View allAll Photos Tagged Practical
Blythe Physical Challenge - BPC #128 - April Foolishness 3
Cerise: Oh look, a Pied Wagtail!
Edna: Tee hee hee!!!
20th biennial Finnish-American Festival, Naselle, Washington.
July 2022
Below are entries chock-full of information having to do with each of the plates shown above.
+++++++++++++++++++++++++++++++++++++++++++++++++++++++
Left: "Compliments of FORSMAN & COMPANY, Naselle"
This would be a useful plate to have around now, 102 years after it was made, because I've never had a good grip on the year the Great War (WWI) ended. The plate would reinforce the year the war began and ended. Or would it?
The prominence of the date 1920 might confuse matters further. However, with the war having ended in November, 1919, it makes sense that 1920 was when commemorative objects such as plates were produced.
While the passage of years appears to have erased all traces of Deep River's Forsman & Company, history has not forgotten the community of Deep River, not even a little bit!
=======================================================
Many Finnish immigrants settled in Deep River and the surrounding areas of Washington. There were striking similarities between life in Finland and life in this area, including an economic life that depended largely on timber and salmon, both of which were plentiful in the Deep River area. The Pacific Northwest was an ideal destination for Finnish immigrants. There was free land that was covered with timber for them to claim.
Seasonal work opportunities were available all year. There was salmon fishing in the spring and summer. Work was available at logging camps the rest of the year.
The daughter of a Finnish immigrant described the early settlement of Deep River:
When asked how the area was settled, an elderly, buxom woman replied, "First the Finns came to fish. Then when Olsons opened the logging camp, they went to Sweden and brought back men to work in the woods. The Swedes married the Finn girls. Later a few Irishmen and Poles drifted in." (Appelo, 1986, p. 110)
This woman also related that her protective Finnish father had built the family’s house in the center of their property to prevent his daughters from seeing and associating with the railroad workers. In spite of his precautions, she waved at one of the railroad brakemen, a handsome Swede. She noted that this Swedish railroad worker later became her husband.
Carlton Appelo (1978, p. 12) listed the names of some of the early Finnish settlers in the Deep River area who arrived before Washington became a state in 1889: Erik Hanson; Henrik Denson (Deep River Cemetery land donor); Isak Herajarvi; Johan Pakanen; Antti Jakob Kantola (Kandoll); Henrik Harrison (Pirila); Mikael Homstrom; Lars Loukkanen (father of August and Chas. Larson); Johan Lueeni; Johan S. Nelson (Ahola); Antti Pirila (father of Albert and Gust Pirila); Johan Erik Rull; Johan Vilmi; Erik Johnson; Karl Forsman; Erik Melin; Antti Rippa (Andrew Rinell); Simon Keko (father of Ed Simmons); Johan Parpala; Johan Salmi (Santalahti); Johan Lamppa (Johnson); Matt, Fredricka, Matti, Joseph, Rosa, and Kalle (Charles) Riippa; Matt Hakala; Matti Harpet (Haapakangas); John Haapakangas; Antti Penttila; Gust Gustafson; Peter Maata; John Ehrlund Rantala; Erik Maunula; Andrew and August Eskola; Antti Johnson (Salmi); John Laakso; Matt Puskala; Abraham Wirkkala; Matt Mathison; and John Warra (Autiovarra).
The prevalence of Finnish immigrants in the Deep River area is evidenced by the many Finnish names that are listed in a cemetery transcription that was recorded for the Deep River Cemetery, and listed on a website that is maintained by the Genealogical Society of Finland. Many Scandinavian names are also found at a Wahkiakum County cemetery transcription site maintained by the "RootsWeb" genealogy organization that lists the names of persons buried in several cemeteries in the county.
The Early Deep River Community
The two major early industries of the Washington territory, particularly in Deep River, were the timber and salmon-fishing industries.
The Timber Industry.
An article in a special section of the Ilwaco, Washington Tribune in 1970 celebrated 100 years of logging at Deep River. The author, Larry Maxim, described the life of the men who worked in the timber industry and felled the gigantic trees as men who were "giants with muscles of laced steel cable and the stamina of an Olympic athlete." The men worked hard for extended periods of time and lived at the logging camps, which usually consisted of a bull barn, a cook shack, and a bunkhouse.
The bunkhouse was crude, just enough to keep out the rain. The bunks were just as crude, a few rough boards spread with straw. The logger had to do his own laundry. His laundry machine–each logger had one–was a five-gallon kerosene can in which he boiled his socks and underwear and sometimes took a sponge bath. (Maxim, 1970)
II. THE LASTING LEGACY OF THE DEEP RIVER FINNS
by Sandra Johnson Witt *
References
I. C. Arthur Appelö and Carlton Appelo: The contributions of two Swedish-Finns to Deep River, Washington and America
An important center of activity at the logging camps was the recreation hall, which the logging companies provided for their workers. The loggers and their families often gathered for dances that lasted until the early morning hours. Children came along too, and slept on mattresses that their parents brought.
Jessie Hindman, an Astorian Budget columnist, wrote an article about the history of the Deep River Timber Company in 1956.
This company owned 4,000 acres of land located above Deep River, one of the shortest and deepest rivers in the world. The logging area contained some of the best timber in the country, including top-grade fir, spruce, hemlock, and cedar.
She described how the local people and logging workers, mostly Finns and Swedes who had begun their lives here as fishermen, became the pioneers of the logging industry in this area. These early families lived together in close association with each other.
The early families along Deep River lived together in such a closely knit life that it was almost as if they had been hurled back into some clannish age. Travel was done entirely by boat as there were no roads except private ones. Towns just 50 miles away were spoken of as "The Outside." Yet, when talking to the older inhabitants of the valley, one is immediately impressed with the full realization that theirs was a happy, satisfying life. (Appelo, 1986, p. 103)
Early home life among the settlers in Deep River was simple. Kerosene lamps provided light and wood stoves provided heat. Most of the houses were made from rough unpainted boards. The women made the clothes and quilts for their families, which they washed by hand. They also planted the gardens and flower beds in addition to planning the recreational activities for their families, which included dances, picnics, boat rides, water carnivals, and playing cards. Playing cards was especially popular during the winter months when steady rainfall forced the families to stay inside. At times, the men would animate their poker games with the hard liquor or beer that they had purchased in Astoria.
Salmon Fishing.
The other major early industry in Deep River was fishing. Astoria had become a major salmon-fishing area by 1870. Because of its location on the Columbia River near the Pacific Ocean, riverboats provided access to the transcontinental railroad. Astoria’s facilities had access to the Pacific Ocean on the west.
Their experiences in Finland made many of the Finnish immigrants ideally suited for successful careers in the salmon-fishing industry.
The Columbia River Fishermen’s Protective Union was incorporated in 1884 and is one of the oldest conservation unions on the West Coast.
In 2003, an article in the Columbia River Gillnetter, the union’s official publication, outlined its early history. "The Story of Two Hundred Fishermen" describes how a group of fishermen successfully established the Union Fishermen’s Cooperative Packing Company in 1896 during troubled economic times, when the salmon industry’s future was uncertain because of some unethical practices that had taken place for 30 years.
The founders, many of whom were from Finland, risked their savings and worked hard to establish this company. They were convinced that their efforts to offer the consumers superior canned salmon would succeed. The cooperative was incorporated by Sofus Jensen, Anton Christ, Ole B. Olsen, J. W. Angberg, and Matt Raistakka:
With their savings for capital, our founders entered into the highly competitive and well-financed salmon packing industry of the Columbia…
Building of the net racks, except for pile driving, was done without charge by stockholders. They received $1.50 a day working on the cannery. They were eager and capable craftsmen. Many had been brought up in Scandinavia and Finland where they had learned trades under masters.
All were imbued with the cooperative movement then taking root in Western Europe. They had acquired a practical understanding of what it means to run a cooperative business successfully. (p. 19)
Community Life, Schools, and Churches.
Many of the immigrants’ children did not learn English until they attended school. The early rural schools in the area were small. The elementary schools were usually one-room buildings that served as many as 80 pupils. It was common for one female teacher to be responsible for teaching the children in all eight grades. Teachers were generally brought into the area from the "Outside," but often married the local farmers, loggers, or fisherman and stayed in Deep River to raise their families.
Church activities were an integral part of community life. The Finnish settlers of Deep River, Naselle, and Salmon Creek organized into a congregation in 1894 as the Finnish Holy Trinity Evangelical Lutheran Church. They shared a pastor with the Astoria Finnish Church. The Deep River Holy Trinity Evangelical Lutheran Church was built in 1898 near the Deep River Cemetery. The church was the first organized Evangelical Lutheran Church in the area and has been officially proclaimed a National Historical Site.
Women were deeply involved in community life. In 1906, the female members of Naselle Church formed the Nasellin Ompelu Seura (Naselle Sewing Circle), which functioned for 71 years to support missions and hospitals, with an emphasis on salvation and benevolence.
Athletic Activities and Music.
Finnish immigrants knew how to work hard, but they also knew how to play hard. They actively participated in all aspects of Deep River community life, including athletic activities. Baseball was especially popular. Most of the members of the official Deep River team, the "Coyotes," were Finnish loggers and fishermen. The team had a very successful pitcher, Arvo Davis, and catcher, Arthur Anderson.
Athletic activities, including footraces and baseball, were often held on the boardwalk road from the Deep River landing to Pentti’s Pool Hall. When the weather was good, Fred Pentti was often observed sitting on a bench in front of the pool hall to view the athletic events.
The Swedes used to sit on the railing on one side and the Finns on the other–hurling insults at one another. When things got too rough, Pentti would wind up his phonograph and play some nice accordion music. Even the kids were allowed to come down and listen to the music. (Appelo, 1997, p.1)
The Finns have always enjoyed music. Many of the Finnish settlers were accomplished musicians. Axel Larson, a well-known fiddler from the Olson’s Logging Camp, played for hundreds of dances with his wife Matilda, who played the piano, and his brother Ernest on the accordion. Charles Hertzen, a talented violinist, and Fred George, who played the guitar, later joined their band. Axel liked to relate their experience of leaving the logging camp by pump cars (also known as hand speeders, operated on railroad tracks) with their musical instruments, and pumping their way four miles to Deep River:
They transferred to row boats and rowed two miles to Svenson’s Landing, then walked nearly six miles by road (carrying their dress shoes in the pocket of their coats) wearing boots. Arriving at Meserve’s store they climbed the stairs to the large hall on the second floor to play for a local crowd plus the ten dancers they brought with them. This lasted until 3 a.m. and they retraced their route only to find that the railroad rails had become frosted. The hand speeders had to be pushed rather than pumped over the slippery areas. They arrived back at Olson’s camp in time to hear the breakfast bell at the cook house. Some of the men had to go to work for a full day in falling timber. (Appelo, 1978, p. 41)
Axel Larson, long-time employee of Deep River Logging Company, playing his fiddle as he did for countless local dances in southwest Washington.
World War I.
Twenty five years after the Washington territory became a state, the young Finnish immigrant men were asked to defend their new country in World War I. Carlton Appelo (1978) cites an article from the June 1917 edition of the Deep River newspaper:
A party of well known young men residing in Deep River were en route to Cathlamet to take physical exams for the selective service under which they were recently called to colors.
363 Arthur C. Appelo
368 Henry J. Johnson
373 Henry W. Lassila
379 Jacob W. Matta
383 Charles L. Eskola
388 Charles Koski
390 Arvo Davis
All seven are fine specimens of physical manhood and will no doubt pass the required examinations enabling them to enter the military service with the national army which is to be mobilized in the near future. (p. 78)
Accomplishments of Early Finnish Immigrants.
Many of the children of the Finnish immigrants were able to move into professional careers through hard work and steadfast personal dedication to education. At times they pursued adult education programs at night while they worked during the day to make a living for themselves and their families.
In a brief history of Finnish settlements along the Columbia River that Carlton Appelo prepared for the 1999 FinnFest USA, he listed the accomplishments of several Finnish immigrants to the Deep River area, B. S. Sjoborg, Erikki Maunula, and Oscar Wirkkala. B. S. Sjoborg (1841-1923) immigrated from Kristinestad. He was the cannery foreman at Astoria in 1875. After changing his name to Seaborg, he founded the Aberdeen Packing Company at Ilwaco and Aberdeen. He was Washington’s first senator when it became a state in 1889.
Erikki Maunula–who invented numerous devices that were used in the salmon-canning industry–donated land for the Deep River Holy Trinity Evangelical Lutheran Church. The church has been designated a National Historical Site.
Oscar Wirkkala (1881-1959) was an extremely successful inventor of items used in the logging industry. He held more than 20 patents, including the Wirkkala choker hook, the Wirkkala propeller, and the widely-used skyline logging system.
In addition to the considerable professional accomplishments of many of the Finnish immigrants, certain aspects of the Finnish culture that the immigrants brought with them contributed to the culture of Deep River and the surrounding area. In addition to the immigrants’ willingness to work hard to improve the future lives of their families, there was a pervasive sense of community and mutual respect among the Finnish immigrants. This sense of community could be observed in all types of activities, including those related to the area schools, churches, athletics, and social events.
