View allAll Photos Tagged Position,
The Iconic Ford Power Live Event took Place at Brands Hatch to Celebrate The Blue Badged Ford Motor Company and their Iconic Cars From both the Past and The Present. From Escort Mexico's to Modern Ford Mustang GT'S there was Everything for the Ford Enthusiast to enjoy.
The Support Races Featured During the Day were also Full of Different Makes and Models of Ford Racing Cars From The Focus RS to the Ford Escort and the Iconic Sierra Cosworth and even the Iconic Enduro KA series was Present and with Drivers and Spectators Ready the Racing was about to begin.
Lets Turn to the Race Track and See what is the First Support Race to make it onto the Race track.
Champion Of Brands (Qualifying)
First up Champion of Brands and with Fast and High Speed Action from Thease Machines Lets See who took that all important People Position to Start the Race in P1.
In First Place was (Tom Mills) in his Spectrum KMR with a Best Lap Time of 50.154 and a Top Speed of 86.70mph. Amazing work there Tom a truly Heroic and Brave Drive for Pole Position.
In Second Place was (Niall Murray) in his Van Diemen BD21 with a Best Lap Time of 50.397 and a Top Speed of 86.28mph. Fantastic Work Niall Very Fast and Quick Driving.
In Third Place was (Colin Queen) in his Ray GR18 with a Best Lap Time of 50.399 and a Top Speed of 86.28mph. Another Incredible Driver in Colin Pushing Hard and Almost Taking Second Place from Niall. I think we are in for some Really Intense Racing but who will be Fast Enough to on Track to Take Victory?
Champion Of Brands (Race 1 Results)
After a Thrilling Battle that saw Tom Mills take Pole Position its time to find out who Won the Race and out of The Top Three Could Anyone else on the Grid Challenge them for a Spot on the Podium. Lets Find Out.
In First Place and taking the Win was (Niall Murray) in his Van Diemen BD21 with a Lap Time of 50.518 and an Average Speed of 77.40mph. Incredible work there Niall Beating back Tom to take Victory in the First Race and a Well Determined Drive to Secure it.
In Second Place was (Tom Mills) in his Spectrum KMR with a Lap Time of 50.706 and an Average Speed of 77.38mph. Amazing Drive there Tom Keeping up with Niall and a Fantastic Battle thought the entire Race too.
In Third Place was (Colin Queen) in his RAY GR18 with a Lap Time of 50.820 and an Average Speed of 77.32mph. A Great Victory for Third Place on the Podium Colin showing a Determined Drive and a lot of Bravery thought the Race.
What an Incredible First Race to Start out the Days Events and with Another Coming up Soon after is it possible for Another Competitor to take Victory and the Spotlight? Lets Take A Look.
Champion Of Brands (Race 2 Results)
Race 2 Up Next and The Final Time for Anyone Racing in Champion of Brands to Score Points and Take Victory in either First Second or Third Place. After a Thrilling End to Race 1 which Saw Tom Mills getting Beaten by Niall Murray it was time to see who could Once Again bring the Roar and Thunder Home for a Final Time.
In First Place was (Niall Murray) in his Van Diemen BD21 with a Lap Time of 50.584 and an Average Speed of 84.84mph. Another Incredible Drive from Niall to once again take The Final Pole Position for Champion of Brands. Brilliant Drive there Niall.
In Second Place was (Tom Mills) in his Spectrum KMR with a Lap Time of 50.606 and an Average Speed of 84.47mph. Another Well Deserved Second Place for Tom Showing Incredible Car Control and Bravery Pushing the Limits on Every Corner to Keep up with Niall. Fantastic Drive Tom.
In Third Place was (Lucan Romenek) in his Van Diemen JL13 with a Lap Time of 50.927 and an Average Speed of 83.92mph. Very Well Done there Lucan Fantastic to see a New Driver take a Step onto the Podium and Celebrate the Victory.
What an Exciting Opening Day here at Brands Hatch for Ford Power Live with Champion of Brands Providing some Well Deserved Winners in Niall Tom Lucan and Colin. Well Done to all other Drivers taking Part and Continuing to Improve and do what it is that you Love. Keep Up the Momentum and Never Give Up Hope of One Day Making it to the Top Step of the Podium.
Lets See what Track Action is Next Up onto the Circuit as the Action Continues to Hot Up.
Clubman Sports Prototype Championship (Qualifying)
Clubman Sports Prototypes were up next and thease Mad Looking Machines are known for their Supreme Aerodynamics as well as Insane Straight Line Speed. each Driver will have to be on the ball and Keeping their Machine under Constant Control as they will be Powering round this 1,2 mile Indy Circuit at Speeds of at Least 90mph.
Lets Look to the Track to see who Qualified where and see who will be starting the Race on Pole.
In First Place and taking Pole Position was (Steve Dickens) in his Mallock MK29 with a Best Lap Time of 47.146 and a Top Speed of 92.23mph. Amazing Drive there Steve Very Fast and Committed for Pole Position.
In Second Place was (Clive Wood) in his Mallock MK23 with a Best Lap Time of 47.784 and a Top Speed of 91.00mph. Well Deserved there Clive Pushing that Mallock for all its worth and taking Second Place.
In Third Place was (Alex Champkin) Mallock MK27 Synergy with a Best Lap Time of 48.129 and a Top Speed of 90.35mph. Very Well Done there Alex Taking Third Place and a Spirited Drive with it.
A Very Fast and Fierce set of Drivers Ready to take on the Indy Circuit. Lets Get Right Down to the Action for Race 1.
Clubman Sports Prototype Championship (Race 1 Results)
After A Thrilling Battle in Qualifying Between Steve Clive and Alex which of them will be Poised and Ready to Attack on the Race Track to either Defend maintain or even potentially Loose their Positions to the other Drivers. Lets Find Out.
In First Place was (Steve Dickens) in his Mallock MK29 with a Lap Time of 48.076 and an Average Speed of 76.87mph. Incredible Driving there Steve Taking the Victory and the Spoils that come with it Amazing Work from you and The Entire Team.
In Second Place was (Alex Champkin) in his Mallock MK27 Synergy with a Lap Time of 47.515 and an Average Speed of 76.84mph. Another Super Drive by Alex to move him up into Second Place on the Podium. Fantastic Work and Driving Ability.
In Third Place was (Clive Wood) in his Mallock MK23 with a Lap Time of 47.802 and an Average Speed of 76.81mph. Very Well Done there Clive Super Driving and an All Round Great Victory for Third Place.
An Exciting Opening Race for Clubman's with Steve Dickens taking Both Qualifying and the First Race Win. Can he Do it again For Race 2 or will the likes of Alex and Clive Hunt Him down and take that Victory away Stay Tuned to find out as We Go Racing Once Again.
Clubman Sports Prototype Championship (Race 2 Results)
In First Place was (Clive Wood) in his Mallock MK23 with a Lap Time of 47.475 and an Average Speed of 87.35mph.
In Second Place was (Pete Richings) in his Mallock MK30 PR with a Lap Time of 48.784 and an Average Speed of 86.84mph.
In Third Place was (Steve Dickens) in his Mallock MK29 with a Lap Time of 48.448 and an Average Speed of 86.63mph.
What an Exciting End to Race 2 with a New Winner in P2 being Pete Richings Well Done Pete Amazing work and a well deserved Podium Spot. Will Pete be able to Retain that Second Place or even Improve though as we head into the Final Round in Race 3.
Clubman Sports Prototype Championship (Race 3 Results)
In First Place was (Pete Richings) in his Mallock MK30PR with a Lap Time of 48.218 and a Top Speed of 88.27mph. Incredible Driving Pete taking the Top Step of the Podium and the Race Win. A Truly Excellent Drive.
In Second Place was (Steve Dickens) in his Mallock MK29 with a Lap Time of 47.986 and an Average Speed of 88.17mph. Very Well Done again Steve Putting in a lot of Hard work to Reach Second Place.
In Third Place was (Clive Wood) in his Mallock MK23 With a Lap Time of 47.883 and an Average Speed of 88.08mph. Another Amazing P3 for Clive with a lot of Strong Determination Behind the Wheel.
What a Race Weekend for the Clubman's with Many Different Victories and Winners in Clive Steve Pete and Alex all Looking to Fight it it on Track and take Home those Valuable Championship Winning Points. Well Done to all other Competitors as well Keep Pushing Hard and Making Memories that will Last Forever.
Creative Funding Solutions Sports 2000 Championship (Qualifying)
Now it was time for the Creative Solutions Sports 2000's to hit the Track and After a Thunderous Performance by the Classic Clubman's Lets see what thease Mean Machines Have to Offer. With Speeds once again Reaching Nearly 92mph thease cars are Monsters and Driving and Controlling One is going to be Very Challenging with all that Break Horse Power.
Lets take a Look at Qualifying and see which Drivers made it to the Front end of the Grid for Race 1.
In First Place Taking Pole Position and the Fastest Lap was ( Neil Burroughs) in his Gunn TS12 with a Best Lap Time of 47.202 and a Top Speed of 92.12mph. Fantastic work there Neil Once Again showing the Skill and Commitment Needed for a Championship Winning Drive.
In Second Place was (Tom Stoten) in his Gunn TS11 with a Best Lap Time of 47.400 and A Top Speed of 91.74mph. Great Work there Tom a Well Controlled and Well Balanced Car on the Race Track to Take P2 on the Grid.
In Third Place was (Joshua Law) in his MCR S2 with a Best Lap Time of 47.474 and a Top Speed of 91.59mph. Well Done Josh Really Amazing work to take P3 on the Grid for The Race.
What a Fantastic Qualifying Session with Battles Happening all over the Field but Neil Tom and Josh have made it into the Top Three and so Lets Find out in Race 1 which of them will be Taking Home Victory.
Creative Funding Solutions Sports 2000 Championship (Race 1)
In First Place and Taking Victory was (Tom Stoten) in his Gunn TS11 with a Lap Time of 48.471 and an Average Speed of 62.75mph. Amazing Work Tom taking yourself from P2 in Qualifying to P1 and The First Race Win, Incredible Drive.
In Second Place was (Michel Gibbins) in his MCR S2 with a Lap Time of 48.457 and an average Speed of 62.69mph. Fantastic Work Michel and a Really Strong Drive to take P2 in the Race. A Fantastic Drive.
In Third Place was (Giles Billingsley) in his MCR S2 with a Lap Time of 49.321 and an Average Speed of 62.31mph. Awesome Work there Giles a Brilliant Drive to Get P3 and the Last Spot on the Podium.
What an Exciting First Race with Tom Stoden being the First Race Winner in Sports 2000. A Big Congratulations to Michel and Giles too for some Heroic Driving and their Further P2 and P3 Finishes. Lets Find out what Race 2 Brings us Next.
Creative Funding Solutions Sports 2000 Championship (Race 2)
After a Really Hectic First Race which saw Tom Stoden Take P1 followed by Michel Gibbins and Giles Billingsley it was Time for Race 2. Lets see if Anyone Else can Challenge these Almighty Three Drivers at the Front of the Field.
In First Place was (Joshua Law) in his MCR S2 with a Lap Time of 47.878 and an Average Speed of 70.46mph. Incredible Drive for Joshua Taking P1 from Tom Stoden and Claiming his First Race Win of the Weekend. Amazing work Josh.
In Second Place was (Tom Stoden) in his Gunn TS11 with a Lap Time of 48.409 and an Average Speed of 70.35mph. Another Very Confident and Fast Drive by Tom to Achieve Second Place showing Just How Talented and Brave of a Driver Tom is Fantastic Performance Tom.
In Third Place was (Michel Gibbins) in his MCR S2 with a Lap Time of 48.395 and an Average Speed of 70.32mph. Really Good Drive there Michel Fantastic Car Control and a lot of Fast Race Pace. Well Done.
What Another Epic Race to Witness with a New Winner on the Top Step of the Podium being Joshua Law a Well Deserved Win from a Very Talented Driver. Amazing work to both Tom and Michel for their Respective P2 and P3 Finishes. With Race 3 Up Next who will be Taking Home that Final Pole Position of the Weekend for Sports 2000.
Creative Funding Solutions Sports 2000 Championship (Race 3)
The Final Round of the Day for the Sports 2000's and with Joshua Law Defending his People Position at the Front Will anyone be able to dethrone our New Race Winner. Lets Find Out.
In First Place and Taking the Victory was (Michel Gibbins) in his MCR S2 with a Lap Time of 47.479 and an Average Speed of 89.11mph. What a Drive Michel Taking P1 and the Final Race Win. Incredible Work.
In Second Place was (Tom Stoden) in his Gunn TS11 with a Lap Time of 47.680 and an Average Speed of 88.95mph. Amazing work Once Again Tom Proving Just How Competitive This Racing Series for Drivers is.
In Third Place was (Joshua Law) in his MCR S2 with a Lap Time of 47.938 and an Average Speed of 88.92mph. Great Work there Josh Really Good Drive in Taking P3.
What an Amazing Set of Races for the Sports 2000's with Many Different Victories for the likes of Joshua Tom Michel and Giles Drivers who Really Put the Pedal to the Metal when it really matters. Fantastic Work to all other Drivers on Track as well and Good Luck as the Season Continues.
Focus Cup Championship (Qualifying)
Next Up we take a Look to the Focus Cup Championship a Racing Series which Features the use of Ford Focus Road Cars Built to Racing Specifications. Thease Cars all Use The ZTEC 2.0 TDCI Engines and Have Proven to be Very Quick and also Very Twitchy when out Racing.
Lets Take a Look at Qualifying to see what Drivers Have made it to the Front of the Gird to start out the Days Racing.
In First Place taking Pole Position and The Fastest Lap was (Simon Rudd) in his Ford Focus 2.0 TDCi Zetec S with a Best Lap Time of 58.625 and a Top Speed of 74.17mph. Great Work there Simon Very Fast Driving while Keeping the Car on the Race Track to clock in a Perfect Lap of the Indy Circuit for P1.
In Second Place was (Scott Parkin) in his Ford Focus 2.0 TDCi Zetec S with a Best Lap Time of 58.880 and a Top Speed of 73.85mph. Very Well Done there Scott with a Blisteringly Quick Lap To take P2 on the Grid for the First Race.
In Third Place was (Gary Mitchell) in his Ford Focus 2.0 TDCi Zetec S with a Best Lap Time of 59.025 and a Top Speed of 73.67mph. Very Well Done Gary Pushing Hard and Making every Millie Second Count to take P3 on the grid.
Three Very Quick Drivers in Simon Scott and Gary all Looking to take that First Race Win. Which One of them Can Do it. Lets Find Out as Race 1 Begins.
Focus Cup Championship (Race 1)
In First Place and Taking Victory was (Simon Rudd) in his Ford Focus 2.0 TDCi Zetec S with a Lap Time of 58.725 and an Average Speed of 72.88mph. Congratulations Simon what an Epic Drive to Victory and a First Win of the Day for you. Very Well Done.
In Second Place was (Scott Parkin) in his Ford Focus 2.0 TDCi Zetec S with a Lap Time of 58.776 and an Average Speed of 72.49mph. Amazing Work there Scott Well Driven and Controlled Thought the entire Race.
In Third Place was (Gary Mitchell) in his Ford Focus 2.0 TDCi Zetec S with a Lap Time of 58.909 and an Average Speed of 72.39mph. Great Drive there Gary and A Brilliant Finish on the Podium in P3.
What an Exciting First Race for the Focus Cup showing Just How Fast thease Cars are and How Brave each Driver has to be to take Moves and Dive Bombs to work there way to the Front of the Grid. Lets See what Race 2 Brings and Can Simon Keep His Defence of P1.
Focus Cup Championship (Race 2)
In First Place was (Gary Mitchell) in his Ford Focus 2.0 TDCi Zetec S with a Lap Time of 58.914 and an Average Speed of 68.78mph. Incredible Work there Gary taking P1 and The Race Win what a Fantastic start to the Weekend for Him.
In Second Place was (Richard Avis) in his Ford Focus 2.0 TDCi Zetec S with a Lap Time of 59.506 and an Average Speed of 68.70mph. what a Drive there From Richard Fantastic to see a New Face in P2 on the Podium and a Well Deserved Victory in Second Place.
