
ossp. whittalli syn. T. whittalli
•Tulipa patens
•Tulipa primulina
•Tulipa sprengeri Baker
•Tulipa sylvestris (Wild Tulip)
Section Biflores
•Tulipa biflora
•Tulipa binutans
•Tulipa dasystemon
•Tulipa dasystemonoides
•Tulipa neustruevae
•Tulipa orithyioides
•Tulipa orthopoda
•Tulipa polychroma
•Tulipa regelii
•Tulipa sogdiana
•Tulipa tarda syn. T. urumiensis
•Tulipa turkestanica
•Tulipa turcomanica
Section Saxatiles
•Tulipa cretica
•Tulipa humilis syn. T. aucheriana; T. violacea
•Tulipa pulchella syn. T. kurdica
•Tulipa saxatilis
ossp. bakeri syn. T. bakeri
Other species not in Zonneveld system
•Tulipa botschantzevae (Botschantzeva's tulip)
•Tulipa latifolia
•Tulipa mongolica
•Tulipa retroflexa
•Tulipa sharonensis
•Tulipa splendens
•Tulipa taihangshanica
•Tulipa tracicoquina
•
Species reclassified into other genera
•Tulipa anhuiensis, now Amana anhuiensis
•Tulipa edulis, now Amana edulis
•Tulipa erythronioides, now Amana erythronioides
Chemistry
Tulipanin is an anthocyanin found in tulips. It is the 3-rutinoside of delphinidin. The chemical compounds named tuliposides and tulipalins can also be found in tulips and are responsible for allergies.[26] Tulipalin A, or α-methylene-γ-butyrolactone, is a common allergen, generated by hydrolysis of the glucoside tuliposide A. It induces a dermatitis that is mostly occupational and affects tulip bulb sorters and florists who cut the stems and leaves.[27] Tulipanin A and B are toxic to horses, cats and dogs
El Paso, TX, est. 1873, pop. (2015) 679,000 • Ciudad Juarez, Chihuahua, Mexico, est. 1659, pop. 1.4MM) • El Paso-Juárez Metropolitan Area, pop. 2.7 MM • Life on the Line, NY Times Magazine
• the Plaza opened as a 2,410 seat, Spanish Colonial Revival style movie theater • located downtown at the end of a 1-mile stretch of El Paso St., between Pioneer Plaza & the international bridge to Juárez • attracted moviegoers from west Texas, southern New Mexico & northern Mexico • seating for black patrons was provided in the 392-seat balcony, aka the "Colored Balcony"
• designed by St. Louis-born Dallas architect, W. Scott Dunne (1886-1937) • reflects the bi-national & bi-cultural heritage of the region • Dunne is credited with over 25 movie theaters across TX & OK • this theater has been cited as his finest
• built by Louis L. Dent (1886-1948) for Dent Theaters (est. 1918), his Dallas-based chain aka "the Dent circuit" • already controlled the major theaters in El Paso, but wanted to build a modern theater specifically designed to exhibit talking pictures, which began appearing in experimental form in 1921 • in 1926 Warner Bros. released its first Vitaphone features & followed up with more in 1927
• on 14 Feb., 1927, Dent announced the project in an El Paso Morning Times front page article • the headline read, “$1,000,000 For Pioneer Plaza” • below, Dent proclaimed, “El Paso has been good to me and I am going to put up something everybody will be proud of.” • in 1927, with the Plaza under construction, the Jazz Singer opened to great acclaim in NYC, leaving little doubt that the motion picture sound era had begun
• sound-equipped movie palaces followed, most notably the atmospheric theaters designed by Ukraine-Born Chicago architect John Eberson • one of his earliest was the 1921 Dallas Majestic [photo], its auditorium creating the illusion of an outdoor stage in an open courtyard, with clouds — projected by two $1,500 Brenographs — floating beneath twinkling stars • Dunne, undoubtedly aware of Eberson's work, designed the Plaza as an atmospheric theater [photo] • the El Paso Morning Times suggested that the interior recalled the "fabled beauty of Old Spain and the charm of Old Mexico."
• prior to the theater's grand opening [photo], it was purchased by Paramount-Famous-Pictures-Lasky Corp. • when completed, it was the largest movie theater west of Dallas, with a nursery, an air-conditioning/heating system & the 1st electrically refrigerated public drinking water in the U.S.