Many immigrant Finns became prominent entrepreneurs in business in industry as well as professional fields, but it was the rural Finnish immigrant who created a sense of community. Neighbors came to the rescue when misfortune hit, and food was shared at school gatherings or social events.
Attendance at Cottage Church Services was done without worrying about denominational sponsors. It is that same familial spirit uniting entire communities that survives today. We care about each other. (Appelo, 1999, p. 1)
The Finnish immigrants supported each other through difficult times. In 1918, when Fred Pentti–an immigrant from Kannus, Finland–was severely injured while working as a brakeman on the logging train, Deep River residents and businesses readily assisted him. The logging camp workers donated $5 each to him, the Deep River Land and Wharf Company donated a piece of land to him, the Olson brothers gave him lumber from their mill, and the community joined together to build a pool hall for Fred.
His business became the focal point for all types of sport including his favorite, baseball. It was the social club for many young men of the area…It was commonly called "Pentti’s College" (pronounced collitch). No one would say that moonshine didn’t change hands out front during those days of prohibition. When 3.2 beer became legal, it was Pentti’s tavern. (Appelo, 1978, p. 41)
In order to successfully farm the land, much of which was wetland, the settlers had to install dikes and extensive drainage systems. Because of the primitive roads that were generally limited to use in the summer, almost all travel was by water.
The riverboat "General Washington" made daily round trips to nearby Astoria–the source of supplies, mail, and medical services to Deep River–and provided the residents with transportation to and contact with the outside world.
This riverboat was built in 1909 by the North Shore Transportation Company. It served Deep River, Knappton, and Frankfort until the early 1930s, when the newly built area highway became more competitive for passenger and freight travel.
The General Washington steamship approaching Deep River Landing, circa 1915
II. THE LASTING LEGACY OF THE DEEP RIVER FINNS
by Sandra Johnson Witt *
The labor of immigrants was essential in order to build the infrastructure of North America. The immigrants cut timber and cleared land to build their homes and farms. Because there were no roads (only rivers) in the early Deep River area, travel was usually by foot or boat. The immigrants (and their horses) worked hard to build the roads in their new country.
Immigrant road builders
Ironically, the advent of the better roads that the Deep River citizens had worked so hard to construct resulted in a decline in the town. Construction of the bridge one mile downstream from the Deep River landing diverted traffic away from the main part of town. The railroad that had provided economic resources and brought people to the town was doomed by the use of trucks to transport lumber.
Although the improved roads relieved the isolation of the area, they brought an end to the riverboat era. Trucks replaced the boats as the main means of transporting various types of cargo to and from the community. The Deep River Timber Company ceased operating in 1956.
The elementary school was consolidated with other schools.
The movie house and Pentti’s Tavern closed. The Shamrock Hotel had depended on the loggers as boarders, and was forced to close.
Only local residences, the post office, and Appelo’s General Merchandise and Insurance Agency remained in Deep River.
sydaby.eget.net/emig/deep_river.htm
RIGHT: CHARLES A. NIEMI (ca. 1884-1961)
1930 Federal Census
Birth Year: abt 1894
Gender: Male
Race: White
Age in 1930: 36
Birthplace: Washington
Marital Status: Married
Relation to Head of House: Head
Home in 1930: Naselle, Pacific, Washington, USA
Home Owned or Rented: Owned
Home Value: 3000
Radio Set: Yes
Lives on Farm: No
Age at First Marriage: 26
Attended School: No
Able to Read and Write: Yes
Father's Birthplace: Finland
Mother's Birthplace: Finland
Able to Speak English: Yes
Occupation: Retail Merchant
Industry: General Merchandise
Class of Worker: Employer
Veteran: Yes
War: WW
Household Members Age Relationship
Charles A Niemi 36 Head
Esther E Niemi 35 Wife
C Albert Niemi 9 Son
Henry W Niemi 7 Son
Hilda M Nasi 27 Servant
31 August 1917: Charles A. Neimi was accepted by the local draft board, presumably in connection with military service in WWI.
The Spokesman-Review, Spokane, p. 6.
26 April 1928: Niemi sues the state road contractor for $5,031.44 for materials and merchandise furnished in connection with the contractor's work in Wahkiakum and Pacific Counties in Washington.
The Olympian, Olympia, Washington, p. 14.
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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.
Susovski, Marijan, ed. The New Art Practice in Yugoslavia, 1966 - 1978. Zagreb: Gallery of Contemporary Art, 1978.
Sutil, Nicolás Salazar. Motion and Representation: The Language of Human Movement. Cambridge: MIT Press, 2015.
Swenson, Kirsten. Irrational Judgements: Eva Hesse, Sol Lewitt, and 1960s New York. New Haven: Yale University Press, 2015.
Szeemann, Harold. Zum freien Tanz, zu reiner Kunst. Rolandseck: Stiftung Hans Arp und Sophie Taeuber-Arp, 1991.
Tagg, John. The Burden of Representation: Essays on Photographies and Histories. Minneapolis: University of Minnesota Press, 1988.
Tilmans, Karin, and Frank van Vree, Jay Winter, eds. Performing the Past: Memory, History, and Identity in Modern Europe. Amsterdam: Amsterdam University Press, 2010.
Tumarkin, Maria M. Traumascapes: The Power and Fate of Places Transformed by Tragedies. Victoria, Australia: Melbourne University Press, 2005.
Udall, Sharyn R. Dance and American Art: A Long Embrace. Madison: University of Wisconsin Press, 2012.
Vacche, Angela Dalle. Film, Art, New Media: Museum without Walls? New York: Palgrave Macmillan, 2012.
Vertinsky, Patricia Anne. The Eternally Wounded Woman: Women, Doctors, and Exercise in the Late Nineteenth Century. Manchester: Manchester University Press, 1989.
Virilio, Paul. The Art of the Motor. Translated Julie Rose. Minneapolis: University of Minnesota Press, 1995.
Weibel, Peter. Beyond Art: A Third Culture. Vienna: Ambra Verlag, 2005.
Wells, Liz, ed. Photography: A Critical Introduction. New York: Rutledge, 1996/2015.
Westcott, James. When Marina Abramović Dies: A Biography. Cambridge: MIT Press, 2010.
White, Hayden. “Historiography and Historiophoty.” The American Historical Review. Volume 93. Number 5 (December 1988).
White, Hayden V. Metahistory: The Historical Imagination in Nineteenth-Century Europe. Baltimore: Johns Hopkins University Press, 1973.
Wiehager, Renate, ed. Moving Pictures: Photography and Film in Contemporary Art. Ostfildern- Ruit, Germany: Hate Cantz Publishers, 2001.
Williams, Raymond. Culture and Society, 1780 - 1950. New York: Columbia University Press, 1958/1983.
Wood, Catherine. Yvonne Rainer: The Mind is a Muscle. London: Afterall, 2007. Wood, Denis. The Power of Maps. New York: Guilford Press, 2010.
Woodward, Susan L. Balkan Tragedy: Chaos and Dissolution after the Cold War. Washington, D.C.: The Brookings Institution, 1995.
Young, Kevin. Deviance and Social Control in Sport. Champaign, IL: Human Kinetics, 2008. Youngblood, Gene. Expanded Cinema. New York: E.P. Dutton and Co., 1970.
Zelizer, Barbie, ed. Visual Culture and the Holocaust. New Brunswick: Rutgers University Press, 2001.
Zidić, Igor, and Ana Dević, Antonio Gotovac Lauer a.k.a. Tomislav Gotovac. Antonio Gotovac Lauer: Čelična mreža. Zagreb: Moderna Galerija and Studio Josip Račič, 2006.
Zorn, John W., ed. The Essential Delsarte. Metuchen, NJ: The Scarecrow Press, Inc, 1968.
Žižek, Slavoj. The Indivisible Remainder: An Essay on Schelling and Related Matters. London: Verso, 1996.
----
------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
-------
In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
The horseshoe has a rich history that intertwines with the very fabric of civilization. Its origins date back to ancient times, where it emerged as a practical solution to protect horse hooves from wear and tear. The earliest known horseshoes were made from materials like leather and later evolved into the metal designs we recognize today.
On a not so cold November day in Fatehpur Sikri while climbing along the perimeter of the fort, an ebulliant tongahwallah held the horse leg up while a blacksmith or should we call him a horse shoe smith adjusted a new shoe on the horse leg.
Throughout history, the horseshoe has symbolized good luck and prosperity, often hung above doorways as a talisman against misfortune. This simple yet ingenious invention not only reflects our ingenuity in animal husbandry but also highlights the significant role horses played in transportation, agriculture, and warfare across various cultures.
Dating back to ancient times, horse shoes were not merely practical tools; they became symbols of progress and ingenuity. As horses played a crucial role in transportation, agriculture, and warfare, the development of the horse shoe significantly enhanced their utility and longevity.
I read recently of the discovery of a huge burial site presumably that of Genghis Khan and his wives/consorts around a riverbed.
During the era of Genghis Khan and his invasions, the Mongolian Empire relied heavily on their skilled cavalry, however, the horses born and raised in the steppes remained unshod and even if they were shod it was not metal but skin and hide.
_DSC3484 nef
Odda is a town and administrative center in Ullensvang municipality in Vestland county in Norway. The town is located deep in the Sørfjorden in Hardanger , and has 4,764 inhabitants as of 1 January 2023 . Odda was the administrative center of Odda municipality , which on 1 January 2020 was merged with Jondal and Ullensvang to form the new Ullensvang municipality.
In 2009 , the industrial heritage in Odda-Tyssedal was listed on Norway's tentative list for UNESCO's World Heritage List , together with the Rjukan–Notodden industrial heritage .
Public services
Odda hospital is a local hospital for the municipalities of Eidfjord, Jondal, Odda and Ullensvang.
Odda secondary school offers both vocational and study specialist educations.
Business
Odda is known as an industrial location, with companies such as Odda Smelteverk , Boliden Odda (formerly Norzink ) and Tinfos Titan & Iron (TTI).
History
Tourism and hotel management
Before industrial activity in Odda began around 1910, Odda was a popular tourist destination which, among other things, attracted many foreigners who wanted to experience the scenic area with glaciers, fjords and waterfalls. This laid the foundation for several people to start hotel operations on the site.
Some of the most popular destinations for tourists visiting Odda were Låtefossen and Espelandsfossen .
Shuttle station, steamship wharf and steamship expedition
Baard Jakobsen Aga (1812–1895) received a merchant license in Odda in 1861, and in 1864 took over the shuttle station that was in operation in Odda. Then he secured a new plot of land where he built a hotel which was called alternately Prestegårds Hotel and Agas Hotel. In 1868 he became a post opener and steamship dispatcher, and he then had a steamship wharf and dispatch house built at Almerket. He had previously expanded the hotel business, but in 1888 he inaugurated a new hotel building, the "new Agas Hotel". In the 20th century, the large hotel building was used for other purposes, including Rita's bakery, which led to the building being called "Ritagården" colloquially. Agas Hotel/Ritagården was demolished in 1978.
From guest house to Hotel Hardanger
The start of hotel operations at Odda occurred around 1845, when a man named Monsen started an inn on the site. Monsen went bankrupt in the 1860s, and the inn was bought by a man named Wetshus. He continued to run the hotel business. After Wetshus had died, the two brothers Sven and Mikal Tollefsen became his successors in the early 1880s, with financial support from a rich Englishman. The Tollefsen brothers carried out a major renovation of the former guest house. When Sven Tollefsen died, Mikal Tollefsen became the hotel's sole owner.
Tollefsen also bought Agas Hotel, which Baard Jakobsen Aga had started.
On 9 August 1895, the then Hotel Hardanger was completely damaged in a fire. The fire started in Hotel Hardanger, but 7–8 neighboring buildings also caught fire. It was said that the fire was caused by the maid of an English hotel guest having left a candle or a kerosene lamp by an open window, and that the curtain had caught fire - as it was very hot most of the windows in the hotel were open, and this caused the fire to spread with great speed. The fire started at 12 o'clock in the morning.
The commander and crew of the steamship "Vega" - which happened to be docked in Odda when the fire started - managed to put out the fire(s) within three hours using fire-fighting equipment from the ship. Among other things, they managed to save the post office, while the telegraph building was lost. The competing Jordals Hotel, which was run by Jacob Jordal, was also saved.
Hotel Hardanger was insured, and Bergens Tidende wrote that the insurance sum was NOK 90,000, but also published an anonymous source's assessment that the hotel complex was worth NOK 200,000–250,000, and that the owner - Mikal Tollefsen - had probably suffered a significant financial loss due to underinsurance. No people were injured in the fire.
Shortly after the fire in 1895, Tollefsen started building a new and larger hotel on the site of the fire. The new hotel was completed on 24 June 1896, and had 170 hotel beds in 110 guest rooms. Architecturally, it was a mixture of Swiss style and dragon style, with towers and projections.
Hardanger Hotel is mentioned, among other things, in a French travelogue published in 1897.