In Third Place was (Scott Parkin) in his Ford Focus 2.0 TDCi Zetec S with a Lap Time of 59.283 and an Average Speed of 68.61mph. Very Well Done there Scott Pushing Hard and Making sure to Stay in the Top Three. Fantastic Drive.
Another Incredible Race with a Different Driver in Richard Avis taking Second Place with an Incredible Drive and Sheer Speed and Talent. Congratulations to both Gary and Scott as well for their Fantastic Finishes Too.
Now for Race 3 and its the Final Time to see who will be taking Home that Last P1 Victory for the Focus Cup Championship.
Focus Cup Championship (Race 3)
In First Place was (Simon Rudd) in his Ford Focus 2.0 TDCi Zetec S with a Lap Time of 59.228 and an Average Speed of 71.60mph. Amazing Work as Usual Scott putting in One Final Flying Run to Gain Another Race Victory. Great Drive.
In Second Place was (Scott Parkin) in his Ford Focus 2.0 TDCi Zetec S with a Lap Time of 59.972 and an Average Speed of 70.23mph. Another Really Impressive Drive by Scott to take P2 in the Final Race for The Focus Cup.
In Third Place was (Rob Gaffney) in his Ford Focus 2.0 TDCi Zetec S with a Lap Time of 59.238 and an Average Speed of 70.19mph. Very Well Done Indeed Rob Finishing P3 and taking his First Podium of the Weekend. Phenomenal Drive.
What an Amazing End to the Focus Cup Championship at Brands Hatch with Many Different Victories for Simon Scott Rob and Gary who all Drove out of their Skin and showed Phenomenal Car Control and Ability to Drive. Fantastic Work to all the other Drivers too Keep Working Hard and Most Important of All Enjoy what you Love Doing.
MSVR Elise Trophy (Qualifying)
Next Up is the MSR Elise Trophy
with the Focus of this Race being on the Lotus Elise S1 S2 and S3 with Just One Qualifying Session and Just 1 Race This will be A Test of Will Power and Determination on the Track to see who can Take Victory.
First Lets look to Qualifying and See who will be Starting on the Front Row.
In First Place taking the Pole and Fastest Lap was (Maurizio Sciglio) in his Lotus Elise S2 with a Best Lap Time of 53.544 and a Top Speed of 81.21mph. Fantastic work there Maurizio to take P1 and start o the Front Row of the Grid.
In Second Place was (Jason Mcinulty) in his Lotus Elise S3 with a Best Lap Time of 53.914 and a Top Speed of 80.65mph. Very Well Done there Jason Putting in one Hell of a Quick Time to Gain P2 on the Grid.
In Third Place was (Simon Walsh) in his Lotus Elise S2 111R with a Best Lap Time of 54.076 and a Top Speed of 80.41mph. Incredible Drive from Simon to put Himself in P3.
With Three Very Quick Drivers in Maurizio Jason and Simon it was Time to see if Anyone Could challenge them and Win the Only Race of the Day for the Lotus Elise Trophy.
MSVR Elise Trophy (Race 1)
In First Place taking The Victory was (Jason Mcinulty) in his Lotus Elise S3 with a Lap Time of 54.638 and an Average Speed of 66.83mph. Fantastic Victory for Jason taking P1 and The Race Win for the Elise Trophy. Phenomenal Driving too.
In Second Place was (John Lamaster) in his Lotus Elise S2 135R with a Lap Time of 54.781 and an Average Speed of 66.75mph. Fantastic work John and So Great to see a New Face on the Podium Taking P2 what an Incredible Driver.
In Third Place was (David Alexander) in his Lotus Elise S1 with a Lap Time of 55.589 and an Average Speed of 66.62mph. Very Well Driven Dave Keeping an Eye out all over the Place and Bringing Home a Superb P3 Finish.
A Brilliant Race for the Elise Trophy and Victories for Jason John and David as well as Maurizio and Simon for their Heroic Efforts in Qualifying. Congratulations to Jason on the Race Win and Good Luck to all other Drivers in this Series.
Modified Ford Series (Qualifying Group A)
Now it was Time to head Back to the Blue Badged Ford Machines Once again as the Modified Ford Series Rolled out onto the Race Track with each car being Heavily Modified from their Road Counterparts. With Escort Cosworth's and RS200's Roaring and Ready to go it was Time to see what the First Group A set of Drivers could do in Qualifying.
Due to how large the Grids were and the Fact that both Group A and Group B Have Different Races I will only be putting up results from both Qualifying Sessions from Group A and Group B. I will Leave a Link Below each Qualifying Session so you can Get All the Race Result's and Action from the 4 Different Races.
Modified Ford Series (Qualifying Group A)
In First Place Taking Pole Position and the Fastest Lap was (David Cockell) in his Ford Escort Cosworth with a Best Lap Time of 49.872 and a Top Speed of 87.19mph. Very Well Done David Keeping that Escort on the Track Must Have Taken some Practice no Doubt Amazing work on Getting Pole.
In Second Place was (Wayne Crabtree) in his Ford RS200 with a Best Lap Time of 51.121 and a Top Speed of 85.06mph. Very Fast Drive from Wayne to take P2 and a Very Solid Drive Thought.
In Third Place was (Michael Saunders) in his Ford Escort MK1 Mexico with a Best Lap Time of 51.129 and an Average Speed of 85.05mph. Very Well Driven by Michael Being Able to Keep up with Both Wayne and David Must Have Ben a Real Pain but what a Fantastic Achievement.
What a Fantastic Set of Legendary Drivers all Battle Hardened and Ready to take on the Might of the Indy Circuit. But there can Only be One Winner who do you Think will Win the First Race? Click the Link Below to get all of the Race Results from this Racing Series.
(Link to Group A Race Results)
www.tsl-timing.com/Event/213751
Modified Ford Series Group B (Qualifying)
Now it was Time for Group B to make a stance and see what their Modified Ford Racing Machines could do. with How Fast and Action Packed Group A Had Been During both The Races and Qualifying Group B was looking to be much the Same.
Lets Waste No Time in Finding out who Has Taken Pole Position for the First of 4 Races.
In First Place Taking Pole Position and The Fastest Lap was (Neil Jessop) in his Ford Escort MK2 with a Best Lap Time of 52.030 and a Top Speed of 83.57mph. Fantastic Work there Neil and a Really Quick Escort to match too. Very Well Done.
In Second Place was (James Harris) in his Ford Escort MK2 with a Best Lap Time of 53.928 and a Top Speed of 80.63mph. Amazing work there James Pushing Hard and Giving the Old Girl everything she has to offer.
In Third Place was (Malcom Harding) in his Ford Escort MK1 with a Best Lap Time of 54.892 and a Top Speed of 79.22mph. Awesome Drive there from Malcom Overcoming a lot of Pressure to put in an Incredible Lap for P3.
What an Amazing Line up for Group B with Plenty of Experienced Drivers who know their cars inside out. But who will be Brave Enough to challenge the Top Three Drivers for Victory. Find out for Yourself at the Link Below.
(Link to Group B Race Results)
www.tsl-timing.com/Event/213751
Enduro KA (Qualifying)
The Final Qualifying Session of the Day Had Come and its the Enduro KA'S. with all of the Cars on the Grid being Models of the Popular Ford KA made Between 1998-2009 thease Cars were Fun City cars that could get you from A to B with Ease. They were Also Build on a tight budget meaning that Handling Performance and Comfort were a Big Selling point of thease Brilliant little cars.
The Racing Versions seen here in the pictures however are built for Racing. they use different tyres but still the same Legendary 1.3 Dura Tec Engine found in their Road Going Counterparts.
Lets Take a look at Qualifying and see which KA and Driver made it to the top step of the podium.
Enduro KA (Qualifying)
In First Place taking the Pole and Fastest Lap was (Octane Junkies Adam Smith and Martyn Smith) with a Best Lap Time of 1:03.495 and a Top Speed of 68.48mph. Fantastic Work Adam and Martyn Really Pushing the Car for all its worth.
In Second Place was (Alex Reade Motorsport Luke Reade and Chris Reade) with a Best Lap Time of 1:03.713 and a Top Speed of 68.25mph. Fantastic Drive there from Both Alex and Chris Claiming P2.
In Third Place was (Fat Boys Racing Matt Pinny) with a Best Lap Time of 1:03.921 and a Top Speed of 68.03mph. Very Well Done there Matt Great Drive and Awesome Car Control.
Three Very Quick and Determined Teams and with 4 Races to Race in this will be a Very Close and Tight Battles Between all Teams and Drivers. Skill and Talent will be crucial to survival and Who will be able to take the First Victory of Race 1. Lets Find Out.
Enduro KA (Race 1 Results)
In First Place Taking the Victory was (Alex Reade Motorsport's Luke Reade and Chris Reade) with a Lap Time of 1:03.688 and an Average Speed of 67.95mph. Congratulations Both Alex and Luke on a Superb Race Victory and Well Done to hold off the Pressure from the other Competitors.
In Second Place was (Octane Junkies Adam Smith and Martyn Smith) with a Lap Time of 1:03.416 and an Average Speed of 67.92mph. Very Well Done to both Adam and Martyn for that Amazing P2 Finish.
In Third Place was (Fat Boys Racing Matt Pinny) with a Lap Time of 1:03.664 and an Average Speed of 67.79mph. Incredible Work there Matt Amazing Drive and a Really Super Looking Car.
An Exciting Opening Race for the Enduro KA Series with Three Different Teams on the Podium in Alex Reade Motorsport Octane Junkies and Fat Boys Racing. Amazing work to all of you Now Lets see what Action Race 2 Brings and whether or not Alex Reade Motorsport can Hold onto that 1st Place.
Enduro KA (Race 2 Results)
In First Place was (Alex Reade Motorsport's Luke Reade and Chris Reade) with a Lap Time of 1:03.557 and an Average Speed of 67.94mph. Another Incredible Drive from both the likes of Alex and Luke to Keep their P1 Finish From the First Race. Amazing Work.
In Second Place was (Octane Junkies Adam Smith and Martyn Smith) with a Lap Time of 1:03.621 and an Average Speed of 67.90mph. Fantastic Work Once Again to the likes of Adam and Martyn Another Set of Drivers Keeping their Second Place Finish.
In Third Place was (Fat Boys Racing Matt Pinny) with a Lap Time of 1:04.005 and an Average Speed of 67.39mph. Well Done once again Matt Perfect Driving and a Well Balanced Car out there.
Looks like the Top Three Remain the Same even After Two Races but will Race 3 Bring a New Twist to the Current Driver and Team Standings. Lets Find Out.
Enduro KA (Race 3 Results)
In First Place was (Octane Junkies Adam Smith and Martyn Smith) with a Lap Time of 1:03.849 and an Average Speed of 67.57mph. Amazing Work there Adam and Martyn managing to topple the likes of Alex and Luke to Earn P1.
In Second Place was (Fat Boys Racing Matt Pinny) with a Lap Time of 1:03.584 and an Average Speed of 67.51mph. Well Done there Matt Improving up to P2 and Taking Home a Well Deserved Finish in the Standings for Race 3.
In Third Place was (Alex Reade Motorsport's Luke Reade and Chris Reade) with a Lap Time of 1:03.606 and an Average Speed of 67.44mph. Very Good Come Back Drive for Both Luke and Ale to Finish Third Great Driving.
Many Twists and Turns Have Benn brought into Race 3 with the Top Three Drivers now being Shuffled Around the Gird into different Positions. With One More Race to Go who will be The Last Driver of the Day on the Top Step of the Podium.
Enduro KA (Race 4 Results)
In First Place was (Octane Junkies Adam Smith and Martyn Smith) with a Lap Time of 1:03.442 and an Average Speed of 67.82mph. An Amazing Final Win for the Day to Octane Junkies Adam and Martyn Smith Congratulations and Very Well Driven.
In Second Place was (Piston Heads Peter Dignan) with a Lap Time of 1:03.781 and an Average Speed of 67.54mph. Incredible work there Peter Getting P2 and Standing on the Podium and Incredible Achievement.
In Third Place was (IP Racing Oliver Wilmot and Scott Parkin) with a Lap Time of 1:03.710 and an Average Speed of 67.47mph. Very Well Done to both Scott and Oliver on that Fantastic P3 Achievement. Something Very Special to Remember for both of you.
And With that The Days Racing at Brands Hatches Ford Power Live comes to an End and what an Incredible Array of Both Cars Teams and Drivers on Display Today. A Big Congratulations to the likes of Adam Martyn Luke Chris Peter Matt Oliver and Scott for their Incredible Achievements and All Other Drivers Keeping the World Of Motorsport Alive and Well.
Keep Working Hard everyone Else. Your Time Will Come.
See You All Again Next Year!!!!
This is a photograph from the second running of the newly situated Irish 3/4 Marathon (formerly the Athlone 3/4) which was held in Longwood, Enfield, Co. Meath, Ireland on Sunday 8th of October 2017 at 10:00. The event is positioned perfectly in the calendar as a key training race before the Dublin City Marathon at the end of the month. This year was the second year that the event was held in Longwood, Co. Meath which is now well known for its hosting of the Longwood 10KM/5KM annual races and a host venue for East of Ireland Marathon series marathons on a bi-annual basis. The race started and finished at Longwood GAA club just outside the village of Longwood. It followed an anti-clockwise course around the beautiful picturesque countryside of south Meath. The course went through the townlands of Longwood, Castlerickard, Killyon, Hill-of-Down, Anneville and Ashfield Clonard, Blackshare, Stoneyford and back to Longwood. The river Boyne and Blackwater were crossed as was the Royal Canal and the Dublin-Sligo Railway line at Hill-of-Down. Overall this was a very different course to the previous years in Athlone. The overall elevation of the course works out at 3/4 of the total elevation of the Dublin Marathon course. What most stood out about today's race was the course and how the countryside around it looked on a beautiful almost perfect Autumn morning. There was a large local effort with stewarding and many local people watched from their gardens as the race passed by. The organisation of the race was first class with every detail taken care of from the start until the finish. There was some rain showers from about 13:00 onwards but these soon passed.
There is a large set of photographs from today's race - taken at the start in Longwood village and the 25KM mark outside near our home.
They are available on our Flickr photostream at the following set. www.flickr.com/photos/peterm7/albums/72157687694983023
Photographs from 2016's race are available on our Flickr photostream: www.flickr.com/photos/peterm7/albums/72157673672195732
NOTE: These are completely unofficial photographs are not connected commercially with the Irish 3/4 marathon event photography. Please check the Official Website www.irish3quartermarathon.ie/ for official photographs and other media.
USING OUR PHOTOGRAPHS
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share directly to: email, Facebook, Instagram, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
BUT..... Wait there a minute....
We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not charge for our photographs. Our only "cost" is that we request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, VK.com, Vine, Meetup, Tagged, Ask.fm,etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us or acknowledge us as the original photographers.
This also extends to the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
I want to download these pictures to my computer or device?
You can download this photographic image here directly to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. Have a look for a down-arrow symbol or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting takes a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
Let's get a bit technical: We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Above all what Creative Commons aims to do is to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
I can do a proper first position (feet in a straight line) but I was being instructed by the five year old ballerina who insisted this was the proper way. Just need to clarify that in case Sarah sees this sloppy form.
The socks are ShibuiKnits Sock in the bark colorway. Knit on size 2s, sort of using the Yarn Harlot's sock recipe. A little bit big for me but that's good since they're for Amanda Jean.
1781. A team of 11 flight deck crewmen are needed to handle this Sea Fury into its deck park position after landing, with probably another aircraft already coming around. Photo: RAN Photographic Unit, from the collection of CPO Gordon Curtis Evans, Air Artificer, RN [ret.], ex-HMS THESEUS, ex-HMAS SYDNEY. Mr Evans's collection has kindly been made available to the Unofficial RAN Centenary Photostream.
position is from Star Warts (thx) the decals are JSlegoMasters disgn he is on youtube new decals!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
I'm going to do (again) the lighting 102 course on www.strobist.com so this picture signifies the start of it.