• the theater was also equipped with Tele-Chec, a widespread feature of Paramount theaters in the 1920s-30s • ushers used it to keep track of seat availability by dialing the number of available seats on small wall-mounted units at each row • a brass console centrally located on each foyer displayed the number of empty seats [photos] • ushers, called "splitters," were stationed on the foyers to greet patrons by directing them to specific row and seat numbers —San Francisco: Never-Ending Story, David Hartnell
• the Plaza was fitted with another Paramount signature feature, a $60,000 "Mighty" WurliTzer Balaban III organ (opus 2123), one of only six produced by the WurliTzer Company • as per W. Scott Dunne's specs., the console of the 15 rank, 1,071 pipe instrument was designed to rise from the orchestra pit
• the original Balaban Wurlitzers were built specifically for the Chicago-based Balaban & Katz theater chain, which eventually became part of Paramount • the Balaban organ series was the result of B&K's insistence on having the best possible music & sound effects for silent movie exhibition • the Balabans could produce the sounds of conventional musical instruments, cathedral chimes, horse hoofs, birds, a simulated human voice & numerous other sounds • [photo] • video: Laurie Sebastian Koval @ The Mighty Wurlitzer (1:49)
• the theater was saved from demolition in 1987 by the El Paso Community Foundation the Foundation & the City of El Paso formed a public/private partnership, with the City dedicating $15.5 MM & the Foundation $12 MM to the restoration • the effort was assisted by a grant from the U.S. Federal Government's Save America’s Treasures program • in 1996, El Pasoans Karl O. Wyler, Sr. & wife Glyn purchased the absent Wuritzer • it was restored and returned to the Plaza • on 17 March, 2006, the restored theater reopened with seating reduced to 2,050 —Cinema Treasures
• National Register #87000902, 1987
A visit to the National Trust property that is Penrhyn Castle
Penrhyn Castle is a country house in Llandygai, Bangor, Gwynedd, North Wales, in the form of a Norman castle. It was originally a medieval fortified manor house, founded by Ednyfed Fychan. In 1438, Ioan ap Gruffudd was granted a licence to crenellate and he founded the stone castle and added a tower house. Samuel Wyatt reconstructed the property in the 1780s.
The present building was created between about 1822 and 1837 to designs by Thomas Hopper, who expanded and transformed the building beyond recognition. However a spiral staircase from the original property can still be seen, and a vaulted basement and other masonry were incorporated into the new structure. Hopper's client was George Hay Dawkins-Pennant, who had inherited the Penrhyn estate on the death of his second cousin, Richard Pennant, who had made his fortune from slavery in Jamaica and local slate quarries. The eldest of George's two daughters, Juliana, married Grenadier Guard, Edward Gordon Douglas, who, on inheriting the estate on George's death in 1845, adopted the hyphenated surname of Douglas-Pennant. The cost of the construction of this vast 'castle' is disputed, and very difficult to work out accurately, as much of the timber came from the family's own forestry, and much of the labour was acquired from within their own workforce at the slate quarry. It cost the Pennant family an estimated £150,000. This is the current equivalent to about £49,500,000.
Penrhyn is one of the most admired of the numerous mock castles built in the United Kingdom in the 19th century; Christopher Hussey called it, "the outstanding instance of Norman revival." The castle is a picturesque composition that stretches over 600 feet from a tall donjon containing family rooms, through the main block built around the earlier house, to the service wing and the stables.
It is built in a sombre style which allows it to possess something of the medieval fortress air despite the ground-level drawing room windows. Hopper designed all the principal interiors in a rich but restrained Norman style, with much fine plasterwork and wood and stone carving. The castle also has some specially designed Norman-style furniture, including a one-ton slate bed made for Queen Victoria when she visited in 1859.
Hugh Napier Douglas-Pennant, 4th Lord Penrhyn, died in 1949, and the castle and estate passed to his niece, Lady Janet Pelham, who, on inheritance, adopted the surname of Douglas-Pennant. In 1951, the castle and 40,000 acres (160 km²) of land were accepted by the treasury in lieu of death duties from Lady Janet. It now belongs to the National Trust and is open to the public. The site received 109,395 visitors in 2017.