In 1913, the owner of Hotel Hardanger filed a claim for damages against the two factories - a cyanamide factory and a carbide factory - which had started up in Odda a few years earlier, because the factory operation caused such great pollution and bad odors that it affected the hotel operation. The provisions of the Neighborhood Act were the legal basis for the lawsuit. The court agreed with the plaintiff that the two factories were obliged to pay compensation for inconvenience and losses that the hotel had suffered after 2 August 1911, but not because Odda had become less idyllic and thus attractive to tourists. The compensation sum was to be determined after an appraisal had been carried out , and the result of the appraisal was not available until 1922. By then both factories had gone bankrupt, and hotel owner Mikal Tollefsen had died.
Hotel Hardanger becomes a town hall
In 1917, the municipality bought the Hotel Hardanger, to convert the building into a town hall . The hotel had then been almost empty all year round, because the industrial activity on the site had meant that the tourists did not show up. [9]
The hotel's so-called "Kongerom" was converted into a chairman's office and lord's boardroom. Eventually, the new town hall also accommodated a number of other businesses, such as a cinema, police station, doctor's office and bank. The old hotel was in use as Odda Town Hall until a new building was inaugurated in 1957; from then on, the former Hotel Hardanger was referred to as Odda old town hall . This building was demolished in 1976.
Jordals Hotel becomes Hardanger Hotel
In 1917, Jordals Hotel was bought by the Melkeraaen family, who continued to run the hotel for 68 years. Along the way, they changed the name of the hotel to Hardanger Hotel.
The Hardanger Hotel, which was a wooden Swiss-style building, was demolished in 1962, and a new five-story hotel building was inaugurated on 1 July 1963.
From tourism to industrial site
Factories and smelters
At the beginning of the 20th century, two factories were started in Odda. On one, cyanamide was produced, and on the other, carbide was produced .
In 1908, the operation of the first factory that was to be part of Odda Smelteverk , a carbide factory owned by a British company, began. In 1909, another British company started production of calcium cyanamide in the same area as the first factory. The reason why Odda was interesting for the foreign companies was the access to large amounts of hydropower and ice-free ports.
Both factories went bankrupt in 1921 , in connection with the worldwide economic crisis that occurred in the early 1920s. The bankruptcies led to thousands of people becoming unemployed. Both factories started up again in 1924, with Odda Smelteverk A/S as the new owner. This operating company was established by the power company Tyssefaldene and the Hafslund/Meraker group.
The cyanamide factory was built on in the 1930s.
At the smelter, the so-called Odda process was developed by chief chemist Erling Johnson in 1927–1928; it is a chemical process based on nitric acid for the industrial production of three-sided artificial fertilizer with the sub-components nitrogen , phosphorus and potassium .
Preservation decision and dispute over conservation value
In 2011 , the National Archives decided to protect several of the smelter's buildings and facilities, and to include the smelter in the Norwegian application to UNESCO for world heritage status for Norwegian industrial monuments. In 2013, however, the Ministry of the Environment decided that the series nomination should be split into two phases, 1. application for Rjukan/Notodden to be submitted to UNESCO in January 2014, and phase 2, that work be continued on expanding the nomination to include Odda/ Tyssedal with eventual submission to UNESCO in January 2016.
The owners of the smelter site objected to the conservation decision made in 2011, but the decision was upheld in 2012. The conservation included the cyanamide factory, the cable car, the Linde house (named after the German inventor Carl von Linde ) and the limestone silo on the import quay. Over the years, there has been much controversy in Odda about whether the smelter's buildings and facilities should be preserved or removed.
Cultural life
Music and theater
Tyssedalkoret and Odda Songlag are two choirs that come from Odda municipality. The water power and industrial history of the area here was documented in the performance and the DVD ``Arven'', performed by Tyssedalkoret with band and soloists in autumn 2004 and released on DVD in Christmas 2005. In addition these two choirs have the bands Odda Musikklag , Odda Skolekorps and Røldal Skolemusiklag. The blues team Lokst Utøve has 272 members. The Blueslaget received the culture award for 2009 for their great work as concert/festival organisers, volunteer workers and inspirers for bands and soloists. In 2011, Erlend Garatun Huus published the book Rock og Røyk , which is about the history of rock in Odda.
At the closed smelter (2001), the old "Lindehuset" has been used for theater and concert activities. The theater play Bikebubesong , based on the Oddingen Frode Grytten's novel Bikubesong , was performed in this venue in 2003 with great success. The play's performance in Oslo has been the most watched contemporary drama in Norwegian history.
A key cultural player in Odda is the company Oddakonsertene, led by Gunn Gravdal Elton. In April 2019, the Odda concerts staged the musical Albert og Leonie , a story about how Odda arose as an industrial community. The musical was a huge success with sold-out houses. 2,600 people queued to see and hear the story. The director was Martine Bakken Lundberg. The main roles were played by André Søfteland and Lene Kokai Flage. Over 60 amateurs were on stage. Albert and Leonie was planned to be staged again in 2020 and 2021, but had to be canceled due to the corona pandemic .
The odd concerts started in 2005 and as of 2019 have staged more than 60 concerts. All have been sold out. The most popular concerts are the annual Christmas concerts, which gather over 1,000 listeners. The traditional Christmas concert in Odda church with a large ensemble and two to three concerts in a row officially ended in 2019, but a simplified version was arranged in 2020, with concerts in Skare and Odda churches.
The Literature Symposium
From 2005, a festival called the Literature Symposium in Odda has been organized every autumn . The Linden house at the defunct Smelteverket, Odda cinema, Sentralbadet, Odda church are some of the venues at the symposium. Previously, there was every year "Bikubegang" with Frode Grytten , where he told about the story behind the book "Bikubesong", while he wandered around Odda. The literary symposium also has concerts, often in connection with an author/musician or individual artists. During the Literary Symposium 2011, the Sentralbadet Litteraturhus opened in the old bathroom at the closed Smelteverket, and this has become headquarters for the symposium, as well as a permanent house for literary events all year round.
As of 2010, a major rehabilitation/remodeling of Lindehuset was planned, so that the building would be better suited for events such as concerts and theater performances.
The National Antiquities' "Value creation project"
Odda is one of the pilot projects in the Value Creation Project for the National Archives.
TV shows
The actions in the TV series RIP Henry and Ragnarok have been added to Odda, and are recorded there. In Ragnarok, on the other hand, the city goes by the name Edda .
Known oddities
Samson Isberg (1795–1873), sharpshooter
Knud Knudsen (photographer) (1832–1915)
Gro Holm , born Prestgarden (1878–1949), writer
Alfred Hagn (1882–1958), painter, writer and spy.
Claes Gill (1910–1973), writer, actor and theater manager
Torbjørn Mork (1928–1992), doctor, politician ( Ap ), director of health 1972–1992
Walther Aas (1928–1990), artist
Roger Albertsen , (1957–2003), footballer
Anne B. Ragde (born 1957), writer, (raised in Trondheim)
Arne Borgstrøm (born 1959), elite long-distance swimmer
Frode Grytten (born 1960), author
Lars Ove Seljestad (born 1961), author
Bjørn Ingvaldsen (born 1962), author, leader of Norwegian Children's and Young People's Book Writers
Hallgeir Opedal (born 1965), writer and journalist
Børge Brende (born 1965), politician ( H ), former secretary general of the Norwegian Red Cross , minister of foreign affairs
Ida Melbo Øystese (born 1968), chief of police in Oslo from 2023.
Knut Olav Åmås (born 1968), author, editor, director of the foundation Fritt Ord
Leif Einar Lothe (born 1969), entrepreneur, singer, TV profile
Marit Eikemo (born 1971), writer
Tore Aurstad (born 1972), author
Ingvill Måkestad Bovim (born 1981), athlete
Håkon Opdal (born 1982), footballer
Ingvild Skare Thygesen (born 1993), TV profile
The Sognefjord is Norway's longest and deepest fjord with its 205 km and 1303 m at its deepest (SNL states 1308), including Sognesjøen which is at the far end towards the North Sea. The Sognefjord has the deepest point on Norway's coast. The fjord is 176–180 km from the innermost Lusterfjorden ( Skjolden ) to Sognefest , and 206 km to the outermost reef (then Lake Sognesjøen is also included). The width varies from around 1 to 2 km in Lusterfjorden to 4–5 km from Leikanger and beyond. Measured from the threshold to Skjolden, the fjord is 174 km. The middle part of the fjord is surrounded by mountains of around 1000 meters and in the inner part the height difference between the bottom of the fjord and the mountain tops is 3500 metres. The highest peak right by the fjord is Bleia at 1,721 metres, which gives a 2,850 meter height difference. Around the inner part of the fjord, the landscape is alpine with pointed mountain peaks, steep mountain sides and glaciers. As an extension of the fjord arms, long and deep valleys extend in all directions, including Jostedalen , Lærdalen and Årdal with Utladalen . The Sognefjord is the world's longest open (ice-free) fjord. The Sognefjord is the world's third longest fjord.
It is located in the middle of Vestland county (formerly Sogn og Fjordane county to which it helped give its name) and stretches from Solund on the coast in the west to Skjolden at the foot of Jotunheimen in the east (northeast), where the fjord arm is called Lustrafjorden . The fjord and the land around it make up the Sogn region, often divided into Outer, Midtre and Indre Sogn. The length from Rutletangen to Skjolden is 186 km . Sogn makes up almost 60% of the area in Sogn and Fjordane, or around 11,000 km 2 . The twelve municipalities in Sogn have a total area of 10,671.55 km² and 37,063 inhabitants (1 January 2014). The land around the inner part of the fjord is called Indre Sogn and includes the long fjord arms. From Leikanger onwards, the country is called Ytre Sogn . The outer part of the fjord has few and small fjord arms. The fjord arms are like hanging valleys under water in that the bottom in the side fjords is often much shallower than the main fjord with a height difference of over 1,000 meters in some cases. The main fjord has a threshold at its mouth to the sea, while several of the side fjords have thresholds at the mouth of the main fjord.
The Sognefjord cuts so deeply into the country that it is only 15 km from the innermost arm at Skjolden to mountain peaks such as Store Skagastølstind in Jotunheimen. The water flow usually exits the fjord. The rivers create sandbanks where they run into the fjord, for example at Gudvangen, in Lærdal and in Gaupne. These sandbars are constantly expanding and changing shape.
The Sognefjord, especially the inner part, is surrounded by mountain massifs which are alpine in the inner part and more rounded in the outer part. The innermost arms of the fjord continue as deep and sometimes long valleys, including Lærdal , Årdal with Utladalen , Nærøydalen , Sogndalsdalen , Fjærland , Fortunsdalen , Aurlandsdalen and Jostedalen . The transition between the fjord and these valleys is determined by sea level, and the boundary has moved outwards at the uplift. Some of the side valleys, such as Vik and Fresvik, would have been hanging valleys in the same way as the Feigedalen if the Sognefjord was drained.
Name
Amund Helland writes " The Sognefjord's real name is Sogn , while Sogn is now used only for the surrounding landscape, and was thus already used in the Middle Ages. As a landscape name, the name is a masculine word and has undoubtedly been so as a fjord name as well." The name is connected to the word "suction", which probably refers to the suction or the difficult current conditions that are created when the water flows through the fjord mouth and over the threshold.
Geography
Large parts of the fjord are surrounded by steep mountains. Kvamsøy at Balestrand is a small island separated from the mainland by a short, shallow strait. Outside Balestrand there are small fjord arms and at Veganes ( Dragsvik ferry quay ) there is a significant branching with the Fjærlandsfjorden .
Municipalities
Municipalities with shoreline to the fjord, counted from west to east:
Solund
Hyllestad (north side)
Gulen (south side)
Høyanger (on both sides of the main fjord)
Vik (south side)
Sogndal (north side)
Aurland (south side, around the Aurlandsfjord)
Lærdal (south side)
Luster (north side, around Lustrafjorden)
Årdal (around the Årdalsfjord)
Depths
The Sognefjord has only one threshold which is at the mouth and the threshold is around 165 meters deep. The area beyond the threshold is called Sognesjøen , which is sheltered by islands to the north and south; there is no threshold outside Sognesjøen that has free circulation towards the ocean.
From the inner parts at Årdal or Skjolden, the fjord gradually deepens outwards (westwards). Between Fodnes-Mannheller and Rutledal-Rysjedalsvika, the bottom is at least 800 metres. The deepest part is approximately at Åkrestrand and Vadheim. The outer part of the fjord (at Losna and Sula ) has a marked threshold with depths of 100 to 200 metres, where the fjord bed rises abruptly from a depth of 1,200 meters to around 100 meters over a stretch of 5 km at Rutledal. In Lake Sognesjøen there are several small troughs (with depths down to 400-500 metres) with thresholds between them. Across the fjord, the bottom is partly completely flat with less than 1 meter variation in depth over a 2 km cross-section. The bottom is covered by fine material (clay) which at Vangsnes is up to 300 meters thick. Seismic shows that the greatest depth to the bedrock is approximately 1,600 m, but loose masses with a thickness of 200–400 m mean that the fjord bottom is nevertheless flat. Seismic surveys at Vangsnes have revealed a 300 meter thick layer of clay at the bottom.