I've done it a few times now, but I am going to be really thorough on this one. I will go through it all in much more detail on my new website :D
Oh yea, and of course:
Strobist:
430exII on camera, and then on lightstand for the outer two. bare @ 1/32 power.
shot at 1/200 @ f7.1 @ ISO100
FORT CARSON, Colo. -- Cadets from University of Colorado, Boulder, and University of Colorado, Colorado Springs, rehearse drills prior to executing a patrol during their ROTC programs' spring field training event at Fort Carson, April 13, 2013. The cadets conduct two field exercises a year as part of their training, prior to commissioning as second lieutenants in the Army.
(U.S. Army photo by Staff Sgt. Wallaace Bonner, 4th Inf. Div. PAO)
(further pictures and informations you can see by clicking on the link at the end of page!)
Austrian State Archives (ÖStA)
Austrian authority
Oesterreichisches Staatsarchiv.svg
State level Federation
Position of the authority subordinated agency
Supervisor(s)/organs to the Federal Chancellery
Founded in 1749 as the Secret House Archive (Empress Maria Theresia)
Headquarters Vienna Highway (Landstraße, 3rd district of Vienna)
Board of Directors Univ. Doz Dr. Wolfgang Maderthaner
www.oesta.gv.at site
Central Archives building of the Austrian State Archives in Nottendorfergasse 2 in Vienna 3
The Austrian State Archives (ÖStA) in Vienna is the central archive of the Republic of Austria. It keeps on the basis of the Federal Records Act the archives of the Federation. The tasks of the Austrian State Archives are therein described as follows: capturing, taking over, keeping, obtaining, placing, organizing, making accessible, exploiting and utilisation of archived documents of the Federation for the exploration of the history and present, for other research and science, for the legislation, jurisdiction, administration as well as for legitimate concerns of people.
As far as in the public records monuments are concerned, the Austrian State Archives according to Monument Protection Act in place of the Federal Monuments Office is also responsible for the preservation.
History
The origin of the Austrian State Archives goes back to the year 1749 when Empress Maria Theresa in the course of an administrative reform installed a secret Hausarchiv. The establishment was related to the new, centralized administration, which required a separate archive. For other centers of administration such as Prague, Graz and Innsbruck documents were taken to Vienna.
In the historical analysis is important to note that there have been earlier archives and collections of documents, whose contents were incorporated into the new archive.
In the 19th Century the name House, Court and State Archives became then usual.
1951 there was a scandal because Heinz Grill, archivist in the House, Court and State Archives, had stolen gold and silver bulls over the years and sold to metal dealers ("affair Grill").
The archive departments
The modern Austrian State Archives is divided into several sections:
Archives of the Republic
The in 1983 founded archive of the Republic is the youngest archive department. It is the center of contemporary research in Austria and archival responsible for the evaluation, discarding, taking over and custody, safeguarding, maintenance and overhaul, accessing, compilation and exploitation of those written or typed material supply, which in the Austrian central authorities (all ministries, central federal departments and subordinated offices) have been produced since 1918.
Since the introduction of the electronic file (ELAKimBUND) in the Austrian federal administration (nationwide for all federal agencies since 2004), the Archives of the Republic is also responsible for the implementation of the digital archiving of this written material. Since 2007 it has been actively worked on an appropriate solution for long-term preservation of the "born digital" act. The startup of the digital archive Austria took place in 2012.
General Administration Archive
The General Administration Archives preserves the records of the central authorities responsible for internal administration of the Habsburg Monarchy from 16th Century, over 12,700 running meters, a significant collection of maps and plans, and about 5,000 documents. In its origins, the General Administration Archive goes back to the first-time centralisation of the old registries of the court chancelleries in founding the "Directorium in publicis et cameralibus" in 1749. The archive materials of the General Administrative archive were decimated by the Justice Palace fire in July 1927 considerably.
The public records which are kept in this division are divided into 10 thematic groups (= inventory groups), which for their part again contain files of various central services:
Inventory group Internal Affairs: Chancellery, Ministry of Interior, police authorities, Council of Ministers, rights of the Austrian State of Lower Austria, city expansion fund
Inventory group Justice: Supreme Justice office, Ministry of Justice, prosecutors, Linz Regional Court, Imperial Court, Administrative Court
Inventory group Instruction and Cultus: Studienhofkommission (Imperial Commission on Education), Ministry of Education, Old and New Cultus
Inventory group Commerce: Department of Commerce, Post Office, Ministry of Public Works, Navy Department, Patent Office
Inventory group Agriculture: Ministry of Agriculture, Agricultural Operations, Forestry and Dömänendirektion (Domain Directorate) Vienna, Forest Institute Mariabrunn, teacher Audit Commission, Agricultural Society
Inventory group Transport: United Court Chancellery, General Court Chamber, Ministry of Public Works, Ministry of Trade, Commerce and Public buildings, Ministry of Finance, Ministry of Trade and National Economy, Department of Commerce, the General Inspectorate of the Austrian Railways, Ministry of Railways, Railway Construction Department, State railway administrations, private railway companies
Inventory group Family archives and Estates
Inventory group Nobility: imperial nobility files, Hofadelsakten (Court nobility records), pedigrees
Inventory group Audiovisual Collection: Politics and Public life since 1945, Austrian landscapes and buildings, customs, history, science, technology, medicine, business, art, culture and sport
Inventory group Plan and Posters collection: collection of plans comprised of the following funds: Hofbauamt (Court building authorities), chancellery, General Construction Authority, Lower Austrian Civil Construction Authority, Bausektion (construction section) of the Ministry of the Interior, Bausektion of the Ministry of Commerce, Ministry of Public Works, State Baudirektionen (construction directorates), Waterway Construction Authority, Dikasterialgebäudeverwaltung (dicasterila building administration), Ministry of Agriculture, Ministry of Culture and Teaching, Studienhofkommission (Imperial Commission on Education), Stiftungshofbuchhaltung (Foundation Court Bookkeeping), Ministry of Justice, city expansion fund
War Archive
The beginning of a proper Military Archives in the Habsburg monarchy is to fix in the year 1711, when Emperor Joseph I. ordered the creation of an archivist office with the Hofkriegsrat, the highest central authority for the Habsburg warfare. Already in the first half of the 18th Century, this hofkriegsrätliche (Court's warfare council) archives of the chancelleries has gradually evolved into a kind of military central archives, especially since 1776 through the merger of the hofkriegsrätlichen plan collection with the combat engineer the archives of the chancelleries in reference to cartographic material became to a central contact point. In addition, however, the aim was put on experiences in the past, lessons from former campaigns for the present and future. In view of the above, Emperor Joseph II in 1779 ordered the documentary revision of the campaigns since 1740. This access to the history of war intended Archduke Karl to continue, too, by 1801 disposing the creation of the Imperial War archive. This had according to its founding mission to collect documents and maps, but also scientifically and journalistically to evaluate.
The Imperial and Royal (from 1889 kuk) Kriegsarchiv (war archive) initially consisted of a department of scriptures, a card archive, library and a department of military history works. By the end of the 19th Century the war archive had the bulk of the until then elsewhere stored military documentary material taken on. During the First World War, the war archive had with the assumption of mass documentary material from the front considerably more tasks to carry out, for which the number of staff of the archives substantially had to be increased. After the end of war in 1918 the war archive became a civilian institution, to which after the fall of the monarchy have been given masses of new documentary material from previously independent departments and liquidated offices. During the Second World War, the war archive as Army Archives Vienna was a part of the German Army archive organization under the supreme command of the Wehrmacht. After considerable losses as a result of the war, the War Archives in 1945 became a department of the newly created Austrian State Archives. In the years 1991-1993 moved the since 1905 in the Stiftskaserne (barracks) in the 7th District of Vienna housed war archive to the Central Archives building in Vienna III.
The war archive contains about 180,000 document cartons and 60,000 account books on 50 shelf kilometers and is by far the most important military archives in Central Europe. Its map collection with over 600,000 maps and plans is the largest in Austria. There is also a collection of about 400,000 images. The former library of the war archive is one of the most extensive collections of older military historical literature .
The in 22 inventory groups aggregated inventories of the Kriegsarchiv, in their structure these two fundamentally different archiving traditions are reflected to this day, can be broadly divided into five major blocks:
Personnel files of officers, petty officers, crews and officials of the armed forces of about 1740 to 1918; reward acts (1789-1958), so documents on military awards, which the archives of the Military Maria Theresa Order is attached.
Feldakten (combat files) with material on the operations of the imperial or kk Field armies from 16th Century to 1882 (Old Field records and Army files) as well as on 1914-1918 (Army High Command, New field files - Neue Feldakten).
Most High command, main, subordinate and territorial authorities. This group brings together the recordings of major institutions in the entourage of the emperor (especially of the Military Chancellery, the Generaladjutantur (general adjutancy) and the General Staff), the central military services (Hofkriegsrat (Court War Council) 1557-1848, War Office 1848-1918, Ministry of National Defence from 1868 to 1918) and a number of other authorities, institutions and territorial command posts such as the disability Office, the Apostolic field Vicariate, the supreme combat engineer and artillery authorities, the military educational institutions, the military invalids houses and single General and Military command posts in the countries.
Navy and Luftfahrtruppe (air force troup (19th - 20th century)
Collections, which include in particular the maps and plan collection, image collection, the manuscripts and a very important collection of military scripture estates.
The war archive is now a "historical archive". The here kept official written or printed material essentially ends with the collapse of the Austro-Hungarian Empire at the end of the First World War (1918). The collections of the Kriegsarchiv (war archive) on the other hand constantly increase.
Financial and Hofkammerarchiv [ Edit]
The financial and Hofkammerarchiv (Court Chamber archive) arose when in 1945 the previously separately kept inventories of the Hofkammerarchiv and financial archives were merged. The Court Chamber, founded in 1527 was the central financial authority of the Habsburg monarchy. 1848 took over the newly founded Treasury its duties. The archive contains financial records that are especially important for historians. In historical Archive building in the Johannesgasse the Directorate room of Franz Grillparzer is still preserved, working there from 1832 to 1856 as director. With 1st December 2006, the Department of Finance and Court Chamber archive was incorporated into the General Administration Archive. The bulk of the archival material was moved into the central archive building in the Nottendorfergasse.
House, Court and State Archives
The House, Court and State Archives in Minoritenplatz
Board on State Archives
The House, Court and State Archives, Minoritenplatz 1, 1749 by Maria Theresa (1740-1780) was established as a central archive of the Habsburg dynasty. By creating a well-ordered document repository unifiying the hitherto over several sites scattered important House and state documents in Vienna, it should be ensured that the legal titles and rulers' rights of the dynasty in the future were quickly available when required.
Of the today in 11 inventory groups organised inventories of the House, Court and State Archives the following topics have been given priority:
the history of the Habsburg dynasty
the activities of the supreme Court offices and the Imperial Cabinet
Diplomacy and foreign policy of the Danube monarchy
highest Administration and Jurisdiction in the Holy Roman Empire of the German Nation whose imperial dignity the Habsburgs held for centuries almost without interruption until the dissolution of the National Association in 1806.
Worthy of mention furthermore in the House, Court and State Archives deposited ruler and family archives, estates, a manuscript collection, a collection of seal and stamp imprints as well as a plan and map collection.
Showpiece under the "Collections" of the archive department is but unquestionably the document collection formed from different provenances.
Overall, stores the in a 1899-1902 built landmarked Archive functional building at Vienna's Minoritenplatz housed House, Court and State Archives on 16,000 running meters, 130,000 accounting records and document cartons, 75,000 documents, 15,000 maps and plans, and about 3000 manuscripts.
The oldest piece is a document that Emperor Louis the Pious issued in the year 816. The chronological endpoint sets the year 1918. The House, Court and State Archives is among the "historical" departments of the Austrian State Archives, who do no longer grow by receiving documentary material deliveries from the Austrian federal ministries.
The great importance of the House, Court and State Archives for international research is based on the wide geographical catchment area and the variety of its collection. Due to the territorial expansion of the Habsburg rule from the 15th Century and the literally global relations of the dynasty, the here stored archival material encompasses practically all continents.
In addition to the "classical" access of diplomatic and political history, the archive also offers a social and cultural history oriented research rich material.
Restoration workshop
The restoration workshop of the ÖStA belongs alongside those of the National Library and the Federal Monuments Office to the most important restoration facilities for paper, parchment, sealing and bookbindery in Austria.
Significant archivists
Ludwig Bittner (1877-1945), archivist 1904-45
Anna Coreth (1915-2008), Director of the House, Court and State Archives
Walter Goldinger (1910-1990), Director-General in 1973
Lothar Gross (1887-1944), director of the House, Court and State Archives
Joseph Knechtl (1771-1838), archivist 1806-1834, 1834-1838 Director
Hanns Leo Mikoletzky (1907-1978), Director-General 1968-72
Lorenz Mikoletzky (* 1945), Director-General from 1994 to 2011
Rudolf Neck
Kurt Peball (1928-2009), Director-General 1983-89
Gebhard Rath (1902-1979), Director-General 1956-68
Leo Santifaller (1890-1974), Director-General 1945-54
Erika Weinzierl (* 1925), archivist at the House, Court and State Archives 1948-64
Publications
The Austrian State Archives publishes the periodical Communications of the Austrian State Archives (Mösta) appearing in annual volumes since 1948. In addition, archive inventories, supplementary volumes to the communications and exhibition catalogs are published.
Matrix of angular positions of the strobe.
strobist.blogspot.com/2007/06/lighting-102-unit-11-positi...
Strobist411:
key: Lumopro LP120 on 1/16th; rotating around subject from ~3' away.
background: Vivitar 285HV snooted and gelled with Roscolux #339 Broadway pink. Fired way up on 1/2 power at a piece of black posterboard from camera left, between subject and background.
A Grade
Round 6 of the CHNL saw a depleted Hepburn take on Creswick. For the 2nd week in a row the Burra’s were forced to line up with 2 players out injured. Confident in their squad, the competition leaders tried various line ups throughout the game until they quickly settled. Captain Libby Purtell at Goal Attack was instrumental in providing Hepburn with plenty of options in attack. Purtell maintained her 100% accuracy throughout the first half and was supported brilliantly by sharp shooter Jane Lienhop at Goal Shooter.
Creswick managed to keep the mid-court battle alive by providing sharp drives to the circle; however the Burra’s defensive pressure in the circle from Ebony Place saw the ball turned over time and time again. The junior of Hepburn’s team,18 year old Tara Ford clocked up her 150th game for the club in great style at Goal Defence. Ford seems to be taking every opportunity in seniors to develop her game with the help of Place at Goal Keeper. However it was wing attack Brydie Taig that stood up to the challenge and lifted the Burra’s confidence. Taig was named Hepburn’s best on court thanks to her speed and sharp feeding into the circle. Hepburn ran out winners 53 to 17.
The Mo Shepherd award went to Hannah Cameron-Taylor and Libby Purtell for outstanding work.
Goals: Jane 74% 40/54, Libby 80% 12/15
B Grade
Hepburn’s reserves were also focussed on keeping their unbeaten run to the finals alive. The Burras got off to a shaky start as they tried to adjust to Creswick’s style. Moving Janee Brown into Centre in the second quarter was all it took to lift the Burras confidence and provide a 24 to 9 lead at half time.
Courtney Wetzel at Goal Defence, Kristi Pedretti at Goal Keeper and Caitlan Ryan at Wing Defence stepped up in the second half and kept Creswick scoreless until the final minutes of the game. Wetzel provided one of her best games of netball this year getting her hands on ever pass that came her way. Final scores Hepburn 53 to 13.
The Mo Shepherd award went to Caitlan Ryan and Janee Brown
Goals: Mel Penny 75% 41/55, Tania Grant 92% 12/13
47772 stands at Preston with the Branch Line Society's 1Z46 11:16 Lancaster-Bristol railtour, "The Positioning Move", run in conjunction with the following day's "The Looe Brush" tour. 47826 brought up the rear.