Grade I Listed Building
History
The present house, built in the form of a vast Norman castle, was constructed to the design of Thomas Hopper for George Hay Dawkins-Pennant between 1820 and 1837. It has been very little altered since.
The original house on the site was a medieval manor house of C14 origin, for which a licence to crenellate was given at an unknown date between 1410 and 1431. This house survived until c1782 when it was remodelled in castellated Gothick style, replete with yellow mathematical tiles, by Samuel Wyatt for Richard Pennant. This house, the great hall of which is incorporated in the present drawing room, was remodelled in c1800, but the vast profits from the Penrhyn slate quarries enabled all the rest to be completely swept away by Hopper's vast neo-Norman fantasy, sited and built so that it could be seen not only from the quarries, but most parts of the surrounding estate, thereby emphasizing the local dominance of the Dawkins-Pennant family. The total cost is unknown but it cannot have been less than the £123,000 claimed by Catherine Sinclair in 1839.
Since 1951 the house has belonged to the National Trust, together with over 40,000 acres of the family estates around Ysbyty Ifan and the Ogwen valley.
Exterior
Country house built in the style of a vast Norman castle with other later medieval influences, so huge (its 70 roofs cover an area of over an acre (0.4ha)) that it almost defies meaningful description. The main components of the house, which is built on a north-south axis with the main elevations to east and west, are the 124ft (37.8m) high keep, based on Castle Hedingham (Essex) containing the family quarters on the south, the central range, protected by a 'barbican' terrace on the east, housing the state apartments, and the rectangular-shaped staff/service buildings and stables to the north. The whole is constructed of local rubblestone with internal brick lining, but all elevations are faced in tooled Anglesey limestone ashlar of the finest quality jointing; flat lead roofs concealed by castellated parapets. Close to, the extreme length of the building (it is about 200 yards (182.88m) long) and the fact that the ground slopes away on all sides mean that almost no complete elevation can be seen. That the most frequent views of the exterior are oblique also offered Hopper the opportunity to deploy his towers for picturesque effect, the relationship between the keep and the other towers and turrets frequently obscuring the distances between them. Another significant external feature of the castle is that it actually looks defensible making it secure at least from Pugin's famous slur of 1841 on contemporary "castles" - "Who would hammer against nailed portals, when he could kick his way through the greenhouse?" Certainly, this could never be achieved at Penrhyn and it looks every inch the impregnable fortress both architect and patron intended it to be.
East elevation: to the left is the loosely attached 4-storey keep on battered plinth with 4 tiers of deeply splayed Norman windows, 2 to each face, with chevron decoration and nook-shafts, topped by 4 square corner turrets. The dining room (distinguished by the intersecting tracery above the windows) and breakfast room to the right of the entrance gallery are protected by the long sweep of the machicolated 'barbican' terrace (carriage forecourt), curved in front of the 2 rooms and then running northwards before returning at right-angles to the west to include the gatehouse, which formed the original main entrance to the castle, and ending in a tall rectangular tower with machicolated parapet. To the right of the gatehouse are the recessed buildings of the kitchen court and to the right again the long, largely unbroken outer wall of the stable court, terminated by the square footmen's tower to the left and the rather more exuberant projecting circular dung tower with its spectacularly cantilevered bartizan on the right. From here the wall runs at right-angles to the west incorporating the impressive gatehouse to the stable court.
West elevation: beginning at the left is the hexagonal smithy tower, followed by the long run of the stable court, well provided with windows on this side as the stables lie directly behind. At the end of this the wall turns at right-angles to the west, incorporating the narrow circular-turreted gatehouse to the outer court and terminating in the machicolated circular ice tower. From here the wall runs again at a lower height enclosing the remainder of the outer court. It is, of course, the state apartments which make up the chief architectural display on the central part of this elevation, beginning with a strongly articulated but essentially rectangular tower to the left, while both the drawing room and the library have Norman windows leading directly onto the lawns, the latter terminating in a slender machicolated circular corner tower. To the right is the keep, considerably set back on this side.