Between 50 and 180 km from the mouth, the fjord bed is relatively flat. Almost all side fjords form hanging valleys to the main fjord. For example, the mouth of the Fjærlandsfjord is well over 400 meters deep, while the main fjord is close to 1,200 meters deep just outside the mouth. Vadheimfjord's mouth is 400 meters deep, here the greatest depth is over 1300 m. Ikjefjord's mouth is only 50 meters deep close to where the main fjord is at its deepest. In large parts of the fjord, it is "abruptly deep" in that the steep mountain sides continue just as steeply underwater.
In contrast to a number of other fjords, not every single part of the Sognefjord has its own name. Only the outermost part has its own name - Sognesjøen . However, there are many fjord arms. From west to east these are:
Sognesjøen
Straumsfjorden
Bjørnefjorden
Nessefjord
The Sognefjord
Lifjorden
Bøfjorden
The Risnefjord
The Ikjefjord
Vadheimsfjorden
Fuglsetfjorden
Høyangsfjorden
Lånefjorden
The Finnafjord
The Arnafjord
The Inner Fjord
Framfjorden
Vikbukti
The Esefjord
Fjærlandsfjorden
The Vetlefjord
Sværefjorden
The Norafjord
Sogndalsfjorden
Barsnes Fjord
The Eidsfjord
Aurlandsfjorden
The Nærøyfjord
Amla Bay
Lærdalsfjorden
Årdalsfjorden
The Lustrafjord
The Gaupnefjord
Climate and fresh water
The fjord colored by meltwater from the glacier.
Terrain formations and distance to the sea lead to great variations in climate along the fjord. The outer part has a mild and humid coastal climate, while the innermost part has an inland climate with cold and dry winters.
The amount of precipitation decreases strongly inwards into the fjord. Lærdal lies in the rain shadow and has very little rainfall, while west-facing slopes further out have a lot of rainfall and there the rainfall often increases with altitude. Brekke and Takle in Ytre Parish are among the places in Norway with the most rainfall. North of the Sognefjord lies the Jostedalsbreen, Norway's largest glacier, and parts of the meltwater drain into the Sognefjord. Wind conditions are strongly influenced by terrain formations. In winter, the dominant wind direction is out the fjord or out the side valleys in the form of so-called downwinds . Fall winds can be very strong and have a major impact on cooling and icing. The slopes and valleys along the inner parts of the fjord have a partially mild climate and are fertile, which makes the area suitable for growing fruit and berries, among other things. The slopes along the fjord partly have large conifer forests, including in the roadless area of Frønningen .
The fjord receives fresh water mainly from the rivers and very little precipitation directly on the fjord's water surface. In the inner part of the Sognefjord, the total supply of fresh water during one year corresponds to a depth of 33 meters if it were distributed over the entire area of the fjord. In spring and partly in autumn, the top 2-3 meters of the fjord are brackish water , especially in the side fjords. The salt content in the surface is lowest in summer and autumn. In June 1954, for example, 5 ‰ salt was measured in the uppermost meters of the Lustrafjord, while at great depths it was 34.5 ‰. Regulation of the waterways for power production has led to a larger proportion of fresh water flowing into the fjord in the winter. The most extensive regulation is in Aurland, Lærdal, Årdal and Jostedal. Regulations affect temperature in the surface layer and icing. In the inner part of the fjord, the rivers are fed by high mountains and glaciers.
The rivers Lærdalselvi , Aurlandselvi , Flåmselvi , Mørkridselvi , Henjaelvi , Grindselvi , Hamreelvi , Njøsaelvi , Kvinnafossen , Sogndalselvi and Jostedøla flow into the Sognefjord and normally have spring floods in June. [3] Lærdalselva has the largest catchment, followed by Jostedøla and Aurlandselva, and these three have roughly the same water flow (around 40 m 3 /second). The Årdalsvatnet drains to the Sognefjord through the short Åreidselva or Hæreidselvi through the Årdalstangen . The Eidsvatnet in Luster drains into the Sognefjord just by Mørkridselvi in Skjolden . Regulation of the waterways for hydropower has resulted in a more steady supply of fresh water throughout the year. Without regulation, 92% of the fresh water would have been supplied in the summer half-year from May to October. Several of the large rivers flow into fjord arms.
Geology
The bedrock along the outer and middle part of the fjord consists mostly of Precambrian gneiss with orientation east-west and northeast-southwest. The islands of Solund consist mostly of Devonian sandstone and conglomerates , while the interior (eastern part) consists mostly of Caledonian gabbro , anorthosite , granite and phyllite .
Jostedøla's material transport (in the form of sludge) involves sedimentation in the Gaupnefjord of 10 to 20 cm/year near the river basin, and 1 cm/year 2 km from the river basin. The river transports 50,000 to 100,000 tonnes of silt annually. The sludge concentration from Jostedøla is at most 1 g/litre. It is particularly at Gaupne that the meltwater from the glaciers is marked by the color of the water.
Icing
According to Helland, it was common for the ice to settle on several of the fjord arms every winter, including on Aurlandsfjorden, Nærøyfjorden and Årdalsfjorden. In the winter of 1888–1889, Lusterfjorden was iced over for six months straight. In the deepest parts of the Sognefjord, there is a year-round temperature of around 6.5 °C, according to Helland. Outer parts are almost never iced over, not even the side fjords. The inner parts can be frozen for several weeks at a stretch. Among other things, inner parts of the Aurlandsfjorden and the Nærøyfjorden freeze easily. Lærdalsfjorden is usually ice-free except for the very innermost part, while it has happened that Årdalsfjorden has been iced up to Ofredal and has been an obstacle to ship traffic. Historically, Lustrafjorden has often been iced over as far as Urnes. The Barsnesfjorden has often been covered with ice. In the Nærøyfjord it happened (among other things in the 1920s and in 1962) that the liner was unable to enter the fjord due to ice and had to dispatch at the ice edge.
Streams
In the Sognefjord, incoming current is hardly noticeable and is most noticeable in strong westerly winds. Outgoing current dominates and is particularly strong in spring and summer. At strong tides, the tidal flow can reach over 1 m/s (2 knots ) around the pier and headland. The Sognefjord is covered by a layer or stream of brackish water of up to 10 meters (varying with the seasons and supply from the rivers). Beneath the brackish water, a current or intermediate layer at a depth of 150 meters goes in and out of the fjord and below this lies the main basin, which has some connection with the ocean beyond the threshold. Together, these three currents contribute to the fact that the water in the fjord is replaced on average within 8-10 years, so that the fjord has life right down to the bottom. The brackish water layer has less density and therefore does not mix easily with the deeper layers. The brackish water that flows out of the fjord slowly mixes with the layer below so that the salt content increases at the same time as the brackish water layer increases up to 10 times the amount of fresh water supplied. The brackish water that flows towards the mouth must be replaced and sets up an incoming current in a slightly deeper layer.
Fish
The Sognefjord has herring and good sprat fishing . In the outer parts of the fjord, salmon has traditionally been fished with wedge nets . Salmon warp or "sitjenet" is a traditional method of salmon fishing and skilled players could catch a lot of fish with this method. Hook nets and drift nets have dominated in modern times and do not require the same active fishing as warp . The salmon's migration in the fjord is controlled by currents on the surface and the warps are placed where there are favorable current conditions where, due to the current, the salmon are driven close to land on their way into the fjord. In Leikanger and Balestrand there are many good places for sitejnot with Suppham being by far the best. Good salmon rivers such as Lærdalselva, Aurlandselva and Årøyelva flow into the Sognefjorden.
In the outer part of the fjord (Gulen and Solund) there is some fish farming. Several of the waterways are known for good salmon and sea trout fishing , and five of the rivers have been designated as national salmon rivers. Lærdalselva has a salmon-carrying stretch and has had by far the largest population. Aurlandselva has historically had a good catch of sea trout. The Sognefjord is among the most important in Norway for anadromous fish species. Norwegian spring-spawning herring are fished in the fjord, especially in the outer parts, as well as some coastal sprat.
In the Sognefjord there are plankton algae which in other Norwegian waters and the occurrence follows the seasons. In general, there is little occurrence in winter due to low light, diatoms bloom in March-April and are dependent on the supply of nutrient salts, in May-June diatoms and flagellates bloom in connection with the spring flood, in summer there is a varying population, new blooms in the autumn in connection with, among other things, floods, and married species can occur all year round.
Tourism
The Sognefjord was established as a tourist destination in the 19th century, among other things, with the establishment of Fylkesbåtane. One of the targets was Gudvangen, which in 1889 received 79 large tourist ships with a total of over 10,000 passengers. In 1889, 4,500 travelers came with the county boats. The German Emperor Wilhelm visited the Sognefjord and Balestrand for the first time in 1890. The emperor subsequently visited the Sognefjord 25 times. The fjord itself and the surrounding area with Jotunheimen, Jostedalsbreen and several stave churches have made the Sognefjord one of Norway's most prominent tourist destinations. Balestrand, Vangsnes, Aurland and Fjærland were among the early destinations for English tourists in the 19th century.
History
It has been the Guest of Death
It has sailed on a Torden
It is christened in Rædsler vorden
that has plowed the Sognefjord
from Forthun to Sognefæst.
If you have forgotten your Lord's Prayer,
do you remember a prayer to pray:
learn it from the wrath of God!
imagine, Sinder, then present
in a Bath on Sognefjord!
Henrik Wergeland
The Sognefjord has been an important transport artery since ancient times. The gulation was probably held near the mouth of the Sognefjord and probably because it was practical to hold the meeting where the ship lay along the coast met the great fjord. From the innermost arms of the fjord it is a relatively short distance to the inland villages of Eastern Norway, particularly through Lærdal to Valdres over the moderate mountain pass Filefjell . Lærdalsøyri was from the 17th century an important market and meeting place. There, farmers from Valdres, Hallingdal and Gudbrandsdalen sold slaughter, tar and other products from the interior and bought fish, salt, hemp and iron from the fjords and from Bergen. Around 1300, the authorities established a shuttle station at Maristova at the entrance to Filefjell. The first drivable road between east and west was built over Filefjell in 1792. From 1843 the paddle steamer "Constitutionen" plyed the route between Bergen and Lærdal, the county boats took over the route in 1857. The road over the Sognefjellet was built as a carriageway in 1938. The Flåmsbana connected the Sognefjord to the railway network in 1940. Stalheimskleivi , between Voss and Sogn, was built in 1850 and turned into a road in 1937. It has made it possible to transport agricultural products , fruit , berries and fish between the villages in Sogn and Bergen .
From 1785, the Trondhjem postal route crossed the Sognefjord by boat between Rutledal and Leirvik in Hyllestad . In 1647, a postal route was established between Bergen and Christiania. The post then took 7-8 days via Gudvangen, Lærdal and Valdres.
It was difficult to get to the Sognefjord by sailboat and the yachts could lie for many days or several weeks at the mouth waiting for favorable wind conditions. East wind was favorable out of the fjord, while south to Bergen, wind from the north or north-west was needed. To enter the fjord, a wind from the west was necessary. The steam and motor boats revolutionized transport on the fjord and these had completely taken over in the early 20th century The county boats were established in 1858 with boat routes on the Sognefjord and to Bergen as an important activity.
In 1934, a ferry route was established along the fjord from Vadheim to Lærdal. From 1939 until the Lærdal tunnel opened, there was a car ferry between Gudvangen and Lærdal - first the ferry went to Lærdalsøyri itself, from 1966 to Revsnes when a road was built there to shorten the ferry route. In the 1990s, the ferry connection Revsnes-Kaupanger was replaced by Mannheller-Fodnes , and after this Kaupanger has only been used by the tourist route Gudvangen-Kaupanger-Lærdal. The road system between Sogndal and Jølster on national highway 5 , including the Fjærlands tunnel , created a ferry-free road connection on the north side of the fjord.
Norway , officially the Kingdom of Norway , is a Nordic , European country and an independent state in the west of the Scandinavian Peninsula . Geographically speaking, the country is long and narrow, and on the elongated coast towards the North Atlantic are Norway's well-known fjords . The Kingdom of Norway includes the main country (the mainland with adjacent islands within the baseline ), Jan Mayen and Svalbard . With these two Arctic areas, Norway covers a land area of 385,000 km² and has a population of approximately 5.5 million (2023). Mainland Norway borders Sweden in the east , Finland and Russia in the northeast .
Norway is a parliamentary democracy and constitutional monarchy , where Harald V has been king and head of state since 1991 , and Jonas Gahr Støre ( Ap ) has been prime minister since 2021 . Norway is a unitary state , with two administrative levels below the state: counties and municipalities . The Sami part of the population has, through the Sami Parliament and the Finnmark Act , to a certain extent self-government and influence over traditionally Sami areas. Although Norway has rejected membership of the European Union through two referendums , through the EEA Agreement Norway has close ties with the Union, and through NATO with the United States . Norway is a significant contributor to the United Nations (UN), and has participated with soldiers in several foreign operations mandated by the UN. Norway is among the states that have participated from the founding of the UN , NATO , the Council of Europe , the OSCE and the Nordic Council , and in addition to these is a member of the EEA , the World Trade Organization , the Organization for Economic Co-operation and Development and is part of the Schengen area .