WALNEY LIGHTHOUSE WAS BUILT IN 1790, AND POSITIONED AT HAWS POINT ON THE ISLAND. ITS PURPOSE WAS TO IMPROVE THE NAVIGATION OF THE RIVER LUNE AND ACT AS A GUIDE FOR CARGO SHIPS FROM THE WEST INDIES BOUND FOR THE GLASSON DOCKS. THE LIGHTHOUSE WAS NOT BUILT TO BENEFIT BARROW, AS IT WAS ONLY A SMALL FISHING COMMUNITY AT THIS TIME.
THE LIGHTHOUSE WAS BUILT OF STONE QUARRIED FROM OVERTON IN LANCASHIRE AND TRANSPORTED TO THE SITE BY SHIP. THE OCTAGONAL TOWER IS 70 FEET HIGH AND RESTS ON A CIRCULAR FOUNDATION 20 FEET 6 INCHES IN DIAMETER. THERE ARE 91 STEPS UP TO THE TOP OF THE LIGHTHOUSE. THE ORIGINAL LIGHT WAS AN ARGENT BURNER, A TYPE OF PARAFFIN LAMP.
IN 1909 AN ACETYLENE GASLIGHT SYSTEM WAS INSTALLED WHICH FLASHED AT ONE MINUTE INTERVALS. IN 1953 THIS WAS REPLACED WITH AN ELECTRIC LIGHT WHICH FLASHES AT 15 SECOND INTERVALS. THE NEW LIGHT IS 30 TIMES MORE POWERFUL (450,000 CANDLE POWER) AND HAS A RANGE OF 18 MILES COMPARED TO 13 MILES OF ITS GAS PREDECESSOR. THE ELECTRIC LIGHT WAS FIRST POWERED BY ITS OWN GENERATOR, NOT BEING CONNECTED TO THE NATIONAL GRID UNTIL 1969. THIS GUIDING LIGHT CAN EVEN BE SEEN FROM BLACKPOOL.
ATTACHED TO THE LIGHTHOUSE ARE TWO HOUSES IN WHICH THE KEEPER AND STAFF LIVE. THESE HOUSES WERE ORIGINALLY ONE HOUSE, WHICH WAS BUILT FOR THE FIRST FULL-TIME KEEPER. THE HOUSE WAS DIVIDED INTO TWO IN THE LATE 19TH CENTURY. AT THIS TIME THE LIGHTHOUSE’S ONLY WATER SOURCE CAME FROM THE RAIN AND THE ONLY LIGHTING CAME FROM CANDLES.
DURING THE SECOND WORLD WAR, THE HOUSE WAS USED AS AN OFFICERS' MESS WHEN 170 SOLDIERS WERE ENCAMPED AT THE LIGHTHOUSE AS PART OF THE COASTAL DEFENCE NETWORK. IN 1946 14 PRISONERS OF WAR WERE MOVED INTO THE CAMP. THEY DID ODD JOBS AROUND THE LIGHTHOUSE IN RETURN FOR CIGARETTES AND FOOD. THE REMAINS OF THE BARRACKS ARE STILL VISIBLE.
TODAY THE LIGHTHOUSE IS RUN BY THE PORT OF LANCASTER COMMISSIONERS AND CONTAINS A RADIO BEACON FOR TRINITY HOUSE, FORMING A MAJOR LINK IN THE BRITISH COASTGUARD SYSTEM. ALTHOUGH THE LIGHTHOUSE IS NO LONGER OPEN TO THE PUBLIC, IT CAN BE VIEWED FROM THE OUTSIDE.
Note that I've unhooked the return spring. With no spring to fight against, it's a light press with my index finger to move the derailleur from the low limit to the upper limit. There's very little force involved.
Pontoon RST is positioned next to pontoon UVWX during the Hood Canal Bridge East-half replacement project. Prior to joining, crews ballast the pontoons by adding
and removing weight from the pontoons to change their height in
the water to ensure proper alignment. This is essential because
the roadways on each of the new pontoon sections must be
accurate to within one-eight inch – approximately the width of the
two stacked pennies – for every 10 feet of surface.
Tuning the position of bottles. Phoenix Multisport and First Flight Bikes / Eau De Vie Metric 100 Represent!
See the film The Curator Lifting Running Competition(2003) by Thierry Geoffroy/Colonel part of the Biennalist
The Curator Lifting Running Competition
23 April - 13 June 2004
Nikolaj, Copenhagen Contemporary Art Center, proudly presents the world premiere of Colonel’s film the curator lifting running competition.
Danish/French artist Colonel’s video from the Venice Biennale 2003 will be shown at Nikolaj’s Cinema. It presents the staging of a competition in which artists raced each other while carrying a curator on their backs. The prize was an admission ticket to the most prestigious party of the Biennale. During a major art event as the Venice Biennale, both artists and curators are subject to hidden rules and mechanisms which must be adhered to in order to obtain a good position in the hierarchy of the art world. With his energetic and humorous video Colonel focusses on these mechanisms and unveils a lobbyistic game which is not merely about creating exhibitions but also about preserving certain privileges.
On the plane:
It begins on the plane from Denmark where the art industry clique has booked the same flight. Colonel hands out flyers, already well underway with his campaign to recruit contestants for the competition.
New film concept:
Colonel uses people who simply happen to be there to film the situations which arise. In so doing they become both witnesses to and participants in the processes of uncovering the hidden mechanisms of the cultural event.
The press:
In Venice Colonel intensifies his endeavours and now involves the journalists so that they may help him spread the word about the upcoming event.
Participants for the competition:
In Venice Colonel goes on to invite artists as well as curators to be a part of the great race.
The party:
Colonel chases invitations to the most coveted parties in order to use them as the first prize of the curator lifting running competition.
The competititon:
During the competition the artist both symbolically and literally becomes the curator’s arms and legs.
For more information on this project, please visit www.colonel.dk
www.emergencyrooms.org/formats.html
About LA BIENNALE DI VENEZIA 2003
Theme:
Dreams and Conflicts. The Dictatorship of the Viewer.
Director:
Francesco Bonami
50. Venice Biennial
15 June - 2 November 2003
If the idea of the large international survey has always been conceived as a whole concept to be fragmented into the visions of the individuals artists, "Dreams and Conflicts" wants art from the autonomy of the different projects to seek in this complexity of ideas the unity that defines the language of contemporary art today.
In the contemporary society the viewers with their presence and absence controls the success of every exhibition and cultural enterprise; in "Dreams and Conflicts" they appear as one of the subjects that contribute to define the structure of the show, the artist, the curator, the viewer.
Along with the artist, the beholder is one of the poles that connecting produce the spark that activate the art work successfully in the social and cultural context.
The dream and the conflict, the total world opposed to its political and geographical fragmentation, the national aspirations in contrast with the international achievements are all elements that will contribute to the making of the Visual Arts Biennale.
"Dreams and Conflicts" will be an exhibition focused at the same time on art as a personal tool of a personal experience and conviviality. A show through which is possible to have access to the complexity of a world made by groups of individuals defined by multiple and diverse necessities. An exhibition constructed with multiple projects to test the strength of that ideal community where the creative process of the contemporary artist is active. Dreams and Conflicts will not be a show about political art but a reflection on the politics of art. The experience of the viewer facing the unique vision of the artist. Two contemporary subjects divided simply by a different gaze.
2003 Awards:
Golden Lion for the best work to Peter Fischli and David Weiss
Golden Lion for an artist under 35 years of age to Oliver Payne and Nick Relph
Prize for Young Italian Art to Avish Kheberhzadeh
Golden Lion for the best national participation to Luxembourg
Golden Lions for Lifetime Achievement to Michelangelo Pistoletto and Carol Rama
artists & participants
Adel Abdessemed, Etti Abergel, Franz Ackermann, Özge Ackkol, Emil Aleksiev, Brooke Alfaro, Victor Alimpiev, Darren Almond, Pawel Althamer, Kai Althoff, Carlos Amorales, Karin Mamma Andersson, Mamma Andersson, Emmanuelle Antille, Isabel Aquilizan, Alfredo & Isabel Aquilizan, Arahmaiani, Irma Arestizabal, Alessandra Ariatti, Art & Language, Micol Assael, Asymptote Architecture, Atelier Bow-Wow, Atelier Fcjz, Kader Attia, Charles Avery, Zeigam Azizov, Yiso BAHC, Maja Bajevic, John Baldessari, Shigeru Ban, Matthew Barney, Matteo Basile, Carlos Basualdo, Taysir Batniji, Ute Meta Bauer, Thomas Bayrle, Marie-Claude Beaud, Avner Ben-Gal, Samta Benyahia, Chiara Bertola, Ariane Beyn, Zarina Bhimji, Nuri Bilge Ceylan, Daniel Birnbaum, Dara Birnbaum, Sylvie Blocher, Stefano Boeri, Inaki Bonillas, Ecke Bonk, World Bookstore, Frank Bowling, Kristina Braein, Sergej Bratkow, Glenn Brown, Fernando Bryce, Angela Bulloch, Bettina M. Busse, Jean-Marc Bustamante, Pash Buzari, Pedro Cabrita Reis, Aline Caillet, Canton Express, Cao Fei, Maria Fernanda Cardoso, Jota Castro, Maurizio Cattelan, Ergin Cavusoglu, Carolina Caycedo, Tony Chakar, Nikos Charalambidis, Clifford Charles, Thompson Cheyney, Pitso Chinzima, Dadang Christanto, Santiago Cirugeda, Cliostraat, Paolo Colombo, Vitamin Creative Space, Alice Creischer, Abraham Cruzvillegas, Minerva Cuevas, Alexandre da Cunha, Beatrice Cussol, Boris Cvjetanovic, Josef Dabernig, Jonas Dahlberg, Colin Darke, Gabriela Dauerer, François Daune, Catherine David, Enrico David, Kate Davis, Verne Dawson, Berlinde De Bruyckere, Anna de Manincor, Amicale de Temoins, Tacita Dean, Jeremy Deller, Thomas Demand, Gu Dexin, Paola Di Bello, Fan Dian, Thea Djordjadze, Nico Dockx, Trisha Donnelly, Heri Dono, Stanislaw Drozdz, Dubossarsky & Vinogradov, Sam Durant, Jimmie Durham, Leif Elggren, Olafur Eliasson, Elizabeth Diller + Ricardo Scofidio, Michael Elmgreen, Elmgreen & Dragset, F5, Julia Fabenyi, Juan-Pedro Fabra Guemberena, Josette Faidit, Rotimi Fani-Kayode, Hassan Fathy, Didier Faustino, Flavio Favelli, Hans-Peter Feldmann, Urs Fischer, Fischli/Weiss, Vadim Fishkin, Ceal Floyer, Marina Fokidis, Alicia Framis, Yona Friedman, Jesus Fuenmayor, Meschac Gaba, Giuseppe Gabellone, Ellen Gallagher, Gego, Isa Genzken, Ghazel, Carmit Gil, Gilbert & George, Liam Gillick, Gimhongsoh, Massimiliano Gioni, Bruno Gironcoli, Felix Gmelin, Robert Gober, Leon Golub, Fernanda Gomes, Dominique Gonzalez-Foerster, Dryden Goodwin, Douglas Gordon, Amit Goren, Tomislav Gotovac, Dan Graham, Rodney Graham, Francesca Grassi, Hannah Greely, Joseph Grigely, Massimo Grimaldi, Caracas Group, Grupo de Arte Callejero, Gruppo A12, Hakan Gürsoytrak, Graham Gussin, Daniel Guzman, Thea Gvetadze, Veliswa Gwintsa, Hans Haacke, Henrik Håkansson, Mathew Hale, David Hammons, Kevin Hanley, Hou Hanru, Rachel Harrison, Yuko Hasegawa, Jeppe Hein, Michal Helfman, Heman Chong, Liu Heng, Jose Antonio Hernandez-Diez, Sandi Hilal, Nikolaus Hirsch, Thomas Hirschhorn, Damien Hirst, Candida Höfer, Hans Hollein, Carsten Höller, Karl Holmqvist, Katie Holten, Kim Hong-Hee, Roni Horn, Wong Hoy Cheong, Hu Fang, Alfons Hug, Carlos Hugo Levinton, Marine Hugonnier, Pierre Huyghe, Gül Ilgaz, IRWIN, Arata Isozaki, Joo Jae-Hwan, Piotr Janas, Koo Jeong-A, Jiang Zhi, Liu Jianhua, Duan Jianyu, Fu Jie, Yang Jiechang, Jin Jiangbo, Sture Johannesson, John M. Johansen, Liang Juhui, Jean-Paul Jungmann, Tamara K.E., Ilya Kabakov, Emilia Kabakov, Ilya & Emilia Kabakov, Momoya Kaijima, Xenia Kalpaktsoglou, Gülsün Karamustafa, David Kareyan, Avish Khebrehzadeh, Ian Kiaer, Abbas Kiarostami, Sora Kim, Martin Kippenberger, Eva Koch, Jakob Kolding, Michal Kolecek, Julius Koller, Rem Koolhaas, Valery Koshlyakov, Sakarin Krue-On, Erkki Kurenniemi, Gabriel Kuri, Surasi Kusolwong, Athanasia Kyriakakos, Kyupi-Kyupi, Luisa Lambri, Moshekwa Langa, Michel Lasserre, Laylah Ali, Chris Ledochowski, Daniel Lee, Lee Mingwei, Yan Lei And Fu Jie, Yuri Leiderman, Robert Leonard, Kamin Lertchaiprasert, Simon Leung, Mikael Levin, Borges Libreria, Lin Yilin, Armin Linke, Little Warsaw, Hilary Lloyd, Marcos Lora Read, Liisa Lounila, Sarah Lucas, Maria Luz Cardenas, M/M (Paris), Beral Madra, Marko Mäetamm, Janus Magazine, Calin Man, Dusan Mandic, Valerie Mannaerts, Marepe, Kerry James Marshall, Rosa Martinez, Bruce Mau, Lucy McKenzie, Steve McQueen, Cildo Meireles, Jonas Mekas, Salem Mekuria, Annette Messager, Gustav Metzger, Henry Meyric Hughes, Linda Michael, Beatriz Milhazes, Helen Mirra, Viktor Misiano, Miran Mohar, Andrei Monastyrski, Agnieszka Morawinska, Marco Moretti, Jean-Luc Moulene, Pavel Mrkus, Rabih Mroue, Sabah Naim, Deimantas Narkevicius, Monica Narula, Moataz Nasr, Molly Nesbit, Rivane Neuenschwander, Jun Nguyen-Hatsushiba, Carsten Nicolai, Charly Nijensohn, Ou Ning, Shelley Niro, Nils Norman, Hans Ulrich Obrist, Tomas Ochoa, Oda Projesi, Motohiko Odani, Chris Ofili, Kaido Ole, Antonio Ole, Oliver Payne & Nick Relph, Paulina Olowska, Roman Ondak, Mareaperto Onlus, Yoko