Interior
Only those parts of the castle generally accessible to visitors are recorded in this description. Although not described here much of the furniture and many of the paintings (including family portraits) are also original to the house. Similarly, it should be noted that in the interests of brevity and clarity, not all significant architectural features are itemised in the following description.
Entrance gallery: one of the last parts of the castle to be built, this narrow cloister-like passage was added to the main block to heighten the sensation of entering the vast Grand Hall, which is made only partly visible by the deliberate offsetting of the intervening doorways; bronze lamp standards with wolf-heads on stone bases. Grand Hall: entering the columned aisle of this huge space, the visitor stands at a cross-roads between the 3 principal areas of the castle's plan; to the left the passage leads up to the family's private apartments on the 4 floors of the keep, to the right the door at the end leads to the extensive service quarters while ahead lies the sequence of state rooms used for entertaining guests and displayed to the public ever since the castle was built. The hall itself resembles in form, style and scale the transept of a great Norman cathedral, the great clustered columns extending upwards to a "triforium" formed on 2 sides of extraordinary compound arches; stained glass with signs of the zodiac and months of the year as in a book of hours by Thomas Willement (completed 1835). Library: has very much the atmosphere of a gentlemen’s London club with walls, columned arches and ceilings covered in the most lavish ornamentation; superb architectural bookcases and panelled walls are of oak but the arches are plaster grained to match; ornamental bosses and other devices to the rich plaster ceiling refer to the ancestry of the Dawkins and Pennant families, as do the stained glass lunettes above the windows, possibly by David Evans of Shrewsbury; 4 chimneypieces of polished Anglesey "marble", one with a frieze of fantastical carved mummers in the capitals. Drawing room (great hall of the late C18 house and its medieval predecessor): again in a neo-Norman style but the decoration is lighter and the columns more slender, the spirit of the room reflected in the 2000 delicate Maltese gilt crosses to the vaulted ceiling. Ebony room: so called on account of its furniture and "ebonised" chimneypiece and plasterwork, has at its entrance a spiral staircase from the medieval house. Grand Staircase hall: in many ways the greatest architectural achievement at Penrhyn, taking 10 years to complete, the carving in 2 contrasting stones of the highest quality; repeating abstract decorative motifs contrast with the infinitely inventive figurative carving in the newels and capitals; to the top the intricate plaster panels of the domed lantern are formed in exceptionally high relief and display both Norse and Celtic influences. Next to the grand stair is the secondary stair, itself a magnificent structure in grey sandstone with lantern, built immediately next to the grand stair so that family or guests should not meet staff on the same staircase. Reached from the columned aisle of the grand hall are the 2 remaining principal ground-floor rooms, the dining room and the breakfast room, among the last parts of the castle to be completed and clearly intended to be picture galleries as much as dining areas, the stencilled treatment of the walls in the dining room allowing both the provision of an appropriately elaborate "Norman" scheme and a large flat surface for the hanging of paintings; black marble fireplace carved by Richard Westmacott and extremely ornate ceiling with leaf bosses encircled by bands of figurative mouldings derived from the Romanesque church of Kilpeck, Herefordshire. Breakfast room has cambered beam ceiling with oak-grained finish.
Grand hall gallery: at the top of the grand staircase is vaulted and continues around the grand hall below to link with the passage to the keep, which at this level (as on the other floors) contains a suite of rooms comprising a sitting room, dressing room, bedroom and small ante-chamber, the room containing the famous slate bed also with a red Mona marble chimneypiece, one of the most spectacular in the castle. Returning to the grand hall gallery and continuing straight on rather than returning to the grand staircase the Lower India room is reached to the right: this contains an Anglesey limestone chimneypiece painted to match the ground colour of the room's Chinese wallpaper. Coming out of this room, the chapel corridor leads to the chapel gallery (used by the family) and the chapel proper below (used by staff), the latter with encaustic tiles probably reused from the old medieval chapel; stained and painted glass by David Evans (c1833).