Norway is rich in many natural resources such as oil , gas , minerals , timber , seafood , fresh water and hydropower . Since the beginning of the 20th century, these natural conditions have given the country the opportunity for an increase in wealth that few other countries can now enjoy, and Norwegians have the second highest average income in the world, measured in GDP per capita, as of 2022. The petroleum industry accounts for around 14% of Norway's gross domestic product as of 2018. Norway is the world's largest producer of oil and gas per capita outside the Middle East. However, the number of employees linked to this industry fell from approx. 232,000 in 2013 to 207,000 in 2015.
In Norway, these natural resources have been managed for socially beneficial purposes. The country maintains a welfare model in line with the other Nordic countries. Important service areas such as health and higher education are state-funded, and the country has an extensive welfare system for its citizens. Public expenditure in 2018 is approx. 50% of GDP, and the majority of these expenses are related to education, healthcare, social security and welfare. Since 2001 and until 2021, when the country took second place, the UN has ranked Norway as the world's best country to live in . From 2010, Norway is also ranked at the top of the EIU's democracy index . Norway ranks third on the UN's World Happiness Report for the years 2016–2018, behind Finland and Denmark , a report published in March 2019.
The majority of the population is Nordic. In the last couple of years, immigration has accounted for more than half of population growth. The five largest minority groups are Norwegian-Poles , Lithuanians , Norwegian-Swedes , Norwegian-Syrians including Syrian Kurds and Norwegian-Pakistani .
Norway's national day is 17 May, on this day in 1814 the Norwegian Constitution was dated and signed by the presidency of the National Assembly at Eidsvoll . It is stipulated in the law of 26 April 1947 that 17 May are national public holidays. The Sami national day is 6 February. "Yes, we love this country" is Norway's national anthem, the song was written in 1859 by Bjørnstjerne Bjørnson (1832–1910).
Norway's history of human settlement goes back at least 10,000 years, to the Late Paleolithic , the first period of the Stone Age . Archaeological finds of settlements along the entire Norwegian coast have so far been dated back to 10,400 before present (BP), the oldest find is today considered to be a settlement at Pauler in Brunlanes , Vestfold .
For a period these settlements were considered to be the remains of settlers from Doggerland , an area which today lies beneath the North Sea , but which was once a land bridge connecting today's British Isles with Danish Jutland . But the archaeologists who study the initial phase of the settlement in what is today Norway reckon that the first people who came here followed the coast along what is today Bohuslân. That they arrived in some form of boat is absolutely certain, and there is much evidence that they could easily move over large distances.
Since the last Ice Age, there has been continuous settlement in Norway. It cannot be ruled out that people lived in Norway during the interglacial period , but no trace of such a population or settlement has been found.
The Stone Age lasted a long time; half of the time that our country has been populated. There are no written accounts of what life was like back then. The knowledge we have has been painstakingly collected through investigations of places where people have stayed and left behind objects that we can understand have been processed by human hands. This field of knowledge is called archaeology . The archaeologists interpret their findings and the history of the surrounding landscape. In our country, the uplift after the Ice Age is fundamental. The history of the settlements at Pauler is no more than fifteen years old.
The Fosna culture settled parts of Norway sometime between 10,000–8,000 BC. (see Stone Age in Norway ). The dating of rock carvings is set to Neolithic times (in Norway between 4000 BC to 1700 BC) and show activities typical of hunters and gatherers .
Agriculture with livestock and arable farming was introduced in the Neolithic. Swad farming where the farmers move when the field does not produce the expected yield.
More permanent and persistent farm settlements developed in the Bronze Age (1700 BC to 500 BC) and the Iron Age . The earliest runes have been found on an arrowhead dated to around 200 BC. Many more inscriptions are dated to around 800, and a number of petty kingdoms developed during these centuries. In prehistoric times, there were no fixed national borders in the Nordic countries and Norway did not exist as a state. The population in Norway probably fell to year 0.
Events in this time period, the centuries before the year 1000, are glimpsed in written sources. Although the sagas were written down in the 13th century, many hundreds of years later, they provide a glimpse into what was already a distant past. The story of the fimbul winter gives us a historical picture of something that happened and which in our time, with the help of dendrochronology , can be interpreted as a natural disaster in the year 536, created by a volcanic eruption in El Salvador .
In the period between 800 and 1066 there was a significant expansion and it is referred to as the Viking Age . During this period, Norwegians, as Swedes and Danes also did, traveled abroad in longships with sails as explorers, traders, settlers and as Vikings (raiders and pirates ). By the middle of the 11th century, the Norwegian kingship had been firmly established, building its right as descendants of Harald Hårfagre and then as heirs of Olav the Holy . The Norwegian kings, and their subjects, now professed Christianity . In the time around Håkon Håkonsson , in the time after the civil war , there was a small renaissance in Norway with extensive literary activity and diplomatic activity with Europe. The black dew came to Norway in 1349 and killed around half of the population. The entire state apparatus and Norway then entered a period of decline.
Between 1396 and 1536, Norway was part of the Kalmar Union , and from 1536 until 1814 Norway had been reduced to a tributary part of Denmark , named as the Personal Union of Denmark-Norway . This staff union entered into an alliance with Napoléon Bonaparte with a war that brought bad times and famine in 1812 . In 1814, Denmark-Norway lost the Anglophone Wars , part of the Napoleonic Wars , and the Danish king was forced to cede Norway to the king of Sweden in the Treaty of Kiel on 14 January of that year. After a Norwegian attempt at independence, Norway was forced into a loose union with Sweden, but where Norway was allowed to create its own constitution, the Constitution of 1814 . In this period, Norwegian, romantic national feeling flourished, and the Norwegians tried to develop and establish their own national self-worth. The union with Sweden was broken in 1905 after it had been threatened with war, and Norway became an independent kingdom with its own monarch, Haakon VII .
Norway remained neutral during the First World War , and at the outbreak of the Second World War, Norway again declared itself neutral, but was invaded by National Socialist Germany on 9 April 1940 .
Norway became a member of the Western defense alliance NATO in 1949 . Two attempts to join the EU were voted down in referendums by small margins in 1972 and 1994 . Norway has been a close ally of the United States in the post-war period. Large discoveries of oil and natural gas in the North Sea at the end of the 1960s led to tremendous economic growth in the country, which is still ongoing. Traditional industries such as fishing are also part of Norway's economy.
Stone Age (before 1700 BC)
When most of the ice disappeared, vegetation spread over the landscape and due to a warm climate around 2000-3000 BC. the forest grew much taller than in modern times. Land uplift after the ice age led to a number of fjords becoming lakes and dry land. The first people probably came from the south along the coast of the Kattegat and overland into Finnmark from the east. The first people probably lived by gathering, hunting and trapping. A good number of Stone Age settlements have been found which show that such hunting and trapping people stayed for a long time in the same place or returned to the same place regularly. Large amounts of gnawed bones show that they lived on, among other things, reindeer, elk, small game and fish.
Flintstone was imported from Denmark and apart from small natural deposits along the southern coast, all flintstone in Norway is transported by people. At Espevær, greenstone was quarried for tools in the Stone Age, and greenstone tools from Espevær have been found over large parts of Western Norway. Around 2000-3000 BC the usual farm animals such as cows and sheep were introduced to Norway. Livestock probably meant a fundamental change in society in that part of the people had to be permanent residents or live a semi-nomadic life. Livestock farming may also have led to conflict with hunters.
The oldest traces of people in what is today Norway have been found at Pauler , a farm in Brunlanes in Larvik municipality in Vestfold . In 2007 and 2008, the farm has given its name to a number of Stone Age settlements that have been excavated and examined by archaeologists from the Cultural History Museum at UiO. The investigations have been carried out in connection with the new route for the E18 motorway west of Farris. The oldest settlement, located more than 127 m above sea level, is dated to be about 10,400 years old (uncalibrated, more than 11,000 years in real calendar years). From here, the ice sheet was perhaps visible when people settled here. This locality has been named Pauler I, and is today considered to be the oldest confirmed human traces in Norway to date. The place is in the mountains above the Pauler tunnel on the E18 between Larvik and Porsgrunn . The pioneer settlement is a term archaeologists have adopted for the oldest settlement. The archaeologists have speculated about where they came from, the first people in what is today Norway. It has been suggested that they could come by boat or perhaps across the ice from Doggerland or the North Sea, but there is now a large consensus that they came north along what is today the Bohuslän coast. The Fosna culture , the Komsa culture and the Nøstvet culture are the traditional terms for hunting cultures from the Stone Age. One thing is certain - getting to the water was something they mastered, the first people in our country. Therefore, within a short time they were able to use our entire long coast.
In the New Stone Age (4000 BC–1700 BC) there is a theory that a new people immigrated to the country, the so-called Stone Ax People . Rock carvings from this period show motifs from hunting and fishing , which were still important industries. From this period, a megalithic tomb has been found in Østfold .
It is uncertain whether there were organized societies or state-like associations in the Stone Age in Norway. Findings from settlements indicate that many lived together and that this was probably more than one family so that it was a slightly larger, organized herd.
Finnmark
In prehistoric times, animal husbandry and agriculture were of little economic importance in Finnmark. Livelihoods in Finnmark were mainly based on fish, gathering, hunting and trapping, and eventually domestic reindeer herding became widespread in the Middle Ages. Archaeological finds from the Stone Age have been referred to as the Komsa culture and comprise around 5,000 years of settlement. Finnmark probably got its first settlement around 8000 BC. It is believed that the coastal areas became ice-free 11,000 years BC and the fjord areas around 9,000 years BC. after which willows, grass, heather, birch and pine came into being. Finnmarksvidda was covered by pine forest around 6000 BC. After the Ice Age, the land rose around 80 meters in the inner fjord areas (Alta, Tana, Varanger). Due to ice melting in the polar region, the sea rose in the period 6400–3800 BC. and in areas with little land elevation, some settlements from the first part of the Stone Age were flooded. On Sørøya, the net sea level rise was 12 to 14 meters and many residential areas were flooded.
According to Bjørnar Olsen , there are many indications of a connection between the oldest settlement in Western Norway (the " Fosnakulturen ") and that in Finnmark, but it is uncertain in which direction the settlement took place. In the earliest part of the Stone Age, settlement in Finnmark was probably concentrated in the coastal areas, and these only reflected a lifestyle with great mobility and no permanent dwellings. The inner regions, such as Pasvik, were probably used seasonally. The archaeologically proven settlements from the Stone Age in inner Finnmark and Troms are linked to lakes and large watercourses. The oldest petroglyphs in Alta are usually dated to 4200 BC, that is, the Neolithic . Bjørnar Olsen believes that the oldest can be up to 2,000 years older than this.
From around 4000 BC a slow deforestation of Finnmark began and around 1800 BC the vegetation distribution was roughly the same as in modern times. The change in vegetation may have increased the distance between the reindeer's summer and winter grazing. The uplift continued slowly from around 4000 BC. at the same time as sea level rise stopped.
According to Gutorm Gjessing, the settlement in Finnmark and large parts of northern Norway in the Neolithic was semi-nomadic with movement between four seasonal settlements (following the pattern of life in Sami siida in historical times): On the outer coast in summer (fishing and seal catching) and inland in winter (hunting for reindeer, elk and bear). Povl Simonsen believed instead that the winter residence was in the inner fjord area in a village-like sod house settlement. Bjørnar Olsen believes that at the end of the Stone Age there was a relatively settled population along the coast, while inland there was less settlement and a more mobile lifestyle.
Bronze Age (1700 BC–500 BC)
Bronze was used for tools in Norway from around 1500 BC. Bronze is a mixture of tin and copper , and these metals were introduced because they were not mined in the country at the time. Bronze is believed to have been a relatively expensive material. The Bronze Age in Norway can be divided into two phases:
Early Bronze Age (1700–1100 BC)
Younger Bronze Age (1100–500 BC)
For the prehistoric (unwritten) era, there is limited knowledge about social conditions and possible state formations. From the Bronze Age, there are large burial mounds of stone piles along the coast of Vestfold and Agder, among others. It is likely that only chieftains or other great men could erect such grave monuments and there was probably some form of organized society linked to these. In the Bronze Age, society was more organized and stratified than in the Stone Age. Then a rich class of chieftains emerged who had close connections with southern Scandinavia. The settlements became more permanent and people adopted horses and ard . They acquired bronze status symbols, lived in longhouses and people were buried in large burial mounds . Petroglyphs from the Bronze Age indicate that humans practiced solar cultivation.
Finnmark
In the last millennium BC the climate became cooler and the pine forest disappears from the coast; pine forests, for example, were only found in the innermost part of the Altafjord, while the outer coast was almost treeless. Around the year 0, the limit for birch forest was south of Kirkenes. Animals with forest habitats (elk, bear and beaver) disappeared and the reindeer probably established their annual migration routes sometime at that time. In the period 1800–900 BC there were significantly more settlements in and utilization of the hinterland was particularly noticeable on Finnmarksvidda. From around 1800 BC until year 0 there was a significant increase in contact between Finnmark and areas in the east including Karelia (where metals were produced including copper) and central and eastern Russia. The youngest petroglyphs in Alta show far more boats than the earlier phases and the boats are reminiscent of types depicted in petroglyphs in southern Scandinavia. It is unclear what influence southern Scandinavian societies had as far north as Alta before the year 0. Many of the cultural features that are considered typical Sami in modern times were created or consolidated in the last millennium BC, this applies, among other things, to the custom of burying in brick chambers in stone urns. The Mortensnes burial ground may have been used for 2000 years until around 1600 AD.