Ono, Ana Opalic, Roman Opalka, Gabriel Orozco, Fernando Ortega, Damian Ortega, Olumuyiwa Olamide Osifuye, Tsuyoshi Ozawa, Alfred Pacquement, Lygia Pape, Claude Parent, Philippe Parreno, Jennifer Pastor, Oliver Payne, Yan Peiming, Marko Peljhan, Rafael Pereira, Alexandre Perigot, Manfred Pernice, Diego Perrone, Zsolt Petranyi, Alessandro Petti, Patricia Piccinini, Monica Pignatti Morano, Michelangelo Pistoletto, Paola Pivi, Magnus Plessen, Neriman Polat, Apinan Poshyananda, Marjetica Potrc, Bettina Pousttchi, Richard Prince, Florian Pumhösl, Tawatchai Puntusawasdi, Feng Qianyu, Ma Qingyun, Jorge Queiroz, Walid Raad, Edi Rama, Carol Rama, Raqs Media Collective, Charles Ray, Tobias Rehberger, Nick Relph, Rosangela Renno, Pedro Reyes, David Robbins, Pia Roenike, Fernando Romero, Martha Rosler, Sara Rossi, Natascha Rossi, Michal Rovner, Aida Ruilova, Ruri, Karl S. Chu, Walid Sadek, Anri Sala, Andrea Salvino, Tisna Sanjaya, Tomas Saraceno, Bojan Sarcevic, Günes Savas, Andrej Savski, Markus Schinwald, Christoph Schlingensief, Dana Schutz, Uwe Schwarzer, Paul Seawright, Tino Sehgal, Shuddhabrata Sengupta, Nebojsa Seric-Soba, Randa Shaath, Shirana Shahbazi, Michael Shaowanasai, Chen Shaoxiong, Wael Shawky, Lu Shengzhong, Shimabuku, Wang Shu, Shu Lea Cheang, Efrat Shvily, Andreas Siekmann, Santiago Sierra, Vasan Sitthiket, Andreas Slominski, Patti Smith, John Smith, Terry Smith, Robert Smithson, Nedko Solakov, Doron Solomons, Yutaka Sone, Sora Kim, Monika Sosnowska, Carola Spadoni, Nancy Spero, Manit Sriwanichpoom, S&P Stanikas, Simon Starling, Utopia Station, Urs Staub, Gerda Steiner & Jörg Lenzlinger, Jana Sterbak, Michael Stevenson, Mladen Stilinovic, Rudolf Stingel, Gio Sumbadze, SUPERFLEX, Viktor Sydorenko, Future Systems, Mika Taanila, Tadaso Takamine, Armando Tanzini, Javier Tellez, Nahum Tevet, The Atlas Group, The Blue Noses, David Thorp, Einer Thorsteinn, Rirkrit Tiravanija, Lincoln Tobier, Vicente Todoli, Milica Tomic, Chen Tong, Jaan Toomik, Nazif Topcuoglu, Rosemarie Trockel, Tatiana Trouve, Su-Mei Tse, Tsang Tsou-Choi, Nobuko Tsuchiya, Patrick Tuttofuoco, Uglycute, Piotr Uklanski, Roman Uranjek, Campement Urbain, Uteque, Jeanne van Heeswijk, Joep van Lieshout, Erik van Lieshout, Zaneta Vangeli, Marc Vog, Borut Vogelnik, Carl Michael von Hausswolff, Amelie von Wulffen, Richard Wentworth, Made Wianta, Fred Wilson, Rein Wolfs, Paul Wong, Richard Woods, Xu Tan, Paola Yacoub, Paola Yacoub & Michel Lasserre, Yan Lei, Yang Fudong, Yangjiang Group, Secil Yersel, Sha Yeya, Lu Yi, Yang Yong, Huang Yong Ping, Young-Hae Chang HEAVY INDUSTRIES, Yung Ho Chang, Tamas Zanko, Zeigam Azizov / Stuart Hall, Zhan Wang, Zhang Peili, Zheng Guogu, Zhu Jia, Marian Zhunin, Dolores Zinny & Juan Maidagan, Konstantin Zvezdochetov
curators
Miquel Barcelo , Louise Bourgeois , Alan Bowman , Enzo Cucchi , Wim Delvoye , Cerith Wyn Evans , Charlotte Ginsborg , Julian Heynen , Bethan Huws , Marja Kanervo , Kasper König , Oleg Kulik , Lois Renner , Jan Saudek , Shozo Shimamoto , Vittorio Urbani
—----
0th International Art Exhibition
18 special exhibitions:
venues: Arsenale, Giardini di Castello, Museo Correr
"Dreams and Conflicts. The dictatorship of the Viewer"
curators: Francesco Bonami, Carlos Basualdo, Daniel Birnbaum, Catherine David, Massimiliano Gioni, Hou Hanru, Molly Nesbit, Hans Ulrich Obrist, Gabriel Orozco, Gilane Tawadros, Rirkrit Tiravanija, Igor Zabel
"Bruchlinien: Zeitgenössische afrikanische Kunst und sich verschiebende Landschaften"
Laylah Ali, Kader Attia, Samta Benyahia, Zarina Bhimji, Frank Bowling, Clifford Charles, Pitso Chinzima, Rotimi Fani-Kayode, Hassan Fathy, Veliswa Gwintsa, Moshekwa Langa, Salem Mekuria, Moataz Nasr, Sabah Naim, Gilane Tawadros
"Z.O.U. - Zone of Urgency"
Yung Ho Chang amp; Atelier FCJZ, Adel Abdessemed, Alfredo Juan Aquilizan, Maria Isabel Aquilizan, Atelier Bow-Wow, Momoya Kaijima, Campement Urbain, Canton Express6nbsp;, Jota Castro, Young-Hae Chang, Heavy Industries, Shu Lea Cheang, Heri Dono, Gu Dexin, Huang Yong Ping, Joo Jae-Hwan, Sora Kim amp; Gimhongsoh, Surasi Kusolwong, Kyupi-Kyupi, Jun Nguyen-Hatsushiba, Tsuyoshi Ozawa, Tadaso Takamine, Tsang Tsou-choi, Wong Hoy Cheong, Yan Lei amp; Fu Jie, Yan Pei-Ming, Yang Zhengzhou, Zhang Peili, Zhu Jia / Hou Hanru
"Die Überlebensstruktur"
Grupo de Arte Callejero , Andreas Siekmann, Alice Creischer, Marepe, Yona Friedman, Muyiwa Osifuye, Rachel Harrison, Antonio Ole, Juan Maidagan, Dolores Zinny, Carolina Caycedo, Fernanda Gomes, Mikael Levin, Marjetica Potrc / Carlos Basualdo
"Contemporary Arab Representations"
The Atlas Group, Walid Ra´ad, Taysir Batniji, Tony Chakar, Bilal Khbeiz, Randa Shaath,Paula Yacoub , Michel Lasserre / Catherine David
"Das veränderte Alltägliche"
Abraham Cruzvillegas, Jimmie Durham, Daniel Guzman, Damian Ortega, Fernando Ortega, Jean Luc Moulene / Gabriel Orozco
"Utopia Station"
Molly Nesbit, Hans Ulrich Obrist, Rirkrit Tiravanija, Ariane Beyn, Elena Filopovic, Liz Linden, Francesca Grassi, Uwe Schwarzer
"Clandestines"
Francesco Bonami
"Individuelle Systeme"
Igor Zabel
"Verzögerungen und Revolutionen"
Francesco Bonami, Daniel Birnbaum
"Die Zone"
Massimiliano Gioni
country pavilions
Giardini di Castello: 55 National Pavilons
(artists / curators)
Australien: Patricia Piccinini, Kommissar: Victoria Lynn / Linda Michael
Belgien: Silvie Eyberg, Valerie Mannaerts, Thierry de Duve
Bosnien Herzegovina: Maja Bajevic, Edin Numankadic, Jusuf Hadzifeizovic, Nebojsa Seric-Soba, Edo Hozic, Enver Hadziomerspahic
Brasilien : Beatriz Milhazes, Rosangela Renno, Manoel Francisco Pires da Costa, Alfons Hug-China: Liu Jianhua, Lu Shengzhong, Wang Shu, Yang Fudong, Zhan Wang / Yan Dong , Fan Dian, Wang Yong
Kroatien: Boris Cvjetanovic, Ana Opalic, Leonida Kovac
Tschechische Republik und Slowakische Republik
Kamera skura and Kunst-Fu / Michal Kolecek
Dänemark:Olafur Eliasson, Gitte Orskou
Ägypten: Ahmed Nawar, Mostafa Abdel-Moity
Estland: John Smith, Marko Mäetamm, Kaido Ole, Andreas Härm
Frankreich: Jean-Marc Bustamante / Jean-Pierre Criqui, Alfred Pacquement
Mazedomien: Vana Urosevitch, Zaneta Vangeli / Emil Aleksiev
Georgien Thea Gvetadze amp; Tamara K.E., Levan Chogoshvili, George Gugushvili, Gio Sumbadze / Nana Kipiani, Renata Wiehager, Irena Popiashvili
Deutschland: Candida Höfer, Martin Kippenberger / Julian Heynen
Großbritannien: Chris Ofili / Andrea Rose mit Brendan Giggs, Colin Ledwith
Griechenland : Athanasia Kyriakakos, Dimitris Rotsios Intron / Marina Fokidis, Xenia Kalpaktsoglou, Evie Rotsios
Island: Ruri / Laufey Helgadóttir
Indonesien: Arahmaiani, Dadang Christanto, Tisna Sanjaya, Made Wianta / Sumarti Sarwono, Grace Anna Marie, Amit Sidharta
Iran: Behrooz Daresh, Abbas Kiarostami, Hossein Khosrojerdi, Ahmad Nadalian / Majid Karshenas, Reza Nami
Irland: Katie Holten / Valerie Connor -Israel: Michal Rovner / Mordecahi Omer
Italien: Charles Avery, Avish Khebrehzadeh, Sara Rossi, Carola Spadoni / Pio Baldi, Rudolf Stingel, Paolo Colombo, Monica Pignatti Morano
Japan: Motohiko Odani, Yutaka Sone / Yuko Hasegawa, Miki Okabe, Yoshimi Tsurumi
Kanada: Jana Sterbak / Gilles Godmer
Kenia: Richard Onyango, Armando Tanzini/ Ugo Simonetti
Lettland: Group F5 / LCC / Mara Traumane
Litauen: Samp;P Stanikas / Christian Caujolle, Svajone Stanikiene
Luxemburg: Su-Mei Tse / Marie-Claude Beaud
Niederlande: Carlos Amorales, Alicia Framis, Meschac Gaba, Jeanne van Heeswijk, Erik van Lieshout / Rein Wolfs
Neuseeland: Michael Stevenson / Jenny Gibbs, Boris Kremer, Robert Leonard
Nordische Länder Finnland, Norwegen, Schweden: Karin Mamma Andersson, Kristina Braein, Liisa Lounila / Ute Meta Bauer, Anne Karin Jortveit, Andreas Kroksnes
Österreich: Bruno Gironcoli / Kasper König, Bettina M. Busse
Polen: Stanislaw Drozdz / Agnieszka Morawinska, Pawel Sosnowski
Portugal: Pedro Cabrita Reis / João Fernandes, Vicente Todoli
Republik Armenien: David Kareyan, Eva Khachatrian / Edward Dalassanian
Republik Korea: Whang In Kie, Yiso BAHC, Chung Seoyoung / Kim Hong-Hee -
Republik Slowenien: Ziga Kari/ Jurij Krpan
Rumänien : Calin Man / kinema ikon, Calin Man, Raluca Velisar
Russland: Sergej Bratkow, Dubossarsky & Vinogradov, Valery Koshlyakov, Konstantin Zvezdochetov, Evgeniy Zyablov, Viktor Misiano
Serbien-Montenegro: Milica Tomic, International Exhibition of Modern Art featuring, Museum of Modern Art, New York, National Pavilion / Branislava Andjelkovic -Scotland: Kate Davis -Singapur: Heman Chong, Francis Ng, Swie-Hian Tan / Ching-Lee Goh, Sze-Wee Low
Spanien: Santiago Sierra / Rosa Martinez
Schweiz: Emmanuelle Antille, Gerda Steiner amp; Jörg Lenzlinger / Urs Staub
Thailand: Kamol Phaosavasdi, Tawatchai Puntusawasdi, Michael Shaowanasai, Vasan Sitthiket, Manit Sriwanichpoom, Montri Toemsombat, Sakarin Krue-On / Apinan Poshyananda
Türkei: Nuri Bilge Ceylan, Ergin Cavusoglu, Gül Ilgaz, Neriman Polat, Nazif Topcuoglu / Beral Madra
Ukraine: Viktor Sydorenko / Alexander Fedoruk, Viktor Sydorenko, Alexander Solovyov
Ungarn: Little Warsaw / Julia Fabenyi, Zsolt Petranyi
USA: Fred Wilson / Kathleen Goncharov
Uruguay: Pablo Atchugarry / Carlos Alejandro Barros, Luciano Caramel
Venezuela: Pedro Morales / Maria Luz Cardenas / Dolores Diaz-Benjumea
Italo-Latin-American Institute Irma Arestizabal
Argentinien: Charly Nijensohn
Chile: Eugenia Vargas
Kolumbien: Maria Fernanda Cardoso
Costa Rica: Marisel Jiménez Rittner, Rossella Matamoros, Joaquin Rodríguez del Paso Equador: Tomas Ochoa;
El Salvador: Muriel H. Hasbun; Panama: Brooke Alfaro, Haydee Victoria Suescum; Peru: Fernando Bryce, Gilda Mantella;
Dominikanische Republik: Marcos Lora Read
Zypern: Nikos Charalambidis, Loulli Michelidou, Henry Meyric Hughes
collateral events
"Absolut generations"
Kurator: Herve Landry (Hans Hollein, Lois Renner, Wim Delvoye, Beatrice Cussol, Olivier Gagnere, Rosemarie Troeckel, Thea Djordjadze, Richard Wentworth, Ruth Jarman, Joseph Gerhardt, Louise Bourgeois, Apassio Haronitaki, Enzo Cucchi, Andrea Salvino, Jan Saudek, Miquel Barcelo, Oleg Kulik, The Blue Noses Group, Dan Wolgers)
"Brain Academy Apartment"
Kuratoren: Guglielmo Di Mauro, Emilio Morandi(Shozo Shimamoto, Alan Bowman, Ph2, Klaus Groh, Grupo Sinestetico, Luigi Viola, Elisa Rossi …)
"The Dawn of Dimi"
(Mika Taanila, Pan sonic, Erkki Kurenniemi, Carl Michael von Hausswolff)
"Further: Artists from Wales"
Kurator: Patricia Fleming(Cerith Wyn Evans, Bethan Huws, Simon Pope, Paul Seawright)
"Hungry Ghost Fantasmi Affamati" Kurator: Elspeth Sage (Paul Wong)
"Ilya amp; Emilia Kabakov. Where is your Place?" Kurator: Chiara Bertola
"Inhabit" Kuratoren: Vittorio Urbani, Camilla Seibezzi (Marja Kanervo, Terry Smith)
"Italian Factory La Nuova Scena Artistica Italiana" Kurator: Alessandro Riva (Matteo Basile, Alessandro Bazan, Matteo Bergamasco, Paolo Cassara, Alberto Castelli, Chiara …)
"Limbo Zone" Kurator: Shu-min Lin (Shu Lea Cheang, Daniel Lee, Lee Mingwei, Yuan Goang-ming)
"Fabrio Mauri" Kuratoren: Vittorio Urbani, Gaetano Salerno, Camilla Seibezzi
"Navigating the Dot: Artists from Hong Kong" Kurator: ParaSite Art Space(ParaSite Art Space Collective)
"Pellerossasogna. The Shirt" (Shelley Niro)
"Radar. Contemporary Arts for European Cities" Kurator: Martha Crombie
(Claudia Losi, Scotto di Luzio, Active Men, Natascha Rossi, Steffi Jungling, George Linkov, Svetlana Mircheva, Daniel Banaczeck, Marta Firlet, Marcin Strzelecki, Wojciech Kolek, Anna Tsouloufi, Dionyssis Kavalieratos, Nicos Kanarellis, Angus Wyatt, Charlotte Ginsborg, Monica Biagiloi, Seetha Alagapan)
"The Snow Show" Kuratoren: Hilkka Liikkanen, Unto Käyhkö
"Il Sogno che Risorge dalla Vita" Kurator: Marie-Aimee Tirole (Babara Sillari, Gabriela Dauerer)
"Stopover" Kurator: David Thorp (Graham Gussin, Hilary Lloyd, Richard Woods)
---
Interesting publication for researches on running and art
14 Performances. Relation Work (1976 - 1980). Filmed by Paolo Cardazzo. Marina Abramović/ Ulay. Neuer Berliner Kunstverein, Berlin, Germany.
Abramović, Marina. Student Body: Workshops 1979 - 2003: Performances 1993 - 2003. Milano: ed. Charta, 2003.
Bergson, Henri. Creative Evolution. London: Macmillan and Co., 1911.
Bergson, Henri. Key Writings. Edited by Keith Ansell-Pearson and John Mullarkey. New York:
Continuum, 2002.
Bergson, Henri. Matter and Memory. New York: Zone Books, 1988.