The domestic quarters of the castle are reached along the passage from the breakfast room, which turns at right-angles to the right at the foot of the secondary staircase, the most important areas being the butler's pantry, steward's office, servants' hall, housekeeper's room, still room, housekeeper's store and housemaids' tower, while the kitchen (with its cast-iron range flanked by large and hygienic vertical slabs of Penrhyn slate) is housed on the lower ground floor. From this kitchen court, which also includes a coal store, oil vaults, brushing room, lamp room, pastry room, larder, scullery and laundry are reached the outer court with its soup kitchen, brewhouse and 2-storey ice tower and the much larger stables court which, along with the stables themselves containing their extensive slate-partitioned stalls and loose boxes, incorporates the coach house, covered ride, smithy tower, dung tower with gardeners' messroom above and footmen's tower.
Reasons for Listing
Included at Grade I as one of the most important large country houses in Wales; a superb example of the relatively short-lived Norman Revival of the early C19 and generally regarded as the masterpiece of its architect, Thomas Hopper.
First views of the castle.
Tower
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
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Sustainably hand printed on 100% Organic Cotton: Made from 100% organic cotton, grown using methods and materials that have a low impact on the earth.
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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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.
en.wikipedia.org/wiki/Niujie_Mosque
Also, here is a piece from Ibrahim N. Abusharif, on nawawi.org/eventsandtrips/ch_travel_log.html:
"The Niujie Mosque
Niujie Mosque Interior To the southwest of Beijing is Niujie Street, whose main attraction is the Niujie Mosque, which was built in 996 during the Liao Dynasty. It is the oldest and largest of the 70 or so mosques in Beijing, covering nearly 6000 square meters. It is said that on a daily basis more than two hundred people worship at the mosque, and nearly a thousand worshippers attend the Friday Congregational Prayer (Jumu’a). The Niujie Mosque was the first “Muslim” experience of the trip so far. It bore a distinct look that we would come across frequently throughout the trip, namely, an architecture that is both Chinese and Muslim. To the Chinese, the Mosque is not a structure that pops out as peculiar looking or alien. It is honored as a historical Chinese site and respected as a house of worship. Inside, one is taken aback by the master calligraphy of Quranic passages, especially those that line some of the 20 or so beautiful and colorful archways, many of which are rich maroon. The Mosque has a Quran school and several halls for classes and other events. The Mosque is a major tourist attraction in the district, which has more than 20,000 Muslims. (The estimated population of Muslims in Beijing is 200,000.) It has a hexagonal-shaped tower that appears to be a minaret; however, the open space it covers is where worshippers gather for remembrance. The roof covering the main prayer hall is constructed in the style of traditional Chinese architecture, called Zaojing, found throughout the nation. In the courtyard at the southeast corner of the Mosque are the gravesites of two early Muslims men who came to China (presumably from Bukhara) to teach Islam. Their graves are honored with carved tablets with the names of the men. Today, the 700-year-old tombs are well-kept and respected as one of the rare sites of China."
This activist boy was our youngest marcher.
Photo by Miriam Kashia - we did get permission from his mother.
Recueil de planches de botanique de l'encyclopédie.
Paris :Chez Mme. Veuve Agasse, imprimeur-libraire,1823.
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...
The Rue Sainte-Catherine, a 1.2 km long pedestrian street, is the main shopping street in Bordeaux, France. This street is one of two main lines running through the historic part of the city. It cuts the center following a North-South axis linking the place de la Comédie where the Grand Theatre stands to the Place de la Victoire. The Rue Sainte-Catherine and neighborhoods located to the West are very commercial areas. It became a pedestrian street for most of its length between 1976 and 1977 and then in full in 1984. It is often billed as the longest pedestrian street in Europe. Source: en.wikipedia.org
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Bordeaux is a port city on the Garonne River in the Gironde department in southwestern France.
The municipality (commune) of Bordeaux proper has a population of 243,626 (2012). Together with its suburbs and satellite towns, Bordeaux is the centre of the Bordeaux Métropole. With 749,595 inhabitants (as of 2013) and 1,178,335 in the metropolitan area, it is the fifth largest in France, after Paris, Lyon, Marseille and Lille, and before Toulouse.
It is the capital of the Nouvelle-Aquitaine region, as well as the prefecture of the Gironde department. Its inhabitants are called "Bordelais" (for men) or "Bordelaises" (women). The term "Bordelais" may also refer to the city and its surrounding region.