Iron Age (c. 500 BC–c. 1050 AD)
The Einangsteinen is one of the oldest Norwegian runestones; it is from the 4th century
Simultaneous production of Vikings
Around 500 years BC the researchers reckon that the Bronze Age will be replaced by the Iron Age as iron takes over as the most important material for weapons and tools. Bronze, wood and stone were still used. Iron was cheaper than bronze, easier to work than flint , and could be used for many purposes; iron probably became common property. Iron could, among other things, be used to make solid and sharp axes which made it much easier to fell trees. In the Iron Age, gold and silver were also used partly for decoration and partly as means of payment. It is unknown which language was used in Norway before our era. From around the year 0 until around the year 800, everyone in Scandinavia (except the Sami) spoke Old Norse , a North Germanic language. Subsequently, several different languages developed in this area that were only partially mutually intelligible. The Iron Age is divided into several periods:
Early Iron Age
Pre-Roman Iron Age (c. 500 BC–c. 0)
Roman Iron Age (c. 0–c. AD 400)
Migration period (approx. 400–600). In the migration period (approx. 400–600), new peoples came to Norway, and ruins of fortress buildings etc. are interpreted as signs that there has been talk of a violent invasion.
Younger Iron Age
Merovingian period (500–800)
The Viking Age (793–1066)
Norwegian Vikings go on plundering expeditions and trade voyages around the coastal countries of Western Europe . Large groups of Norwegians emigrate to the British Isles , Iceland and Greenland . Harald Hårfagre starts a unification process of Norway late in the 8th century , which was completed by Harald Hardråde in the 1060s . The country was Christianized under the kings Olav Tryggvason , fell in the battle of Svolder ( 1000 ) and Olav Haraldsson (the saint), fell in the battle of Stiklestad in 1030 .
Sources of prehistoric times
Shrinking glaciers in the high mountains, including in Jotunheimen and Breheimen , have from around the year 2000 uncovered objects from the Viking Age and earlier. These are objects of organic material that have been preserved by the ice and that elsewhere in nature are broken down in a few months. The finds are getting older as the melting makes the archaeologists go deeper into the ice. About half of all archaeological discoveries on glaciers in the world are made in Oppland . In 2013, a 3,400-year-old shoe and a robe from the year 300 were found. Finds at Lomseggen in Lom published in 2020 revealed, among other things, well-preserved horseshoes used on a mountain pass. Many hundreds of items include preserved clothing, knives, whisks, mittens, leather shoes, wooden chests and horse equipment. A piece of cloth dated to the year 1000 has preserved its original colour. In 2014, a wooden ski from around the year 700 was found in Reinheimen . The ski is 172 cm long and 14 cm wide, with preserved binding of leather and wicker.
Pytheas from Massalia is the oldest known account of what was probably the coast of Norway, perhaps somewhere on the coast of Møre. Pytheas visited Britannia around 325 BC. and traveled further north to a country by the "Ice Sea". Pytheas described the short summer night and the midnight sun farther north. He wrote, among other things, that people there made a drink from grain and honey. Caesar wrote in his work about the Gallic campaign about the Germanic tribe Haruders. Other Roman sources around the year 0 mention the land of the Cimbri (Jutland) and the Cimbri headlands ( Skagen ) and that the sources stated that Cimbri and Charyds lived in this area. Some of these peoples may have immigrated to Norway and there become known as hordes (as in Hordaland). Sources from the Mediterranean area referred to the islands of Scandia, Scandinavia and Thule ("the outermost of all islands"). The Roman historian Tacitus wrote around the year 100 a work about Germania and mentioned the people of Scandia, the Sviones. Ptolemy wrote around the year 150 that the Kharudes (Hordes) lived further north than all the Cimbri, in the north lived the Finnoi (Finns or Sami) and in the south the Gutai (Goths). The Nordic countries and Norway were outside the Roman Empire , which dominated Europe at the time. The Gothic-born historian Jordanes wrote in the 5th century about 13 tribes or people groups in Norway, including raumaricii (probably Romerike ), ragnaricii ( Ranrike ) and finni or skretefinni (skrid finner or ski finner, i.e. Sami) as well as a number of unclear groups. Prokopios wrote at the same time about Thule north of the land of the Danes and Slavs, Thule was ten times as big as Britannia and the largest of all the islands. In Thule, the sun was up 40 days straight in the summer. After the migration period , southern Europeans' accounts of northern Europe became fuller and more reliable.
Settlement in prehistoric times
Norway has around 50,000 farms with their own names. Farm names have persisted for a long time, over 1000 years, perhaps as much as 2000 years. The name researchers have arranged different types of farm names chronologically, which provides a basis for determining when the place was used by people or received a permanent settlement. Uncompounded landscape names such as Haug, Eid, Vik and Berg are believed to be the oldest. Archaeological traces indicate that some areas have been inhabited earlier than assumed from the farm name. Burial mounds also indicate permanent settlement. For example, the burial ground at Svartelva in Løten was used from around the year 0 to the year 1000 when Christianity took over. The first farmers probably used large areas for inland and outland, and new farms were probably established based on some "mother farms". Names such as By (or Bø) show that it is an old place of residence. From the older Iron Age, names with -heim (a common Germanic word meaning place of residence) and -stad tell of settlement, while -vin and -land tell of the use of the place. Farm names in -heim are often found as -um , -eim or -em as in Lerum and Seim, there are often large farms in the center of the village. New farm names with -city and -country were also established in the Viking Age . The first farmers probably used the best areas. The largest burial grounds, the oldest archaeological finds and the oldest farm names are found where the arable land is richest and most spacious.
It is unclear whether the settlement expansion in Roman times, migrations and the Iron Age is due to immigration or internal development and population growth. Among other things, it is difficult to demonstrate where in Europe the immigrants have come from. The permanent residents had both fields (where grain was grown) and livestock that grazed in the open fields, but it is uncertain which of these was more important. Population growth from around the year 200 led to more utilization of open land, for example in the form of settlements in the mountains. During the migration period, it also seems that in parts of the country it became common to have cluster gardens or a form of village settlement.
Norwegian expansion northwards
From around the year 200, there was a certain migration by sea from Rogaland and Hordaland to Nordland and Sør-Troms. Those who moved settled down as a settled Iron Age population and became dominant over the original population which may have been Sami . The immigrant Norwegians, Bumen , farmed with livestock that were fed inside in the winter as well as some grain cultivation and fishing. The northern border of the Norwegians' settlement was originally at the Toppsundet near Harstad and around the year 500 there was a Norwegian settlement to Malangsgapet. That was as far north as it was possible to grow grain at the time. Malangen was considered the border between Hålogaland and Finnmork until around 1400 . Further into the Viking Age and the Middle Ages, there was immigration and settlement of Norwegian speakers along the coast north of Malangen. Around the year 800, Norwegians lived along the entire outer coast to Vannøy . The Norwegians partly copied Sami livelihoods such as whaling, fur hunting and reindeer husbandry. It was probably this area between Malangen and Vannøy that was Ottar from the Hålogaland area. In the Viking Age, there were also some Norwegian settlements further north and east. East of the North Cape are the scattered archaeological finds of Norwegian settlement in the Viking Age. There are Norwegian names for fjords and islands from the Viking Age, including fjord names with "-anger". Around the year 1050, there were Norwegian settlements on the outer coast of Western Finnmark. Traders and tax collectors traveled even further.
North of Malangen there were Norse farming settlements in the Iron Age. Malangen was considered Finnmark's western border until 1300. There are some archaeological traces of Norse activity around the coast from Tromsø to Kirkenes in the Viking Age. Around Tromsø, the research indicates a Norse/Sami mixed culture on the coast.
From the year 1100 and the next 200–300 years, there are no traces of Norwegian settlement north and east of Tromsø. It is uncertain whether this is due to depopulation, whether it is because the Norwegians further north were not Christianized or because there were no churches north of Lenvik or Tromsø . Norwegian settlement in the far north appears from sources from the 14th century. In the Hanseatic period , the settlement was developed into large areas specialized in commercial fishing, while earlier (in the Viking Age) there had been farms with a combination of fishing and agriculture. In 1307 , a fortress and the first church east of Tromsø were built in Vardø . Vardø became a small Norwegian town, while Vadsø remained Sami. Norwegian settlements and churches appeared along the outermost coast in the Middle Ages. After the Reformation, perhaps as a result of a decline in fish stocks or fish prices, there were Norwegian settlements in the inner fjord areas such as Lebesby in Laksefjord. Some fishing villages at the far end of the coast were abandoned for good. In the interior of Finnmark, there was no national border for a long time and Kautokeino and Karasjok were joint Norwegian-Swedish areas with strong Swedish influence. The border with Finland was established in 1751 and with Russia in 1826.
On a Swedish map from 1626, Norway's border is indicated at Malangen, while Sweden with this map showed a desire to control the Sami area which had been a common area.
The term Northern Norway only came into use at the end of the 19th century and administratively the area was referred to as Tromsø Diocese when Tromsø became a bishopric in 1840. There had been different designations previously: Hålogaland originally included only Helgeland and when Norse settlement spread north in the Viking Age and the Middle Ages, Hålogaland was used for the area north approximately to Malangen , while Finnmark or "Finnmarken", "the land of the Sami", lay outside. The term Northern Norway was coined at a cafe table in Kristiania in 1884 by members of the Nordlændingernes Forening and was first commonly used in the interwar period as it eventually supplanted "Hålogaland".
State formation
The battle in Hafrsfjord in the year 872 has long been regarded as the day when Norway became a kingdom. The year of the battle is uncertain (may have been 10-20 years later). The whole of Norway was not united in that battle: the process had begun earlier and continued a couple of hundred years later. This means that the geographical area became subject to a political authority and became a political unit. The geographical area was perceived as an area as it is known, among other things, from Ottar from Hålogaland's account for King Alfred of Wessex around the year 880. Ottar described "the land of the Norwegians" as very long and narrow, and it was narrowest in the far north. East of the wasteland in the south lay Sveoland and in the north lay Kvenaland in the east. When Ottar sailed south along the land from his home ( Malangen ) to Skiringssal, he always had Norway ("Nordveg") on his port side and the British Isles on his starboard side. The journey took a good month. Ottar perceived "Nordveg" as a geographical unit, but did not imply that it was a political unit. Ottar separated Norwegians from Swedes and Danes. It is unclear why Ottar perceived the population spread over such a large area as a whole. It is unclear whether Norway as a geographical term or Norwegians as the name of a ethnic group is the oldest. The Norwegians had a common language which in the centuries before Ottar did not differ much from the language of Denmark and Sweden.
According to Sverre Steen, it is unlikely that Harald Hårfagre was able to control this entire area as one kingdom. The saga of Harald was written 300 years later and at his death Norway was several smaller kingdoms. Harald probably controlled a larger area than anyone before him and at most Harald's kingdom probably included the coast from Trøndelag to Agder and Vestfold as well as parts of Viken . There were probably several smaller kingdoms of varying extent before Harald and some of these are reflected in traditional landscape names such as Ranrike and Ringerike . Landscape names of "-land" (Rogaland) and "-mark" (Hedmark) as well as names such as Agder and Sogn may have been political units before Harald.
According to Sverre Steen
Great amount of cloud today after the rain,found a new field with trees in it .
THINGS TO REMEMBER 1ST When you climb up the bank to climb through the hedge make sure you notice where you climbed through otherwise you will spend 10 minutes trying to find it .2ND make sure your camera bag pockets are done up otherwise you will spend 20 minutes trying to find your yellow/brown filter case that also has 2 memory cards in it that has fallen out somewhere.3RD When you've climbed up the 6foot bank from the road to get into the field make sure you think how your going to get out and that you don't just fall 5 foot into a country lane and startle a poor lady driver by "Just appearing".Dangerous business this photography!!!!!