Blaikie, William. “Common Sense Physical Training.” In Athletics and Health: Modern Achievement: Advice and Instruction upon the Conduct of Life, Principles of Business, Care of Health, Duties of Citizenship, etc. Edited by Edward Everett Hale. New York: P.F. Collier & Son, 1902.
Blaikie, William. How to Get Strong and How to Stay So. New York: Harper & Brothers Publishers, 1883.
Cunningham, Merce. Changes: Notes on Choreography. New York: Something Else Press, 1969.
de Balzac, Honoré. The Human Comedy. EBook: Project Gutenberg, 2010. de Balzac, Honoré. Théorie de la démarche. 1833, 1853.
de Biran, Maine. “Opposition du principe de Descartes avec celui d’une science de l’homme. Première base d’une division des faits psychologiques et physiologiques. Perception et sensation animale.” In Maine de Biran. Librairie Philosophique J. VRIN, 1990.
de Tocqueville, Alexis. The Old Regime and the Revolution. New York: Harper & Brothers, Publishers, 1856.
Delaumosne, M. L’Abbe. “The Delsarte System.” Translated by Frances A. Shaw. In Delsarte System of Oratory, 4th Ed. New York: Edgar S. Werner, 1893.
Descartes, René. Méditations metaphysiques. 1641.
Gropius, Walter, and Arthur S. Wensinger, eds. The Theater of the Bauhaus: Oskar Schlemmer, Laszlo Moholy-Nagy, Farkas Molnár. Translated by Arthur S. Wensinger. Middleton, Conn.: Wesleyan University, 1961.
Hahn, Archibald. How to Sprint: The Theory of Spring Racing. New York: American Sports Publishing Company, 1923.
Hegel, Georg Wilhelm Friedrich. Phenomenology of Spirit. Translated by A.V. Miller. Oxford: Oxford University Press, 1977.
Helmholtz, Hermann. “On the Facts Underlying Geometry.” In Epistemological Writings: Hermann von Helmholtz. Edited by R.S. Cohen and Y. Elkana. Boston: D. Reidel Publishing Company, 1977.
Helmholtz, Hermann. Théorie physiologique de la musique fondée sur l’étude des sensations auditives. Paris: Masson, 1868.
Helmholtz, Hermann. Treatise of Physiological Optics (Handbuch der physiologischen Optik) 1856. 3 Volumes. Translated by James P.C. Southall. Milwaukee, 1924.
Holmes, Oliver Wendall. Soundings from the Atlantic. Boston: Tickknor and Fields, 1864. James, William. The Principles of Psychology. New York: Henry Holt & Co, 1890, 1918.
James, William. Writings 1902 - 1910. Edited by Bruce Kuklick. New York: Literary Classics of the United States, 1987.
Kandinsky, Vasily. Über Das Geistige in der Kunst. Dritte Auflage. München: R. Piper&Co, 1912.
Kant, Immanuel. “Was ist Aufklärung?” 1784.
Laban, Rudolf. A Life for Dance: Reminiscences. Translated by Lisa Ullmann. London: Macdonald & Evans, 1975.
Laban, Rudolf. Choreographie. Jena: E. Diederichs, 1926.
Laban, Rudolf. Choreutics. Edited by Lisa Ullmann. London: Macdonald & Evans, 1939, 1966.
Laban, Rudolf. Effort: Economy in Body Movement. 2nd Edition. Boston: Plays, 1947, 1974.
Laban, Rudolf. Principles of Dance and Movement Notation. New York: A Dance Horizons Republication, 1956, 1970.
Laban, Rudolf. The Language of Movement: A Guidebook to Choreutics. Edited by Lisa Ullmann. Boston: Plays, Inc., 1974.
MacKaye, Percy. “Steele Mackaye, Dynamic Artist of the American Theatre; An Outline of his Life Work,” in The Drama. Edited by William Norman Guthrie and Charles Hubbard Sergel. Chicago: The Dramatic Publishing Company, 1911.
Marey, Étienne-Jules. La Machine Animale: Locomotion Terrestre et Aérienne. Paris: Librairie Germer Baillière, 1873.
Marey, Étienne-Jules. Le Vol des Oiseaux. Paris: Libraire de l’académie de médecine, 1890. Marey, Étienne-Jules. Movement. Translated by Eric Pritchard. New York: D. Appleton and
Company, 1895.
Michelet, Jules. The History of France. Volume I. Translated by Walter K. Kelly. London: Chapman and Hall, 1844.
Morgan, Anna. An Hour with Delsarte: A Study of Expression. New York: Edgar S. Werner Publisher, 1891.
Muybridge, Eadweard. Animal Locomotion: An Electro-photographic Investigation of Consecutive Phases of Animal Movements. Philadelphia: University of Pennsylvania and J. B. Lippincott Company, 1887.
Muybridge, Eadweard. Descriptive Zoopraxography, or the Science of Animal Locomotion. Philadelphia: University of Pennsylvania, 1893.
Muybridge, Eadweard. The Attitudes of Animals in Motion: A Series of Photographs Illustrating the Consecutive Positions assumed by Animals in Performing Various Movements; Executed at Palo Alto, California, in 1878 and 1879 (1881). Albumen, Library of Congress, Washington, D.C., Library of Congress.
Muybridge, Eadweard. The Human Figure in Motion. New York: Dover Publications, 1955. Ramsaye, Terry. A Million and One Nights: A History of the Motion Picture. U.K.: Simon and
Schuster, Inc., 1926, 1954.
Richer, Paul. Physiologie Artistique: De l’Homme en Mouvement. Paris: Aulanier et Cie, 1896.
Sanburn, Frederic. Delsartean Scrap-book: Health, Personality, Beauty, House-Decoration, Dress, etc. New York: United States Book Company, c. 1890.
Schlemmer, Oskar. Briefe und Tagebücher: The Letters and Diaries of Oskar Schlemmer. Edited by Tut Schlemmer. Translated by Krishna Winston. Middletown, Conn: Wesleyan University Press, 1972.
Schlemmer, Oskar, and Heimo Kuchling. Der Mensch, Unterricht am Bauhaus. Nachgelassene Aufzeichnungen. Mainz: F. Kupferberg, 1969.
Schuftan, Werner. Handbuch des Tanzes. Preface by Rudolf von Laban. Mannheim: Verlag Deutscher Chorsänger Verband und Tänzerbund, 1928.
Shearman, Sir Montague. Athletics and Football. London: Longmans, Green, and Co., 1888. Smith, Shawn Michelle. At the Edge of Sight: Photography and the Unseen. Durham: Duke
University Press, 2013.
Stebbins, Genevieve. Delsarte System of Expression, 5th Edition. New York: Edgar S. Werner, 1894; orig. 1885.
Talbot, Frederick A. Practical Cinematography and its Applications. London: William Heinemann, 1913.
Wigman, Mary. The Mary Wigman Book: Her Writings. Middletown, CT: Wesleyan University Press, 1975.
Abramović, Marina, et al. Marina Abramović: Seven Easy Pieces. New York: Charta 2007. Acconci, Vito. Language to Cover a Page: The Early Writings of Vito Acconci. Edited by Craig
Dworkin. Cambridge: MIT Press, 2006.
Adolphs, Volker, and Philip Norten. Gehen Bleiben: Bewegung, Körper, Ort in der Kunst der
Gegenwart. Bonn: Kunstmuseum Bonn, 2007.
Agamben, Giorgio. “Movement.” In Dance: Documents of Contemporary Art. Edited André
Lepecki. London: MIT Press and WhiteChapel Gallery, 2012.
Alberro, Alexander, and Blake Stimson, eds. Institutional Critique: An Anthology of Artists’
Writings. Cambridge: MIT Press, 2009.
Albers, Kate Palmer. “Abundant Images and the Collective Sublime.” Exposure. Volume 46,
Issue 2 (Fall 2013).
Allen, Beverly. Rape Warfare: The Hidden Genocide in Bosnia-Herzegovina and Croatia. Minneapolis: University of Minnesota Press, 1996.
Alloway, Lawrence. The Venice Biennale 1895 - 1968: from salon to goldfish bowl. Greenwich, CT: New York Graphic Society LTD., 1968.
Anderson, Ben. “Affect and Biopower: Towards a Politics of Life.” Transactions - Institute of British Geographers, Issue 1 (2011).
Andras, Edit, and Bojana Pejic, eds. Gender Check: Femininity and Masculinity in the Art of Eastern Europe. Cologne: Buchhandlung Walther König, 2009.
Antliff, Mark. Inventing Bergson: Cultural Politics and the Parisian Avant-Garde. Princeton: Princeton University Press, 1992.
Arendt, Hannah. The Human Condition, Second Edition. Chicago: University of Chicago Press, 1958, 1998.
Arendt, Hannah. On Violence. New York: Harcourt Brace, 1969.
Atkins, Dawn, ed. Looking Queer: Body Image and Identity in Lesbian, Bisexual, Gay, and
Transgender Communities. New York: The Haworth Press, 1998.
Ault, Julie, ed. Alternative Art, New York, 1965-1985: A Cultural Politics Book for the Social
Text Collective. Minneapolis: University of Minnesota Press, 2002.
Auslander, Philip. “Going with the Flow: Performance Art and Mass Culture.” TDR. Volume 33,
Number 2 (Summer 1989).
Auslander, Philip. “The Performativity of Performance Documentation.” PAJ 84 (2006).
Backstein, Joseph, and Daniel Birnbaum, Sven-Olov Wallenstein. Thinking Worlds - The Moscow Conference on Philosophy, Politics, and Art. Berlin: Sternberg Press, 2008.
Badovinac, Zdenka. Body and the East: From the 1960s to the Present. Cambridge, Mass.: MIT Press, 1999.
Baer, Ulrich. Spectral Evidence: The Photography of Trauma. Cambridge: MIT Press, 2002. Baker, George. “Entr’acte.” October. Volume 105 (Summer 2003).
Bale, John. Imagined Olympians: Body Culture and Colonial Representations in Rwanda. Minneapolis: University of Minnesota Press, 2002.
Bale, John. Running Cultures: Racing in Time and Space. London: Frank Cass, 2004. Banes, Sally. Democracy’s Body: Judson Dance Theatre, 1962 - 1964. Durham, NC: Duke
University Press, 1993.
Banes, Sally. Terpsichore in Sneakers: Post-Modern Dance, 2nd edition. Middletown, CT: Wesleyan University Press, 1987.
Bartenieff, Irmgard. Body Movement: Coping with the Environment. New York: Routledge, 2002.
Barthes, Roland. Camera Lucida: Reflections on Photography. Translated by Richard Howard. New York: Hill and Wang, 198, 2010.
Barthes, Roland. Mythologies. Translated by Annette Lavers. New York: Hill and Wang, 1972. Batchen, Geoffrey. Burning with Desire: The Conception of Photography. Cambridge: MIT
Press, 1997.
Baudelaire, Charles. The Parisian Prowler, Le Spleen de Paris Petits Poèmes en Prose. Translated by Edward K. Kaplan. Athens: The University of Georgia Press, 1989.
Bauer, M. W. and G. Gaskell. Biotechnology — the Making of a Global Controversy. Cambridge: Cambridge University Press, 2002.
Bayat, Asef. Life as Politics: How Ordinary People Change the Middle East. Amsterdam: Amsterdam University Press, 2010, 2015.
Belaief, Lynne. “Meanings of the Body.” Journal of the Philosophy of Sport. Volume 4, Issue 1 (1977).
Bell, Catherine. Ritual: Perspectives and Dimensions. New York: Oxford University Press, 1997.
Benjamin, Walter. Charles Baudelaire: A Lyric Poet in the Era of High Capitalism. Translated by Harry Zohn. London: Verso, 1997.
Benjamin, Walter. Selected Writings, Volumes 1 - 4. Edited by Howard Eiland and Michael W. Jennings. Cambridge: Belknap Press of Harvard University Press, 2003 - 2006.
Benjamin, Walter. “The Storyteller: Reflections on the Works of Nikolai Leskov.” In Illuminations. Edited by Hannah Arendt. Translated by Harry Zohn. New York: Schocken Books, 2007.
Bennett, Jill. Empathic Vision: Affect, Trauma, and Contemporary Art. Stanford, CA; Stanford University Press, 2005.
Berger, John. About Looking. New York: Pantheon Books, 1980.
Bergson, Henri. Laughter: An Essay on the Meaning of the Comic. Translated by Cloudesley Brereton and Fred Rothwell. New York: The Macmillan Company, 1914.
Bishop, Claire, and Marta Dziewańska, eds. 1968 - 1989: Political Upheaval and Artistic Change. Warsaw: Museum of Modern Art, 2009.
Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso, 2012.
Bishop, Claire. Radical Museology: or, What’s ‘Contemporary’ in Museums of Contemporary Art? London: Koenig Books, 2013.
Black, Graham. Transforming Museums in the Twenty-First Century. New York: Routledge, 2011.
Blaive, Muriel, and Christian Gerbel, Thomas Lindenberger, eds. Clashes in European Memory: The Case of Communist Repression and the Holocaust. Innsbruck: Studienverlag, 2011.
Blassnigg, Martha. Time, Memory, Consciousness and the Cinema Experience: Revisiting Ideas on Matter and Spirit. New York: Rodopi, 2009.
Bloomer, Kent C., and Charles Willard Moore. Body, Memory, and Architecture. New Haven: Yale University Press, 1977.
Boecker, Henning, et. al. “The Runner’s High: Opioidergic Mechanisms in the Human Brain.” Cerebral Cortex. Volume 18, Number 11 (2008).
Bougarel, Xavier, and Elissa Helms, Ger Duijzings, eds. The New Bosnian Mosaic: Identities, Memories and Moral Claims in a Post-War Society. Hampshire, England: Ashgate, 2007.
Bourdieu, Pierre. Outline of a Theory of Practice. Cambridge: Cambridge University Press, 1977.
Bourriaud, Nicolas. Relational Aesthetics. Dijon: Les Presses du réel, 1998, 2002.
Brandstetter, Gabriele. Poetics of Dance: Body, Image and Space in the Historical Avant- Gardes. Translated by Elena Polzer and Mark Franko. Oxford: Oxford University Press, 1995, 2015.
Braudy, Leo, and Marshall Cohen, eds. Film Theory and Criticism: Introductory Readings. New York: Oxford UP, 1999.
Braun, Marta. Eadweard Muybridge. London: Reaktion, 2010.
Braun, Marta. Picturing Time: The Work of Etienne-Jules Marey (1830 - 1904). Chicago:
University of Chicago Press, 1992, 1994.
Brettell, Richard R. Modern Art, 1851 - 1929: Capitalism and Representation. Oxford: Oxford University Press, 1999.
Brooke, J.D., and H.T.A. Whiting, eds. Human Movement - A Field of Study. London: Henry Kimpton Publishers, 1973.
Brown, Keith S., and Yannis Hamilakis, eds. The Usable Past: Greek Metahistories. Lanham, MD: Lexington Books, 2003.
Brunnbauer, Ulf, and Konrad Clewing, eds. Südost-Forschungen. Munich: R. Oldenbourg Verlag, 2008.
Bruno, Giuliana. Atlas of Emotion: Journeys in Art, Architecture, and Film. New York: Verso, 2002.
Bryzgel, Amy. Performing the East: Performance Art in Russia, Latvia, and Poland since 1980. London: I.B. Tauris, 2012.
Buchloh, Benjamin H. D. Neo-Avantgarde and Culture Industry: Essays on European and American Art from 1955 to 1975. Cambridge: MIT Press, 2001, 2003.
Buck-Morss, Susan. The Dialectics of Seeing: Walter Benjamin and the Arcades Project. Cambridge: MIT Press, 1991.
Burchell, Graham, and Colin Gordon, Peter Miller, eds. The Foucault Effect: Studies in Governmentality. Chicago: University of Chicago Press, 1991.
Bürger, Peter. Theory of the Avant-Garde. Translated by Michael Shaw. Minneapolis: University of Minnesota Press and Manchester University Press, 1974, 1984.
Butler, Judith. Bodies that Matter: On the Discursive Limits of Sex. New York: Routledge, 1993. Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge,
2006.