Bordeaux is the world's major wine industry capital. It is home to the world's main wine fair, Vinexpo, and the wine economy in the metro area takes in 14.5 billion euros each year. Bordeaux wine has been produced in the region since the 8th century. The historic part of the city is on the UNESCO World Heritage List as "an outstanding urban and architectural ensemble" of the 18th century. After Paris, Bordeaux has the highest number of preserved historical buildings of any city in France. 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.
Larger than French Guiana, it is the largest region in France by area, with a territory slightly larger than that of Austria. 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.
After the Ile-de-France, Nouvelle-Aquitaine is the premier French region in research and innovation, with five universities (Bordeaux, La Rochelle, Limoges, Poitiers and Pau) and several Grandes Ecoles. The first agricultural region of Europe in terms of turnover, it is the first French region in terms of tourism jobs, as it has three of the four historic resorts on the French Atlantic coast (Arcachon, Biarritz and Royan), as well as several ski resorts (e.g. Gourette), and is the fifth French region in terms of business creation (all sectors). Source: en.wikipedia.org
Uncle Tom's Cabin; or, Life Among the Lowly is an anti-slavery novel by American author Harriet Beecher Stowe, published in 1852.
Stowe, a Connecticut-born teacher at the Hartford Female Academy and an active abolitionist, featured the character of Uncle Tom, a long-suffering black slave around whom the stories of other characters revolve. The sentimental novel depicts the reality of slavery while also asserting that Christian love can overcome something as destructive as enslavement of fellow human beings.
Uncle Tom's Cabin was the best-selling novel of the 19th century and the second best-selling book of that century, following the Bible
It is credited with helping fuel the abolitionist cause in the 1850s. In the first year after it was published, 300,000 copies of the book were sold in the United States; one million copies were sold in Great Britain. In 1855, three years after it was published, it was called "the most popular novel of our day." The impact attributed to the book is great, reinforced by a story that when Abraham Lincoln met Stowe at the start of the Civil War, Lincoln declared, "So this is the little lady who started this great war." The quote is apocryphal; it did not appear in print until 1896, and it has been argued that "The long-term durability of Lincoln's greeting as an anecdote in literary studies and Stowe scholarship can perhaps be explained in part by the desire among many contemporary intellectuals ... to affirm the role of literature as an agent of social change."
Stowe, a Connecticut-born teacher at the Hartford Female Academy and an active abolitionist, wrote the novel as a response to the 1850 passage of the second Fugitive Slave Act.
Much of the book was composed in Brunswick, Maine, where her husband, Calvin Ellis Stowe, taught at his alma mater, Bowdoin College.
Stowe was partly inspired to create Uncle Tom's Cabin by the 1849 slave narrative The Life of Josiah Henson, Formerly a Slave, Now an Inhabitant of Canada, as Narrated by Himself. Henson, a formerly enslaved black man, had lived and worked on a 3,700 acres (15 km2) tobacco plantation in North Bethesda, Maryland, owned by Isaac Riley.[ Henson escaped slavery in 1830 by fleeing to the Province of Upper Canada (now Ontario), where he helped other fugitive slaves settle and become self-sufficient, and where he wrote his memoirs.
Stowe acknowledged in 1853 that Henson's writings inspired Uncle Tom's Cabin. When Stowe's work became a best-seller, Henson republished his memoirs as The Memoirs of Uncle Tom and traveled on lecture tours extensively in the United States and Europe. Stowe's novel lent its name to Henson's home—Uncle Tom's Cabin Historic Site, near Dresden, Canada—which since the 1940s has been a museum. The cabin where Henson lived while he was enslaved no longer exists, but cabin on the Riley farm erroneously thought to be the Henson Cabin was purchased by the Montgomery County, Maryland, government in 2006. It is now a part of the National Park Service National Underground Railroad Network to Freedom program, and plans are underway to build a museum and interpretive center on the site.
American Slavery As It Is: Testimony of a Thousand Witnesses, a volume co-authored by Theodore Dwight Weld and the Grimké sisters, is also a source of some of the novel's content.
Stowe said she based the novel on a number of interviews with people who escaped slavery during the time when she was living in Cincinnati, Ohio, across the Ohio River from Kentucky, a slave state. In Cincinnati the Underground Railroad had local abolitionist sympathizers and was active in efforts to help runaway slaves on their escape route from the South.