"Imagine" is a song written and performed by the English musician John Lennon. The best-selling single of his solo career, its lyrics encourage the listener to imagine a world at peace without the barriers of borders or the divisiveness of religions and nationalities, and to consider the possibility that the focus of humanity should be living a life unattached to material possessions.Lennon and Yoko Ono co-produced the song and album of the same name with Phil Spector. Recording began at Lennon's home studio at Tittenhurst Park, England, in May 1971, with final overdubs taking place at the Record Plant, in New York City, during July.Lennon and Ono co-produced the song and album with Phil Spector, who commented on the track: "We knew what we were going to do ... It was going to be John making a political statement, but a very commercial one as well ... I always thought that 'Imagine' was like the national anthem."[14] Lennon described his working arrangement with Ono and Spector: "Phil doesn't arrange or anything like that—[Ono] and Phil will just sit in the other room and shout comments like, 'Why don't you try this sound' or 'You're not playing the piano too well'... I'll get the initial idea and ... we'll just find a sound from [there]."[15]
Recording began at Ascot Sound Studios, Lennon's newly built home studio at Tittenhurst Park, in May 1971, with final overdubs taking place at the Record Plant, in New York City, during July.[15] Relaxed and patient, the sessions began during the late morning, running to just before dinner in the early evening. Lennon taught the musicians the chord progression and a working arrangement for "Imagine", rehearsing the song until he deemed the musicians ready to record.[4] In his attempt to recreate Lennon's desired sound, Spector had some early tapings feature Lennon and Nicky Hopkins playing in different octaves on one piano. He also initially attempted to record the piano part with Lennon playing the white baby grand in the couple's all-white room. However, after having deemed the room's acoustics unsuitable, Spector abandoned the idea in favour of the superior environment of Lennon's home studio.[5] They completed the session in minutes, recording three takes and choosing the second one for release.[16] The finished recording featured Lennon on piano and vocal, Klaus Voormann on bass guitar, Alan White on drums and the Flux Fiddlers on strings.[17]
Issued by Apple Records in the United States in October 1971, "Imagine" became the best-selling single of Lennon's solo career.[18] It peaked at number three on the Billboard Hot 100[19] and reached number one in Canada on the RPM national singles chart, remaining there for two weeks.[20] Upon its release the song's lyrics upset some religious groups, particularly the line: "Imagine there's no heaven".[21] When asked about the song during one of his final interviews, Lennon said he considered it to be as strong a composition as any he had written with the Beatles.[7] He described the song's meaning and explicated its commercial appeal: "Anti-religious, anti-nationalistic, anti-conventional, anti-capitalistic, but because it is sugarcoated it is accepted ... Now I understand what you have to do. Put your political message across with a little honey."[22] In an open letter to Paul McCartney published in Melody Maker, Lennon said that "Imagine" was "'Working Class Hero' with sugar on it for conservatives like yourself".[23] On 30 November 1971, the Imagine LP reached number one on the UK chart.[24] It became the most commercially successful and critically acclaimed album of Lennon's solo career. One month after the September release of the LP, Lennon released "Imagine" as a single in the United States; the song peaked at number three on the Billboard Hot 100 and the LP reached number one on the UK chart in November, later becoming the most commercially successful and critically acclaimed album of Lennon's solo career. Although not originally released as a single in the United Kingdom, it was released in 1975 to promote a compilation LP and it reached number six in the chart that year. The song has since sold more than 1.6 million copies in the UK; it reached number one following Lennon's death in December 1980.BMI named "Imagine" one of the 100 most-performed songs of the 20th century. The song ranked number 30 on the Recording Industry Association of America's list of the 365 Songs of the Century bearing the most historical significance. It earned a Grammy Hall of Fame Award and an induction into the Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll. A UK survey conducted by the Guinness World Records British Hit Singles Book named it the second best single of all time, and Rolling Stone ranked it number 3 in their list of "The 500 Greatest Songs of All Time". Since 2005, event organisers have played it just before the New Year's Times Square Ball drops in New York City. Dozens of artists have performed or recorded versions of "Imagine", including Madonna, Stevie Wonder, Joan Baez, Elton John, and Diana Ross. Emeli Sandé recorded a cover for the BBC to use during the end credits montage at the close of the 2012 Summer Olympics coverage in August 2012. "Imagine" subsequently re-entered the UK Top 40, reaching number 18.A 1971 Billboard advertisement for "Imagine"
Lennon and Ono co-produced the song and album with Phil Spector, who commented on the track: "We knew what we were going to do ... It was going to be John making a political statement, but a very commercial one as well ... I always thought that 'Imagine' was like the national anthem."Lennon described his working arrangement with Ono and Spector: "Phil doesn't arrange or anything like that—[Ono] and Phil will just sit in the other room and shout comments like, 'Why don't you try this sound' or 'You're not playing the piano too well'... I'll get the initial idea and ... we'll just find a sound from [there]."Recording began at Ascot Sound Studios, Lennon's newly built home studio at Tittenhurst Park, in May 1971, with final overdubs taking place at the Record Plant, in New York City, during July. Relaxed and patient, the sessions began during the late morning, running to just before dinner in the early evening. Lennon taught the musicians the chord progression and a working arrangement for "Imagine", rehearsing the song until he deemed the musicians ready to record. In his attempt to recreate Lennon's desired sound, Spector had some early tapings feature Lennon and Nicky Hopkins playing in different octaves on one piano. He also initially attempted to record the piano part with Lennon playing the white baby grand in the couple's all-white room. However, after having deemed the room's acoustics unsuitable, Spector abandoned the idea in favour of the superior environment of Lennon's home studio. They completed the session in minutes, recording three takes and choosing the second one for release. The finished recording featured Lennon on piano and vocal, Klaus Voormann on bass guitar, Alan White on drums and the Flux Fiddlers on strings.Issued by Apple Records in the United States in October 1971, "Imagine" became the best-selling single of Lennon's solo career It peaked at number 3 on the Billboard Hot 100. It reached number 1 in Canada on the RPM national singles chart, remaining there for two weeks.[16] Upon its release the song's lyrics upset some religious groups, particularly the line: "Imagine there's no heaven". When asked about the song during one of his final interviews, Lennon said he considered it to be as strong a composition as any he had written with the Beatles. He described the song's meaning and explicated its commercial appeal: "Anti-religious, anti-nationalistic, anti-conventional, anti-capitalistic, but because it is sugarcoated it is accepted ... Now I understand what you have to do. Put your political message across with a little honey." Lennon once told Paul McCartney that "Imagine" was "'Working Class Hero' with sugar on it for conservatives like yourself".[19] On 30 November 1971, the Imagine LP reached number one on the UK chart.[20] It became the most commercially successful and critically acclaimed album of Lennon's solo career.
Recognition and criticism
The John Lennon Peace Monument, Liverpool, England
Rolling Stone described "Imagine" as Lennon's "greatest musical gift to the world", praising "the serene melody; the pillowy chord progression; [and] that beckoning, four-note [piano] figure" Included in several song polls, in 1999, BMI named it one of the top 100 most-performed songs of the 20th century.] Also that year, it received the Grammy Hall of Fame Award and an induction into the Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll. Triple J ranked it number 11 on its Hottest 100 of All Time list. "Imagine" ranked number 23 in the list of best-selling singles of all time in the UK, in 2000.[32] In 2002, a UK survey conducted by the Guinness World Records British Hit Singles Book ranked it the second best single of all time behind Queen's "Bohemian Rhapsody".[33] Gold Radio ranked the song number 3 on its "Gold's greatest 1000 hits" list.
Rolling Stone ranked "Imagine" number 3 on its list of "The 500 Greatest Songs of All Time", describing it as "an enduring hymn of solace and promise that has carried us through extreme grief, from the shock of Lennon's own death in 1980 to the unspeakable horror of September 11th. It is now impossible to imagine a world without 'Imagine', and we need it more than he ever dreamed." Despite that sentiment, Clear Channel Communications included the song on its post-9/11 "do not play" list.On 1 January 2005, the Canadian Broadcasting Corporation named "Imagine" the greatest song in the past 100 years as voted by listeners on the show 50 Tracks. The song ranked number 30 on the Recording Industry Association of America's list of the 365 Songs of the Century bearing the most historical significance. Virgin Radio conducted a UK favourite song survey in December 2005, and listeners voted "Imagine" number 1.[38] Australians selected it the greatest song of all time on the Nine Network's 20 to 1 countdown show on 12 September 2006. They voted it eleventh in the youth network Triple J's Hottest 100 Of All Time on 11 July 2009.Jimmy Carter said, "in many countries around the world—my wife and I have visited about 125 countries—you hear John Lennon's song 'Imagine' used almost equally with national anthems." On 9 October 2010, which would have been Lennon's 70th birthday, the Liverpool Signing Choir performed "Imagine" along with other Lennon songs at the unveiling of the John Lennon Peace Monument in Chavasse Park, Liverpool England. Beatles producer George Martin praised Lennon's solo work, singling out the composition: "My favourite song of all was 'Imagine'". Music critic Paul Du Noyer described "Imagine" as Lennon's "most revered" post-Beatles song. Urish and Bielen called it "the most subversive pop song recorded to achieve classic status."Fricke commented: "'Imagine' is a subtly contentious song, Lennon's greatest combined achievement as a balladeer and agitator."Authors Ben Urish and Ken Bielen criticised the song's instrumental music as overly sentimental and melodramatic, comparing it to the music of the pre-rock era and describing the vocal melody as understated. According to Blaney, Lennon's lyrics describe hypothetical possibilities that offer no practical solutions; lyrics that are at times nebulous and contradictory, asking the listener to abandon political systems while encouraging one similar to communism. Author Chris Ingham indicated the hypocrisy in Lennon, the millionaire rock star living in a mansion, encouraging listeners to imagine living their lives without possessions. Others argue that Lennon intended the song's lyrics to inspire listeners to imagine if the world could live without possessions, not as an explicit call to give them up Blaney commented: "Lennon knew he had nothing concrete to offer, so instead he offers a dream, a concept to be built upon."Blaney considered the song to be "riddled with contradictions. Its hymn-like setting sits uncomfortably alongside its author's plea for us to envision a world without religion." Urish and Bielen described Lennon's "dream world" without a heaven or hell as a call to "make the best world we can here and now, since this is all this is or will be." In their opinion, "because we are asked merely to imagine—to play a 'what if' game, Lennon can escape the harshest criticisms".Former Beatle Ringo Starr defended the song's lyrics during a 1981 interview with Barbara Walters, stating: "[Lennon] said 'imagine', that's all. Just imagine it."
en.wikipedia.org/wiki/Imagine_(John_Lennon_song)
Comment Imagine de John Lennon est devenu un hymne universel…Par Daniel Ichbiah Article écrit pour le magazine STARfan - janvier 2011
"Dans de nombreux pays du monde et j'en ai visité près de 125, vous pouvez entendre 'Imagine' presque aussi souvent que l'hymne national."Ainsi s'est exprimé l'ancien président américain Jimmy Carter en 2006.Comment la chanson de Lennon a-t-elle acquis ce statut mythique ?Au moment de sa sortie en 1971, le single Imagine a connu un joli succès. C'était une chanson agréable avec un jolie partie de piano, une mélodie agréable et un tempo lent.Tandis que la chanson passe alors sur les ondes du monde entier, peu d'attention est réellement prêtée à ses paroles. Or, "Imagine" , sous des dehors romantiques et calmes, est une chanson fortement subversive. Lennon y distille des propos qui vont à l'encontre des principales valeurs de la société Américaine..
"Imaginez qu'il n'y ait pas de pays"
"Ce n'est pas si difficile"
"Rien qui nécessite de tuer et de mourir"
"Et pas de religion non plus".
C'est dans un livre de poèmes publié par Yoko Ono, Grapefruit, que Lennon a dit avoir trouvé l'inspiration pour "Imagine". L'artiste japonaise y distillait des instructions pour une nouvelle vie, telles que "imagine que tu es un fruit."
"Imagine" se classe n°3 au hit parade américain et l'album atteint même la position n°1. Cet hymne à la paix atteint la troisième position du hit parade américain et lui permet de renouer avec le succès. Pourtant, sur le moment, son message semble se diluer dans la quiétude des harmonies. Une jolie chanson, voilà tout.
C'est au fil du temps que "Imagine" va acquérir un statut particulier. Plus le temps passe et plus il semble qu'elle représente davantage qu'une chanson, qu'elle soit un hymne à part entière avec un message transcendant le temps…
Le 8 décembre 1980, Lennon est interviewé par Dave Sholin, un DJ de la station RKO. Au même moment, un désaxé fait le guet devant l'immeuble Dakota où réside le couple Lennon, son revolver enfoui dans une poche de sa parka. Au terme d'un cheminement intérieur chaotique, Chapman a fini par se persuader qu'il lui fallait éliminer John…C'est en quittant ce monde que Lennon révèle combien il était précieux. Quelques jours après sa disparition, cent mille fans se réunissent dans Central Park et devant l'immeuble Dakota dans un ultime hommage au Beatle disparu. Tous chantent l'hymne pour la paix "Give peace a chance". 10 minutes de silence sont observées et des milliers de ballons blancs sont libérés dans le ciel.Pour sa part, la ville de New York tient à célébrer la mémoire de Lennon à plus grande échelle. À Central Park, près de l'immeuble où habitait Lennon, une mosaïque est placée sur le sol avec ce mot "Imagine".
En Angleterre, le single était sorti en 1975 mais n'avait atteint que la 6ème position. Peu après la mort de Lennon en 1980, il ressort et se classe classe n°1 durant trois semaines. Il n'est délogé que par Lennon lui-même et le single "Woman".
En 1982, WABC, l'une des principales radios américaine - elle est née en 1921 - décide de changer de format et de ne plus diffuser de chansons, uniquement des talk-shows. Un long débat est organisé en interne afin de décider de la toute dernière chanson qui sera jouée par la station. C'est "Imagine" qui est choisi.Au cours de l'année 1988, le film Imagine : John Lennon retrace l'histoire du chanteur et remet la chanson au goût du jour. Il inclut une séquence où Lennon interprète ce titre sur son grand piano blanc Steinway.
Dans le très populaire film Forrest Gump qui sort en 1994, grâce à la magie de l'image de synthèse, Tom Hanks se retrouve face à John Lennon dans un show télévisé et le chanteur parle d'un endroit où il n'y aurait "pas de possessions", "pas de religions". La référence à la chanson fétiche de Lennon apparaît explicite.