Butler, Samuel. Unconscious Memory: A Comparison between the Theory of Dr. Ewald Hering and the ‘Philosophy of the Unconscious’ of Dr. Edward von Hartmann. London: David Bogue, 1880.
Cage, John. Silence: Lectures and Writings. Middletown, CT: Wesleyan University Press, 1961. Campany, David, ed. The Cinematic: Documents of Contemporary Art. Cambridge: MIT Press,
2007.
Canales, Jimena. A Tenth of a Second: A History. Chicago: University of Chicago Press, 2009.
Careri, Francesco. Walkscapes: Walking as an Aesthetic Practice. Translated by Steve Piccolo and Paul Hammond. Barcelona: Editorial Gusavo Gili, 2002.
Carroll, Noël. Theorizing the Moving Image. Cambridge: Cambridge University Press, 1996. Cetinić, Ljiljana, and Ana Panić, eds. Štafete: Titova Štafeta - Štafeta Mladosti, 1945 - 1987.
Belgrade: Tipografik plus, 2008.
Chase, Stuart. Men and Machines. New York: Macmillan Co, 1929.
Christesen, Paul. Sport and Democracy in the Ancient and Modern Worlds. Cambridge: Cambridge University Press, 2012.
Christian, Mary. Marina Abramović: The Artist is Present. New York: The Museum of Modern Art, 2010.
Clark, Kenneth. The Nude: A Study in Ideal Form. New York: Pantheon Books, 1956. Coleman, Simon, and John Eade, eds. Reframing Pilgrimage: Cultures in Motion. London:
Routledge, 2004.
Connerton, Paul. The Spirit of Mourning: History, Memory and the Body. Cambridge: Cambridge University Press, 2011.
Cosgrove, Denis. Geography and Vision: Seeing, Imagining and Representing the World. New York: I.B. Tauris, 2008.
Cottington, David. Cubism in the Shadow of War: The Avant-Garde and Politics in Paris 1905- 1914. New Haven: Yale University Press, 1998.
Crane, Susan, ed. Museums and Memory. Stanford: Stanford University Press, 2000. Crary, Jonathan. Techniques of the Observer: On Vision and Modernity in the Nineteenth
Century. Cambridge: MIT Press, 1990.
Crow, Thomas. The Rise of the Sixties: American and European Art in the Era of Dissent.
London: Laurence King Publishing, 1996.
Csiksgentmihalyi, Mihaly. Creativity! Flow and psychology of discovery and invention. New York: Harper Collins, 1996.
Cumming, John. Runners & Walkers: A Nineteenth Century Sports Chronicle. Chicago: Regency Gateway, 1981.
Cvejić, Bojana, and Ana Vujanović. Public Sphere by Performance. Belgrade: b_books, TkH, 2012.
Dagg, Anne Innis. Running, Walking, and Jumping: The Science of Locomotion. New York: Crane, Russak & Company, Inc, 1977.
de Certeau, Michel. The Practice of Everyday Life. Translated by Steven Rendall. Berkeley: University of California Press, 1984, 1988.
de Certeau, Michel. The Writing of History. Translated by Tom Conley. New York: Columbia University Press, 1975, 1988.
de Groote, Pascale. Ballets Suédois: Jean Börlin. Ghent: University of Ghent, 2002.
de Waal, Frans. The Age of Empathy: Nature’s Lessons for a Kinder Society. New York:
Harmony Books, 2009.
Deleuze, Gilles. Cinema 1: The Movement-Image. Minneapolis: University of Minnesota Press, 1986.
Deleuze, Gilles, and Félix Guattari. A Thousand Plateaus. London: Continuum, 1980, 2008. Dewey, John. The Public and its Problems: An Essay in Political Inquiry. Edited by Melvin L.
Rogers. University Park, PA: The Pennsylvania State University, 2012.
di Giovanni, Janine. Madness Visible: A Memoir of War. London: Bloomsbury, 2005.
Djetelić, Pera, and Dragan Maršičević. Narodna Omladina i Jugoslovenski Kongres za Fizičku Kulturu. Beograd: Mladost, 1959.
Djurić, Dubravka, and Miško Šuvaković, eds. Impossible Histories: Historical Avant-gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918 - 1991. Cambridge: MIT Press, 2003.
Donawerth, Jane, ed. Rhetorical Theory by Women before 1900: An Anthology. Lanham, MD: Rowman & Littlefield Publishers, Inc, 2002.
Dörr, Evelyn. Rudolf Laban: The Dancer of the Crystal. Lanham, Maryland: The Rowman & Littlefield Publishing Group, Inc., 2008.
Drakulić, Slavenka. Balkan Express: Fragments from the Other Side of War. London: Hutchinson, 1993.
Drakulić, Slavenka. They Would Never Hurt a Fly: War Criminals on Trial in the Hague. New York: Penguin, 2005.
Drapag, Vesna. Constructing Yugoslavia: A Transnational History. London: Palgrave Macmillan, 2010.
Duncan, Carol. Civilizing Rituals: Inside Public Art Museums. Abingdon: Routledge, 1995. Eamon, Christopher. Rearview Mirror: New Art from Central and Eastern Europe. Edmonton:
Art Gallery of Alberta, 2011.
Eichberg, Henning, ed. Body Cultures: Essays on Sport, Space, and Identity. London, New York: Routledge, 1998.
Elias, Norbert. The Civilizing Process. Sociogenetic and Psychogenetic Investigations. Oxford: Blackwell, 1939, 2000.
Elias, Norbert, and Eric Dunning. Quest for Excitement: Sport and Leisure in the Civilising Process. Dublin: University of College Dublin Press, 2008.
Enwezor, Okwui. Archive Fever: Uses of the Document in Contemporary Art. Göttingen: Steidl Publishers, 2008.
Erjavec, Aleš, ed. Postmodernism and the Postsocialist Condition: Politicized Art under Late Socialism. Berkeley: University of California Press, 2003.
Fer, Briony, and David Batchelor, Paul Wood. Realism, Rationalism, Surrealism: Art Between the Wars. New Haven: Yale University Press, 1993.
Finn, David. How to Visit A Museum. New York: Abrams, 1985.
Fleming, Bruce. Running is Life: Transcending the Crisis of Modernity. Lanham: University
Press of America, Inc, 2010.
Forrester, Sibelan E.S., and Magdalena J. Zaborowska, Elena Gapova, eds. Over the Wall/After the Fall: Post-Communist Cultures Through an East-West Gaze. Bloomington: Indiana University Press, 2004.
Foster, Hal. The Return of the Real: The Avant-Garde at the End of the Century. Cambridge: MIT Press, 1996.
Foster, Hal. “What’s Neo about the Neo-Avant-Garde?” October. Volume 70, The Duchamp Effect (Autumn, 1994), 5 - 32.
Foucault, Michel. Discipline and Punish: The Birth of the Prison. Translated by Alan Sheridan. New York: Vintage Books, Random House, Inc, 1977, 1995.
Foucault, Michel. The History of Sexuality Volume 1. Translated by Robert Hurley. New York: Pantheon Books, 1978.
Foucault, Michel. Power/Knowledge: Selected Interviews & Other Writings, 1972 - 1977. Edited by Colin Gordon. New York: Pantheon Books,1972, 1980.
Fraleigh, Sondra Horton. Dance and the Lived Body: A Descriptive Aesthetics. Pittsburgh: University of Pittsburgh Press, 1987.
Frampton, Hollis. “Eadweard Muybridge: Fragments of a Tesseract.” In On the Camera Arts and Consecutive Matters: The Writings of Hollis Frampton. Cambridge: MIT Press, 2009.
Fried, Michael. Four Honest Outlaws: Sala, Ray, Marioni, Gordon. New Haven: Yale University Press, 2011.
Gallagher, Catherine, and Thomas Laqueur, eds. The Making of the Modern Body: Sexuality and Society in the Nineteenth Century. Berkeley: University of California Press, 1987.
Gamwell, Lynn, ed. Dreams Nineteen Hundred to Two Thousand: Science, Art, and the Unconscious Mind. Binghamton: State University of New York at Binghamton, 2000.
Gay, Peter. Savage Reprisals: Bleak House, Madame Bovary, Buddenbrooks. New York: W.W. Norton & Company, 2002.
Gehm, Sabine, and Pirkko Husemann, Katharina von Wilke, eds. Knowledge in Motion: Perspectives of Artistic and Scientific Research in Dance. Translated by Bettina von Arps- Aubert. Bielefeld: Transcript, 2007.
Genoways, Hugh H., ed. Museum Philosophy for the Twenty-First Century. Oxford: AltaMira Press, 2006.
Geoghegan, Bernard Dionysius. “After Kittler: On the Cultural Techniques of Recent German Media Theory.” Theory Culture Society (August 2013).
Gidal, Peter. Materialist Film. London: Routledge, 1989.
Giedion, Siegfried. Space, Time, and Architecture: The Growth of a New Tradition. Cambridge:
Harvard University Press, 1974.
Godard, Jean-Luc. Godard on Godard. Edited by Jean Narboni and Tom Milne. New York: The Viking Press, 1968, 1972.
Gödl, Doris. “Challenging the Past: Serbian and Croatian Aggressor-Victim Narratives.” International Journal of Sociology 37. No. 1 (2007).
Goldberg, Roselee. Performance: Live Art Since the ‘60s. London: Thames & Hudson, 2004.
Goldberg, Roselee. Performance Art: From Futurism to the Present. London: Thames & Hudson, 2001.
Goldberg, Vicki, ed. Photography in Print: Writings from 1816 to the Present. New York: Simon and Schuster, 1981.
Golding, Sue, ed. The Eight Technologies of Otherness. London: Routledge, 1997. Gotaas, Thor. Running: A Global History. London: Reaktion Books, 2009.
Grau, Andrée, and Stephanie Jordan. Europe Dancing: Perspectives on Theatre, Dance, and Cultural Identity. New York: Routledge, 2000.
Grigorov, Dimitar. “‘Рачунајте на нас.’ ‘Oдломак’ о Титовој штафети или Штафети младости.” In Друштвену историју. Belgrade: 2008.
Grimes, Ronald L. Beginnings in Ritual Studies. Columbia: University of South Carolina Press, 1995.
Groys, Boris. Introduction to Antiphilosophy. Translated by David Fernbach. London: Verso, 2012.
Groys, Boris. The Communist Postscript. Translated by Thomas Ford. London: Verso, 2010. Groys, Boris, and Ann von der Heiden, Peter Weibel, eds. Zurück aus der Zukunft.
Osteuropäische Kulturen im Zeitalter des Postkommunismus. Berlin: Suhrkamp, 2005.
Gržinić, Marina, and Günther Heeg, Veronika Darian. Mind the Map! History is not a Given: A
th th
Critical Anthology Based on the Symposium [Leipzig, 13 -16 October 2005]. Frankfurt:
Revolver, 2006.
Guttman, Allen. “Sport, Politics, and the Engaged Historian.” Journal of Contemporary History. Volume 38, Number 3 (2003).
Hardt, Michael, and Antonio Negri. Empire. Boston, Harvard University Press, 2001. Hargreaves, Jennifer, and Patricia Anne Vertinsky, eds. Physical Culture, Power, and the Body.
New York: Routledge, 2007.
Harris, Mary Emma. The Arts at Black Mountain College. Cambridge: MIT Press, 1987, 2002.
Harte, Jane L., et. al. “The effects of running and meditation on beta-endorphin, corticotropin- releasing hormone and cortisol in plasma, and on mood.” Biological Psychology. Volume 40, Issue 3 (June 1995).
Harte, Jane L., and Georg H. Eifert. “The effects of running, environment, and attentional focus on athletes’ catecholamine and cortisol levels and moods.” Psychophysiology. Volume 32, Issue 1 (January 1995).
Havránek, Vít, ed. Jiří Kovanda: Actions and Installations, 2005-1976. Zurich: Tranzit & JRP|Ringier, 2006.
Helme, Sirje. PopKunst Forever: Estonian Pop Art at the Turn of the 1960s and 1970s. Tallinn: Art Museum of Estonia - Kumu Art Museu, 2010.
Hemmings, Frederick William John, ed. The Age of Realism. Baltimore: Penguin Books, 1974. Hendricks, Gordon. Eadweard Muybridge: The Father of the Motion Picture. New York:
Grossman Publishers, of Viking Press, 1975.
Henning, Michelle. Museums, Media, and Cultural Theory. New York: Open University Press, 2006.
Hewitt, Andrew. Social Choreography: Ideology as Performance in Dance and Everyday Movement. Durham: Duke University Press, 2005.
Higgins, Steven. Still Moving: The Film and Media Collections of the Museum of Modern Art. New York: The Museum of Modern Art, 2006.
Hoberman, John M. “Sport and Political Ideology.” Journal of Sport and Social Issues. Volume 1, Number 2 (1977).
Hodgson, John. Mastering Movement: The Life and Work of Rudolf Laban. New York: Routledge, 2001.
Hoelzl, Ingrid, and Friedrich Tietjen, eds. Images in Motion. Burges: Die Keure, 2012. Husserl, Edmund. The Phenomenology of Internal Time-Consciousness. Edited by Martin
Heidegger. Translated by James S. Churchill. Bloomington: Indiana University Press, 1964.
IRWIN, ed. East Art Map: Contemporary Art and Eastern Europe. London: Afterall and MIT Press, 2006.
Ivey, Paul Eli. Radiance from Halcyon: A Utopian Experiment in Religion and Science. Minneapolis: University of Minnesota Press, 2013.
Jameson, Frederic. Postmodernism, or, The Cultural Logic of Late Capitalism. Durham: Duke University Press,1991.
Janevski, Ana, ed. As Soon as I Open My Eyes I See a Film: Experiment in the Art of Yugoslavia in the 1960s and 1970s. Warsaw: Museum of Modern Art, 2010.
Jarausch, Konrad H., and Michael Geyer. Shattered Past: Reconstructing German Histories. Princeton, NJ: Princeton University Press, 2003.
Jones, Amelia. Body Art/Performing the Subject. Minneapolis: University of Minnesota Press, 1998.
Jones, Amelia, and Adrian Heathfield. Perform, Repeat, Record: Live Art in History. Chicago: University of Chicago Press, 2012.
Jones, Amelia. “The Body and Technology.” Art Journal. Volume 60, Number 1 (Spring, 2001). Joseph, Brandon W. Random Order: Robert Rauschenberg and the Neo-avant-garde.
Cambridge: MIT Press, 2003.
Joy, Jenn. The Choreographic. Cambridge: MIT Press, 2014.
Jünger, Ernst. “War and Photography.” Translated by Anthony Nassar. New German Critique. Number 59 (Spring-Summer, 1993).
Kater, Michael H. Hitler Youth. Cambridge, Mass.: Harvard University Press, 2004. Kebo, Ozren. Sarajevo za početnike. Sarajevo: Dani, 1996.
Kelley, Jeff, ed. Essays on the Blurring of Art and Life. Berkley: University of California Press, 1993, 2003.
Kern, Stephen. The Culture of Time and Space. Cambridge, Mass: Harvard University Press, 1983.
Kester, Grant H. Conversation Pieces: Community and Communication in Modern Art. Berkley: University of California Press, 2004.
Kholeif, Omar. Moving Image. London: Whitechapel, 2015.
Kirkpatrick, Sidney. The Revenge of Thomas Eakins. New Haven: Yale University Press, 2006.
Kirn, Gal, and Dubravka Sekulić, Žiga Testen, eds. Surfing the Black: Yugoslav Black Wave Cinema and its Transgressive Moments. Maastricht: Jan van Eyck Academie, 2012.
Kittler, Friedrich A. Gramophone, Film, Typewriter. Stanford: Stanford University Press, 1999. Klinger, Cornelia, and Bartomeu Mari. Modernologies: Contemporary Artists Researching
Modernity and Modernism. Barcelona: Museu d’Art Contemporani de Barcelona, 2009.
Knell, Simon J., et al., eds. National Museums: New Studies from around the World. New York:
Routledge, 2011.
Knudson, Duane. Fundamentals of Biomechanics, Second Edition. New York: Springer, 2007.