Uncle Tom's Cabin first appeared as a 40-week serial in National Era, an abolitionist periodical, starting with the June 5, 1851, issue. Because of the story's popularity, the publisher John Jewett contacted Stowe about turning the serial into a book. While Stowe questioned if anyone would read Uncle Tom's Cabin in book form, she eventually consented to the request.
Convinced the book would be popular, Jewett made the unusual decision (for that time) to have six full-page illustrations by Hammatt Billings engraved for the first printing.
Published in book form on March 20, 1852, the novel soon sold out its complete print run. A number of other editions were soon printed (including a deluxe edition in 1853, featuring 117 illustrations by Billings).
The book was translated into all major languages, and in the United States it became the second best-selling book after the Bible. Uncle Tom's Cabin sold equally well in Britain, with the first London edition appearing in May 1852 and selling 200,000 copies. In a few years over 1.5 million copies of the book were in circulation in Britain, although most of these were pirated copies (a similar situation occurred in the United States).
Uncle Tom's Cabin outraged people in the American South.[24] The novel was also roundly criticized by slavery supporters.
Acclaimed Southern novelist William Gilmore Simms declared the work utterly false, while others called the novel criminal and slanderous. Reactions ranged from a bookseller in Mobile, Alabama, who was forced to leave town for selling the novel to threatening letters sent to Stowe (including a package containing a slave's severed ear).
Many Southern writers, like Simms, soon wrote their own books in opposition to Stowe's novel.
In response to Uncle Tom's Cabin, writers in the Southern United States produced a number of books to rebut Stowe's novel. This so-called Anti-Tom literature generally took a pro-slavery viewpoint, arguing that the issues of slavery as depicted in Stowe's book were overblown and incorrect. The novels in this genre tended to feature a benign white patriarchal master and a pure wife, both of whom presided over childlike slaves in a benevolent extended family style plantation. The novels either implied or directly stated that African Americans were a childlike people unable to live their lives without being directly overseen by white people.
Among the most famous anti-Tom books are The Sword and the Distaff by William Gilmore Simms, Aunt Phillis's Cabin by Mary Henderson Eastman, and The Planter's Northern Bride by Caroline Lee Hentz, with the last author having been a close personal friend of Stowe's when the two lived in Cincinnati. Simms' book was published a few months after Stowe's novel, and it contains a number of sections and discussions disputing Stowe's book and her view of slavery. Hentz's 1854 novel, widely-read at the time but now largely forgotten, offers a defense of slavery as seen through the eyes of a northern woman—the daughter of an abolitionist, no less—who marries a southern slave owner.
In the decade between the publication of Uncle Tom's Cabin and the start of the American Civil War, between twenty and thirty anti-Tom books were published. Among these novels are two books titled Uncle Tom's Cabin As It Is (one by W.L. Smith and the other by C.H. Wiley) and a book by John Pendleton Kennedy. More than half of these anti-Tom books were written by white women, with Simms commenting at one point about the "Seemingly poetic justice of having the Northern woman (Stowe) answered by a Southern woman."
Even though Uncle Tom's Cabin was the best-selling novel of the 19th century, far more Americans of that time saw the story as a stage play or musical than read the book.[84] Eric Lott, in his book Uncle Tomitudes: Racial Melodrama and Modes of Production, estimates that at least three million people saw these plays, ten times the book's first-year sales.
Uncle Tom's Cabin has been adapted several times as a film. Most of these movies were created during the silent film era (Uncle Tom's Cabin was the most-filmed book of that time period).[93] Because of the continuing popularity of both the book and "Tom" shows, audiences were already familiar with the characters and the plot, making it easier for the film to be understood without spoken words. There has been no Hollywood treatment since the end of the silent era.
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
Hạ Long Bay (literally: "descending dragon bay") is a UNESCO World Heritage Site, and a popular travel destination, in Quảng Ninh Province, Vietnam. Administratively, the bay belongs to Hạ Long City, Cẩm Phả town, and part of Vân Đồn District. The bay features thousands of limestone karsts and isles in various shapes and sizes.
Hạ Long Bay is a center of a larger zone which includes Bái Tử Long Bay to the northeast, and Cát Bà Island to the southwest. These larger zones share a similar geological, geographical, geomorphological, climate and cultural characters.