Plus les années s'écoulent et plus il apparaît que la popularité de "Imagine" est devenue universelle et ne cesse de grandir. À l'occasion du changement de millenium, alors que les classements se multiplient, il va progressivement ressortir que"Imagine"occupe une place particulière dans le cœur du public.En 2002, Guiness World Records organise une enquête pour connaître le single préféré des britanniques. "Imagine" termine n°2 derrière "Bohemian Rhapsody" du groupe Queen.Le 9 décembre 2004, le magazine Rolling Stone publie sa liste des 500 meilleures chansons de tous les temps. "Imagine" y est classé à la 3ème position derrière "Like a Rolling Stone"de Bob Dylan et "Satisfaction" des Rolling Stones, loin devant la première chanson des Beatles figurant dans ce classement, "Hey Jude" qui est à la 8ème position.Au Canada, un sondage est mené la même année afin de déterminer la meilleure chanson des 100 dernières années. C'est "Imagine" qui arrive en tête. Un an plus tard, Virgin Radio conduit un sondage auprès du public britannique et là encore, c'est "Imagine" qui se classe n°1, devant "Hey Jude" des Beatles. En Australie, rebelotte : le 12 septembre 2006, "Imagine" est votée meilleure chanson de tous les temps."La chanson fait par ailleurs l'objet de très nombreuses reprises et assez souvent au cours d'occasions de soutien à une cause humanitaire. Le 21 septembre 2001, Neil Young l'interprète au cours d'un télethon organisé au profit des victimes de l'attaque sur les deux tours. Madonna intègre la chanson "Imagine" au programme de son Re-invention Tour de 2004 et la chante lors d'un concert en aide aux victimes du tsunami, le 15 janvier 2005 à Londres, concert auquel participent Norah Jones, Mary J. Bilge, Elton John, Lenny Kravitz, Stevie Wonder… Pour l'occasion Madonnna cite Lennon parmi les personnalités auxquelles elle aimerait ressembler. La chanson est également reprise par Liza Minelli, Randy Crawford, Jack Johnson, Herbie Hancock et le groupe A Perfect Circle.Fait rare, la chanson obtient une reconnaissance de la part de politiciens et gouvernants. Le 8 décembre 2000, une statue de John Lennon est inaugurée au Havana Park de Cuba et pour l'occasion le président Fidel Castro rend hommage au chanteur en indiquant :"Je partage totalement ses rêves".
En 2003, pour célébrer le 80ème anniversaire de Shimon Peres, Bill Clinton chante"Imagine"en compagnie de 40 enfants israéliens et 40 enfants arabes. Trois ans plus tard, un autre ancien président américain, Carter déclare qu'au cours de ses parcours dans le monde, c'est "Imagine" qu'il entend le plus souvent, davantage que l'hymne national du pays !Lennon qui souhaitait laisser derrière lui un message de fraternité universel pouvait-il rêver mieux ?Daniel Ichbiah
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
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.
Susovski, Marijan, ed. The New Art Practice in Yugoslavia, 1966 - 1978. Zagreb: Gallery of Contemporary Art, 1978.
Sutil, Nicolás Salazar. Motion and Representation: The Language of Human Movement. Cambridge: MIT Press, 2015.
Swenson, Kirsten. Irrational Judgements: Eva Hesse, Sol Lewitt, and 1960s New York. New Haven: Yale University Press, 2015.
Szeemann, Harold. Zum freien Tanz, zu reiner Kunst. Rolandseck: Stiftung Hans Arp und Sophie Taeuber-Arp, 1991.
Tagg, John. The Burden of Representation: Essays on Photographies and Histories. Minneapolis: University of Minnesota Press, 1988.
Tilmans, Karin, and Frank van Vree, Jay Winter, eds. Performing the Past: Memory, History, and Identity in Modern Europe. Amsterdam: Amsterdam University Press, 2010.
Tumarkin, Maria M. Traumascapes: The Power and Fate of Places Transformed by Tragedies. Victoria, Australia: Melbourne University Press, 2005.
Udall, Sharyn R. Dance and American Art: A Long Embrace. Madison: University of Wisconsin Press, 2012.
Vacche, Angela Dalle. Film, Art, New Media: Museum without Walls? New York: Palgrave Macmillan, 2012.
Vertinsky, Patricia Anne. The Eternally Wounded Woman: Women, Doctors, and Exercise in the Late Nineteenth Century. Manchester: Manchester University Press, 1989.
Virilio, Paul. The Art of the Motor. Translated Julie Rose. Minneapolis: University of Minnesota Press, 1995.
Weibel, Peter. Beyond Art: A Third Culture. Vienna: Ambra Verlag, 2005.
Wells, Liz, ed. Photography: A Critical Introduction. New York: Rutledge, 1996/2015.
Westcott, James. When Marina Abramović Dies: A Biography. Cambridge: MIT Press, 2010.
White, Hayden. “Historiography and Historiophoty.” The American Historical Review. Volume 93. Number 5 (December 1988).
White, Hayden V. Metahistory: The Historical Imagination in Nineteenth-Century Europe. Baltimore: Johns Hopkins University Press, 1973.
Wiehager, Renate, ed. Moving Pictures: Photography and Film in Contemporary Art. Ostfildern- Ruit, Germany: Hate Cantz Publishers, 2001.
Williams, Raymond. Culture and Society, 1780 - 1950. New York: Columbia University Press, 1958/1983.
Wood, Catherine. Yvonne Rainer: The Mind is a Muscle. London: Afterall, 2007. Wood, Denis. The Power of Maps. New York: Guilford Press, 2010.
Woodward, Susan L. Balkan Tragedy: Chaos and Dissolution after the Cold War. Washington, D.C.: The Brookings Institution, 1995.
Young, Kevin. Deviance and Social Control in Sport. Champaign, IL: Human Kinetics, 2008. Youngblood, Gene. Expanded Cinema. New York: E.P. Dutton and Co., 1970.
Zelizer, Barbie, ed. Visual Culture and the Holocaust. New Brunswick: Rutgers University Press, 2001.
Zidić, Igor, and Ana Dević, Antonio Gotovac Lauer a.k.a. Tomislav Gotovac. Antonio Gotovac Lauer: Čelična mreža. Zagreb: Moderna Galerija and Studio Josip Račič, 2006.
Zorn, John W., ed. The Essential Delsarte. Metuchen, NJ: The Scarecrow Press, Inc, 1968.
Žižek, Slavoj. The Indivisible Remainder: An Essay on Schelling and Related Matters. London: Verso, 1996.
----
------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
other Biennale :(Biennials ) :
Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
-------
In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
"The secret of the magic of life consists in using action in order to attain non-action. One must not wish to leap over everything and penetrate directly." - Lu Yen
"The power of Thought, the magic of the Mind!"- Lord Byron
Strainer with nylon bag to peel potatoes, making as little mess as possible and taking up little space.
The Flint Hills, historically known as Bluestem Pastures or Blue Stem Hills, are a region in eastern Kansas and north-central Oklahoma named for the abundant residual flint eroded from the bedrock that lies near or at the surface. It consists of a band of hills stretching from Kansas to Oklahoma, extending from Marshall and Washington Counties in the north to Cowley County, Kansas and Kay and Osage Counties in Oklahoma in the south, to Geary and Shawnee Counties west to east. Oklahomans generally refer to the same geologic formation as the Osage Hills or "the Osage."
The Flint Hills Ecoregion is designated as a distinct region because it has the most dense coverage of intact tallgrass prairie in North America. Due to its rocky soil, the early settlers were unable to plow the area, resulting in the prevalence of cattle ranches as opposed to the crop land more typical of the Great Plains. These ranches rely on annual controlled burns conducted by ranchers every spring to renew the prairie grasses for cattle to graze. This has created in an unusual alliance between the native ecosystem of the Flint Hills and the people who use it.
Explorer Zebulon Pike first coined the name the Flint Hills in 1806 when he entered into his journal, "passed very ruff flint hills". The underlying bedrock of the hills is a flinty limestone.
The rocks exposed in the Flint Hills were laid down about 250 million years ago during the Permian Period. During this time, much of the Midwest, including Kansas and Oklahoma, were covered with shallow seas. As a result, much of the Flint Hills is composed of limestone and shale with plentiful fossils of prehistoric sea creatures. The most notable layer of chert-bearing limestone is the Florence Limestone Member, which is around 45 feet thick. Numerous roadcuts of the Florence Member are prominent along Interstate 70 in Riley County, Kansas. Unlike the Pennsylvanian limestones to the east, however, many of the limestones in the Flint Hills contain numerous bands of chert or flint. Because chert is much less soluble than the limestone around it, the weathering of the limestone has left behind a clay soil with abundant chert gravel. Most of the hilltops in this region are capped with this chert gravel.
The highest point in the Flint Hills is Butler County High Point, with an elevation of 1680 ft.
The United States Environmental Protection Agency and the World Wildlife Fund have designated the Flint Hills as an ecoregion, distinct from other grasslands of the Great Plains.
Beginning in the mid-19th century, homesteaders replaced the American Indians in the Flint Hills. Due to shallow outcroppings of limestone and chert, corn and wheat farming were not practical over much of the area and cattle ranching became the main agricultural activity in the region. Therefore, not having been ploughed over and still sparsely developed today, the Flint Hills represent the last expanse of intact tallgrass prairie in the nation and the best opportunity for sustained preservation of this unique habitat that once covered the Great Plains. Most of the plains, such as the Central tall grasslands to the north, have better soil than the Flint Hills and had a richer plant cover, but have almost entirely been converted to farmland. Tallgrass prairie is regularly renewed by fire and grazing, which also keep back the growth of trees and shrubs. Prominent grass species are big bluestem (Andropogon gerardi), switchgrass (Panicum virgatum), and Indian grass (Sorghastrum nutans).
Animals of the grassland include the American bison, which once grazed the area in their millions, were almost entirely exterminated and have now been reintroduced. The elk that also once roamed the area are now gone.
Four tallgrass prairie preserves are in the Flint Hills, the largest of which, the Tallgrass Prairie Preserve, (the former Barnard Ranch) in the Osage Hills near Pawhuska, Oklahoma, also boasts a large population of bison and is an important refuge for other wildlife such as the greater prairie chicken (Tympanuchus cupido). The other preserves, all located in Kansas, are the 17-square-mile Tallgrass Prairie National Preserve in northern Chase County, Kansas near Strong City, the Flint Hills Tallgrass Prairie Preserve east of Cassoday, "the Prairie Chicken Capital of the World", and the Konza Prairie, which is managed as a tallgrass prairie biological research station by Kansas State University.
A weekend track possession has allowed some of BR's new trainees to get some hands on practical experience. Mobile classroom and training vehicle, Series 1 Bristol VR BNU679G is on hand whilst the track gang have arrived in their Commer PB van.
Following the London Co-operative Society opening its first self-service shop in 1942, the co-operative movement led the way on the development of self-service stores to the point where, by the 1950s, 90% of self-service shops in the UK were self service. The Co-operative movement
was a catalyst for the emerging multiple-store supermarket chains, which forced the Co-op to come to terms with the rise in consumerism and move it away from its association with the "working poor" rather than a more prosperous working class.
( thanks to Jeff Wharton ( flic.kr/p/2pdtzJB ) for photo of re enactor lady waiting for the shop to open, background street photo from timepix.uk ( no. 52 / 834 ) is corner of No. 756 Middleton Road West Manchester, England, not dated
French postcard by Imp. Georges Lang, Paris, offered by Chocolats Tobler. Image: Walt Disney.
Practical Pig is one of the three little pigs of the classic Silly Symphonies short Three Little Pigs (Burt Gillett, 1933) and its three follow-up shorts, The Big Bad Wolf (Burt Gillett, 1934), Three Little Wolves (Burt Gillett, David Hand, 1936), and The Practical Pig (Dick Rickard, 1939). The three pigs are constantly targeted by the Big Bad Wolf, who wants to eat them for dinner.
The Three Little Pigs (1933) was phenomenally successful with audiences of the day, so much that theatres ran the cartoon for months after its debut, to a great financial response. A number of theatres added hand-drawn "beards" to the movie posters for the cartoon as a way of indicating how long its theatrical run lasted. The cartoon is still considered to be the most successful animated short ever made and remained on top of animation until Disney was able to boost Mickey's popularity further by making him a top merchandise icon by the end of 1934. The Three Little Pigs won the Oscar for Best Animated Short Film in 1934. In 1994, it was voted #11 of the 50 Greatest Cartoons of all time by members of the animation field. In 2007, The Three Little Pigs was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".
The Practical Pig (1939) was the only Silly Symphony to be billed as a 'Three Little Pigs' cartoon. It's also the final Silly Symphony to feature the Three Little Pigs, Big Bad Wolf, and the Three Little Wolves. Fiddler and Fifer are caught by the Big Bad Wolf while swimming. But things backfire when the wolf tries to get Practical Pig; he is caught instead. Practical Pig uses his new lie detector to get the information about his two brothers from the wolf.
Source: Disney Wiki and IMDb.
And, please check out our blog European Film Star Postcards.