Knust, Albrecht. Handbook of Kinetography Laban: Examples. Hamburg: Das Tanzarchiv, 1958. Koch, Sabine, et al. Body Memory, Metaphor, and Movement. Philadelphia: John Benjamins
Publishing Company, 2012.
Krauss, Rosalind E. “Sculpture in the Expanded Field.” October. Volume 8 (Spring 1979).
Krauss, Rosalind E. The Originality of the Avant-Garde and Other Modernist Myths. Cambridge: MIT Press, 1985.
Kuligowski, Waldemar. “A Relay of Youth of the 21st Century. A Re-enactment of Ritual or a Grotesque Performance?” Cargo. Volume 10, Number 1 - 2 (2012).
Kwon, Miwon. One Place After Another: Site-Specific Art and Locational Identity. Cambridge: MIT Press, 2002.
LaBelle, Brandon. Background Noise: Perspectives on Sound Art. London and New York: Continuum International Publishing Group, 2006.
Lakoff, George, and Mark Johnson. Metaphors We Live By. Chicago: University of Chicago Press, 1980.
Landsberg, Alison. Prosthetic Memory: The Transformation of American Remembrance in the Age of Mass Culture. New York: Columbia University Press, 2004.
Laws, Kenneth, and Francia Russell. Physics and the Art of Dance: Understanding Movement. Oxford: Oxford University Press, 2002.
le Blanc, Guillaume. Courir: Méditations Physiques. Paris: Éditions Flammarion, 2012.
Leahy, Helen Rees. Museum Bodies: The Politics of Practices of Visiting and Viewing. Surrey,
England: Ashgate, 2012.
Lederman, Gail. Manliness and Civilization: A Cultural History of Gender and Race in the
United States, 1880 - 1917. Chicago: The University of Chicago Press, 1995. Lefebvre, Henri. The Production of Space. Oxford: Blackwell, 1991.
Lehman, Arnold L., and Brenda Richardson, eds. Oskar Schlemmer. Baltimore: The Baltimore Museum of Art, 1986.
Lemke, Thomas. Bio-Politics: An Advanced Introduction. Translated by Eric Frederick Trump. New York: New York University Press, 2011.
Lepage, Jean-Denis G.G. Hitler Youth, 1922 - 1945: An Illustrated History. London: McFarland & Company, Inc.,2009.
Lepecki, André, ed. Dance: Documents of Contemporary Art. London: MIT Press and WhiteChapel Gallery, 2012.
Leposavić, Radonja. vlasTito iskustvo. Belgrade: Publikum, 2005.
Licht, Alan. Sound Art: Beyond Music, Between Categories. New York: Rizzoli International
Publications, 2007.
Lippard, Lucy. Six Years: The Dematerialization of the Art Object from 1966 to 1972. Berkley: University of California Press, 1973.
Loland, Sigmund, and Berit Skirstad, Ivan Waddington. Pain and Injury in Sport: Social and Ethical Analysis. New York: Routledge, 2006.
Luthar, Breda, and Maruša Pušnik, eds. Remembering Utopia: The Culture of Everyday Life in Socialist Yugoslavia. Washington, D.C.: New Academia Publishers, 2010.
Mackay, Robin, and Armen Avanessian, eds. #Accelerate: The Accelerationist Reader. Falmouth, UK: Urbanomic, 2014.
Malcolm, Noel. Bosnia: A Short Story. London: MacMillan, 1994.
Maletic, Vera. Body - Space - Expression: The Development of Rudolf Laban’s Movement and
Dance Concepts. Amsterdam: Mouton de Gruyter, 1987.
Marie, Michel. The French New Wave: An Artistic School. Translated by Richard Neupert.
Oxford: Blackwell Publishing, 1997.
Marien, Mary Warner. Photography: A Cultural History. 2nd Edition. London: Laurence King Publishing Ltd, 2002, 2006.
Marks, Laura. Touch: Sensuous Theory and Multisensory Media. Minneapolis: University of Minnesota Press, 2002.
Marvin, Carolyn. When Old Technologies Were New: Thinking about Electric Communication in the Late Nineteenth Century. Oxford: Oxford University Press, 1988.
Mathews, Nancy Mowll. “The Body in Motion.” In Moving Pictures: American Art and Early Film, 1880 - 1910. Manchester, Vermont: Hudson Hills Press, 2005.
Mauss, Marcel. “Techniques of the Body” (1934). In Incorporations, Zone 6. Edited by Jonathan Crary and Sanford Kwinter. New York: Zone, 1992.
Mazower, Mark. Dark Continent: Europe’s Twentieth Century. New York: A.A. Knopf, 1999.
McGinnis, Peter M. Biomechanics of Sport and Exercise, Third Edition. Champaign, IL: Human Kinetics, 2013.
McSorley, Kevin, ed. War and the Body: Militarisation, Practice and Experience. New York: Routledge, 2013.
Meltzer, Eve. Systems We Have Loved: Conceptual Art, Affect, and the Antihumanist Turn. Chicago: The University of Chicago, 2013.
Merleau-Ponty, Maurice. The Phenomenology of Perception. Translated by Colin Smith. London: Routledge and Kegan Paul, 1962, 1989.
Metz, Christian. Film Language: A Semiotics of the Cinema. Translated by Michael Taylor. New York: Oxford University Press, 1974.
Metz, Christian. “Photography and Fetish.” October. Volume 34 (Autumn, 1985).
Meyer, James. Minimalism: Art and Polemics in the Sixties. New Haven: Yale University Press,
Michelson, Annette, ed. Kino-Eye: The Writings of Dziga Vertov. Translated by Kevin O’Brien. Berkeley: University of California Press, 1984.
Mirzoeff, Nicholas, ed. The Visual Culture Reader, Second Edition. New York: Routledge, 1998, 2002.
Mishima, Yukio. Sun and Steel: His Personal Testament on Art, Action, and Ritual Death. New York: Kodansha, 1970.
Mondloch, Kate. Screens: Viewing Media Installation Art. Minneapolis: The University of Minnesota Press, 2010.
Moore, Sarah J. Empire on Display: San Francisco’s Panama-Pacific International Exposition of 1915. Norman, OK: University of Oklahoma Press, 2013.
Morgan, William P. “Affective beneficence of vigorous physical activity.” Medicine and Science in Sports and Exercise. Volume 17, Number 1 (February 1985).
Morse, Meredith. Soft is Fast: Simone Forti in the 1960s and After. Cambridge: MIT Press, 2016.
Mosse, George L. The Image of Man: The Creation of Modern Masculinity. Oxford: Oxford University Press, 1996.
Motherwell, Robert, ed. Dada Painters and Poets. New Haven: Harvard University Press, 1981.
Mozley, Anita Ventura, ed. Eadweard Muybridge: The Stanford Years, 1872 - 1882. San Francisco: Stanford University, 1972.
Mulvey, Laura. Death 24x a Second: Stillness and the Moving Image. London: Reaction books, 2006.
Mumford, Lewis. Technics and Civilization. London: Routledge & Kegan Paul LTD, 1934, 1955.
Muñoz, José Esteban. Disidentifications: Queers of Color and the Performance of Politics. Minneapolis: The University of Minnesota Press, 1999.
Musolff, Andreas. Metaphor, Nation, and the Holocaust: The Concept of the Body Politic. New York: Routledge, 2010.
New Collectivism, ed. Neue Slowenische Kunst. Translated by Marjan Golobič. Hong Kong: Paramount Printing, 1991.
Newman, Michael, and Jon Bird, eds. Rewriting Conceptual Art. London: Reaction Books, 1999. O’Doherty, Brian. Inside the White Cube: The Ideology of the Gallery Space. Berkley:
University of California Press, 1986.
O’Rourke, Karen. Walking and Mapping: Artists as Cartographers. Cambridge: MIT Press, 2013.
Obrist, Hans Ulrich. Do It: The Compendium. New York: Independent Curators International/D.A.P., 2013.
Partsch-Bergsohn, Isa. Modern Dance in Germany and the Untied States: Crosscurrents and Influences. Chur: Harwood Academic Publishers, 1994.
Passerini, Luisa, ed. Memory and Totalitarianism. Oxford: Oxford University Press, 1992. Pavković, Aleksandar. The Fragmentation of Yugoslavia: Nationalism and War in the Balkans,
Second Edition. New York: St. Martin’s Press, 2000.
Pegrum, Mark A. Challenging Modernity: Dada Between Modern and Postmodern. Oxford: Berghahn Books, 2000.
Peiffer, Lorenz. Sport im Nationalsozialismus: Zum aktuellen Stand der sporthistorischen Forschung. Göttingen: Verlag Die Werkstaat, 2004, 2015.
Pejić, Bojana, and David Elliot. After the Wall: Art and Culture in Post-Communist Europe. Stockholm: Moderna Museet, 1999.
Penz, Otto. “Sport and Speed.” International Review for the Sociology of Sport. Volume 25, Number 2 (June 1990).
Peoples, Crocker. “A Psychological Analysis of the ‘Runner’s High’ (Human Performance).” Physical Educator. Volume 40, Number 1 (March 1, 1983).
Perica, Vjekoslav. Balkan Idols: Religion and Nationalism in Yugoslav States. Oxford: Oxford University Press, 2002.
Petrov, Ana. “Telesni projekti i regulacija normativnog tela: uloga fizičke kulture u Jugoslaviji.” Institut za etnologiju i folkloristiku. Issue 51, Number 2 (2014).
Pfister, Gertrud, ed. Gymnastics, A Transatlantic Movement: From Europe to America. New York: Routledge, 2011.
Phelan, Peggy. Unmarked: The Politics of Performance. New York: Routledge, 1993. Phillips, Christopher, ed. Photography in the Modern Era: European Documents and Critical
Writings, 1913 - 1940. New York: The Metropolitan Museum of Art/Aperature, 1990. Phillips, Murray G. Deconstructing Sport History: A Postmodern Analysis. Albany: State
University of New York Press, 2006.
Pissaro, Joachim, et al. Martin Creed: What’s the Point of It? London: Hayward Publishing, 2014.
Piotrowski, Piotr. In the Shadow of Yalta: Art and the Avant-Garde in Eastern Europe, 1945 - 1989. London: Reaktion, 2009.
Preston-Dunlop, Valerie. Rudolf Laban: An Extraordinary Life. London, Dance Books, 1998. Preziosi, Donald. Art Religion Amnesia: The Enchantments of Credulity. New York: Routledge,
Pursell, Caroll. White Heat: People and Technology. Berkley: University of California Press, 1994.
Quercetani, R. L. A World History of Track and Field Athletics 1864-1964. London: Oxford University Press, 1964.
Rabinbach, Anson. The Human Motor: Energy, Fatigue, and the Origins of Modernity. New York: Basic Books, 1990.
Rabinow, Paul, ed. The Foucault Reader. New York: Random House, 1984.
Radstone, Susannah, and Bill Schwarz, Memory: Histories, Theories, Debates. New York: Fordham University Press, 2010.
Rancière, Jacques. Aesthetics and its Discontents. Malden: Polity Press, 2004.
Rancière, Jacques. The Emancipated Spectator. Translated by Gregory Elliot. London: Verso,
Rancière, Jacques. The Politics of Aesthetics: The Distribution of the Sensible. London: Continuum, 2006.
Rees, A.L., and Duncan White, Steven Ball, David Curtis, eds. Expanded Cinema: Art, Performance, Film. London: Tate Publishing, 2011.
Rempel, Gerhard. Hitler’s Children: The Hitler Youth and the SS. Chapel Hill: University of North Carolina Press, 1989.
Richards, Mary. Marina Abramović. New York: Routledge, 2010.
Ricoeur, Paul. Oneself as Another. Translated by Kathleen Blamey. Chicago: University of
Chicago Press, 1992.
Rosa, Hartmut. Beschleunigung und Entfremdung: Entwurf einer Kritischen Theorie
spätmoderner Zeitlichkeit. Berlin: Suhrkamp, 2013.
Rosa, Hartmut, and William E. Scheuerman. High-Speed: Social Acceleration, Power, and
Modernity. University Park, PA: The Pennsylvania State University, 2009.
Rosati, Lauren, and Mary Anne Staniszewski, eds. Alternative Histories: New York Art Spaces,
1960-2010. Cambridge: MIT Press, 2012.
Rosenstone, Robert A., “History in Images/History in Words: Reflections on the Possibility of Really Putting History onto Film.” The American Historical Review. Volume 93. Number 5 (December 1988).
Rossol, Nadine. Performing the Nation in Interwar Germany: Sport, Spectacle, and Political Symbolism, 1926 - 1936. New York: Palgrave Macmillan, 2010.
Roxby-Maude, Alice, On Camera: Performance and Photography. Southampton: John Hansard Gallery, 2007.
Ruyter, Nancy Lee Chalfa. The Cultivation of Body and Mind in Nineteenth-Century American Delsartism. Westport, CT: Greenwood Press, 1999.
Salazar, James B. Bodies of Reform The Rhetoric of Character in Gilded Age America. New York: New York University Press, 2010.
Schechner, Richard. Essays on Performance Theory 1970 - 1976. New York: Drama Book Specialists, 1973, 1977.
Scheerder, Jeroen, and Koen Breedveld, eds. Running Across Europe: The Rise and Size of One of the Largest Sport Markets. New York: Palgrave Macmillan, 2015.
Seckinelgin, H., and Billy Wong, eds. Global Civil Society 2011: Globally and the Absence of Justice. Hampshire: Palgrave Macmillan, 2011.
Sekula, Allan. “The Body and the Archive.” October. Volume 39 (Winter, 1986). Semon, Richard. Die mnemischen Empmfindungen in ihren Beziehungen zu den
Originalempfindungen. Leipzig: W. Engelmann, 1909.
Shawn, Ted. Every Little Movement: A Book About François Delsarte. Pittsfield, MA: The Eagle
Printing and Binding Company, 1954.
Shayt, David H. “Stairway to Redemption: America’s Encounter with the British Prison
Treadmill.” Technology and Culture, Volume 30, Number 4 (Oct. 1989).
Sheridan, Heather, and Leslie Howe, and Keith Thompson, eds. Sporting Reflections: Some
Philosophical Perspectives. Aachen: Meyer & Meyer Verlag, 2007.
Siegmund, Gerald, and Stefan Hölscher, eds. Dance, Politics, and Co-Immunity: Thinking Resistances, Current Perspectives on Politics and Communities in the Arts. Volume 1. Zürich- Berlin: Diaphanes, 2013.
Sileo, Diego, and Eugenio Viola, PAC (Milano), eds. Marina Abramović: The Abramović Method. 2 Volumes. Milan: 24 ORE Cultura, 2012.
Silverman, Kaja. The Subject of Semiotics. New York: Oxford University Press, 1983.
Slevin, Tom. Vision of the Human: Art, World War One and the Modernist Subject. London: I.B.
Tauris, 2015.
Solnit, Rebecca. River of Shadows: Eadweard Muybridge and the Technological Wild West. New York: Viking, 2003.
Solnit, Rebecca. Wanderlust: A History of Walking. London: Verso, 2001.
Sontag, Susan. Against Interpretation and Other Essays. New York: Picador, 1966, 2001. Sontag, Susan. “Fascinating Fascism.” The New York Review of Books (6 February 1975). Sontag, Susan. On Photography. New York: Picador, 1977.
Spieker, Sven. The Big Archive: Art from Bureaucracy. Cambridge: MIT Press, 2008. Stepišnik, Drago. Oris Zgodovine Telesne Kulture na Slovenskem. Ljubljana: Dražavna založba
Slovenija, 1968.
Stipančić, Branka. “‘Zame je resničnost umetnost,’ Intervju s Tomislavom Gotovcem.” Vijenac, Number 123/VI (8 Oct. 1998).
Stoddart, Tom. Sarajevo. Washington, D.C.: Smithsonian Institution Press, 1998.
Stošić, Mirjana. “Body-name — The Brotherhood Chronotype and Social Choreography.”
Култура/Culture (2015).
Suljagić, Emir. Postcards from the Grave. Translated by Lejla Haverić. London: The Bosnian
Institute, 2005.
Sus