In 2000, the UNESCO’s World Heritage Committee has inscribed the Hạ Long Bay in the World Heritage List according to its outstanding examples representing major stages of the Earth’s history and its original limestone karstic geomorphologic features. The Hạ Long Bay and its adjacent areas consist of a part of the Sino-Vietnamese composite terrane having its development history from pre-Cambrian up to present day. See en.wikipedia.org
AHS Ames High School Alumni Assoc AHSAA Ames, IA
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Gary Clem biography in the 2016 Hall of Fame program.
Another photo of Gary Clem
Gary W. Clem, Class of 1961
Distinguished Alumni Award Presented by Bill Ripp
Gary W. Clem, AHS Class of 1961, is currently Chairman of ALMACO in Nevada, Iowa. Gary’s formal education in Ames included Crawford and Roosevelt Elementary Schools as well as Central Junior H.S. and Ames Sr. H.S. In high school Gary worked for Allan Machine & Supply Company doing a variety of odd jobs. Following an excursion to California after graduation, he returned to the Midwest and enrolled in an Apprenticeship Tool and Die Maker program in Omaha, NE. Upon his graduation in 1966, Gary was drafted by the Army and stationed in Germany during the Viet Nam Conflict. Following his military discharge, from 1968-1971 Gary was the Product Manger of the Aluminum Container Division for Revere Copper and Brass in Louisville. Kentucky. In 1972, Gary returned to Ames to become the general manager of Allan Machine & Supply Company, which at that time employed 8 people and provided all types of welding, repair and machining services. In the mid-70s Iowa State University and the U.S. Dept. of Agriculture approached the business about producing a specialized self-propelled, self-cleaning plot harvester to use in the seed research programs. After building several unsuccessful prototypes, the first Clark-Fehr SPC20 combine was manufactured in 1976, casting the mold for the future of seed research equipment.
In 1978 Gary purchased the manufacturing and machine segments of Allan Machine and Supply Company, along with the research equipment brand name ALMACO. He continued to expand the research equipment product line to include planters, threshers, combines and their electronic data collection and control systems. In 1982, business growth prompted Gary to move ALMACO, along with about 50 employees, to its current location in Nevada, Iowa. Demand for the seed research equipment continued to grow, so in the mid-80's ALMACO shut down its welding and repair services in order to focus entirely on manufacturing seed research technology. Today ALMACO’s state-of-the-art design and manufacturing facility occupies 120,000 sq. ft. on a 75 acre campus, at times employing over 200 individuals. ALMACO has developed and patented numerous models of specialized agricultural research combines, planters and electronic equipment for planting and harvesting research tests for the improvement of corn, soybeans, wheat, rice and other seeds. ALMACO has placed equipment worldwide, and recently they opened a satellite facility in Brazil to accommodate the growth of agricultural research in South America. The ALMACO products that have been developed over the years have helped automate the seed research industry and have contributed significantly to increasing the world food production.
Gary is also very generous with his time and talent. While living in the Nevada, Iowa community, he has served in the following capacities: 10 years on the Nevada City Council, President of the Nevada Rotary Club and inducted into the Nevada Rotary Hall of Fame, President of the Nevada Chamber of Commerce, Chairman of the Nevada Economic Development, Mainstream Living Board of Directors, Citizens for Criminal Justice (CCJ) Board member and member of the Cornerstone Church in Ames. Other Businesses include: GWC Real Estate, Ames Executive Rentals, and Iowa Boys Real Estate. He enjoys motor homing, collecting classic cars and vintage Harley Davidson’s, fishing and motorcycling throughout the USA. This year marks 24 years of marriage to his wife, Sue, and they are enjoying the blended family of six children and twelve grandchildren. They currently spend six months in Nevada and six months in Gold Canyon, Arizona. It is with great pleasure that we present our 2016 AHSAA Distinguished Alumnus Award to Gary W. Clem, AHS Class of 1961.
Ames High School 25th Annual Hall-of-Fame Induction Banquet
Thursday September 29, 2016
Ames High School Cafeteria
Ames Hi Aims High
Camera: Motorola X Pure mobile phone camera
photobyEd photobyEdHendrickson
Sponsored by: Ames High School Athletic Booster Club