View allAll Photos Tagged Prioritize
Well finally i make it back to Flickr, have been busy since back from Vacation and deciding how to prioritize my time to get the things I want to get done including gettign back into the photo course I have let slip for too many months and other things, so am back on Flickr now, but will not be able to spend as much time on here or as frequently
However that said I will try try to keep up with and visit the good friends I have made here on Flickr and even though I havent been posting have been following your streams as and when I could
This Shot was taken on our vacation to England where we did a day trip to Gloucester to meet up with some good frineds, had a wonderful time with them
Long-distance telephone exchange on Tenth Avenue, between 53rd and 54th Streets (Kahn & Jacobs, begun circa 1962, completed 1964). In terms of functional needs and alibis, this belongs to the same generation as 33 Thomas and the Williamsburg exchange; it would appear that, like those, its runs its vertical wiring through the exterior surface of the building, simplifying the planning of the interior while eliminating such trendy, flash-in-the-pan architectural features as "windows." A variety of excuses have been presented for this rather narrow-minded prioritization of technical apparatus over its operators, and most of them do contain at least a kind of truth even as they collapse into contradictions and absurdity. Yes, the building was prepared to host its operators for weeks after a nuclear attack - but would eliminating windows really be so helpful in the event of a thermonuclear assault on Manhattan? Yes, switching equipment is sensitive to changes in temperature - but by 1960, modern architecture had a number of well-regarded solutions for incorporating shading devices into a curtain wall. After Hurricane Andrew and the 1993 World Trade Center bombing, the windowless surface was suddenly described as a safeguard against natural disasters and terrorism - yeah, I dunno.
My extended ruminations on this topic - and so much more! - can soon be yours to enjoy in the upcoming issue of Grey Room (#61), but here on Flickr, where I let loose with more freewheeling, formalist takes on architecture, I'd just like to point out how much this building highlights the comparative elegance and "architecting" of 33 Thomas. Here on Tenth Avenue, the functionalist logic of the dense, windowless box of switching equipment is jammed without frills through the Play-Doh molding machine of the New York City zoning code, yielding a building which in its main blocks comes as close as possible to the familiar abstract diagrams of the building envelope: just a series of extruded masses filling the allowable space. The huge tower at the rear, capped with the microwave transmitter ensemble, simultaneously spoils the wedding-cake effect and reinforces by its very ungainliness the functionalist premise. (Quite accidentally, the openings at the top end up looking like a toothy cartoon face, which no doubt troubled at least one designer all the way to the grave.) I don't exactly hate this, though it's a hell of a thing to do to the streetscape. More interestingly, by its very bloody-mindedness it points up 33 Thomas's buried Beaux-Arts-plus-Mies finesse, where the same basic materials are made into something very different.
...and I have a feeling I'll need more than just my rain hat.
Title from an old Peter Gabriel song that I love.
High Line is an elevated railway line owned by the City of New York, today it is a 1.45-mile-long linear public park maintained, operated, and programmed by Friends of the High Line, in partnership with the New York City Department of Parks & Recreation, on Tuesday, September 15, 2015. High Line was opened in 1934 and moved goods to and from Manhattan’s largest industrial district until 1980. The third and final phase officially opened to the public on September 21, 2014. The High Line's green roof system with drip irrigation is designed to allow the planting beds to retain as much water as possible; because many of the plants are drought-tolerant, they need little supplemental watering. When supplemental watering is needed, hand watering is used so as to tailor the amount of water to the needs of individual species and weather conditions, and to conserve water. High Line is independently funded from U.S. Department of Agriculture (USDA) Forest Service (USFS). Urban forestry and green spaces are priority areas for USFS. With 80 percent* of the nation's population in urban areas, there are strong environmental, social, and economic cases to be made for the conservation of green spaces to guide growth and revitalize city centers and older suburbs. Urban forests broadly include urban parks, street trees, landscaped boulevards, public gardens, river and coastal promenades, greenways, river corridors, wetlands, nature preserves, natural areas, shelter belts of trees and working trees at industrial brownfield sites. Urban forests are dynamic ecosystems that provide needed environmental services by cleaning air and water helping to control storm water, and conserving energy. They add form, structure, beauty and breathing room to urban design, reduce noise, separate incompatible uses, provide places to recreate, strengthen social cohesion, leverage community revitalization, and add economic value to our communities. Urban forests, through planned connections of green spaces, form the green infrastructure system on which communities depend. Green infrastructure works at multiple scales from the neighborhood to the metro area up to the regional landscape. This natural life support system sustains clean air and water, biodiversity, habitat, nesting and travel corridors for wildlife, and connects people to nature. Urban forests, through planned connections of green spaces, form the green infrastructure system on which communities depend. Urban and Community Forestry (UCF) is a cooperative program of the US Forest Service that focuses on the stewardship of urban natural resources. UCF provides technical, financial, research and educational services to local government, non-profit organizations community groups, educational institutions, and tribal governments. The program is delivered through its legislative partners, the state forestry agencies in 59 states and US territories. Forest Service cooperative programs are currently being redesigned to make more effective use of federal resources. Programs will be focused on issues and landscapes of national importance and prioritized through state and regional assessments. Over the next five years an increasing percentage of funding will be focused on landscape scale projects. Three national themes provide a framework for this work: conserve working forest landscapes; protect forests from harm; and enhance benefits associated with trees and forests. More information and upcoming webinars on December 9, 2015 | 1:00pm-2:15pm ET; January 13, 2016 | 1:00pm-2:15pm ET; and February 10, 2016 | 1:00pm-2:15pm ET can be seen at *http://www.fs.fed.us/ucf/program.shtml. USDA Photo By Lance Cheung.
I had a very healthy discussion today about politics and about which law needs to be prioritized by our leaders. Yes people needs change and i am too.
Change that would somehow come from ourselves as well, we cant blame all to the government. In fairness to them there are numerous amount of laws that helped us like cheaper medicine and rice distribution were normalized not to mention the imported cheap ones that many families enjoyed.
What pissed me is the reality that the officials( not all ) goes blind with wealth that they tend to forget what it needs to be done. I am not saying that they didnt do anything but corruption is very visible already and it pains us taxpayers that even our pension plan during retirement could not even pay for our medications.
I have reached 199 uploads so therefore this is my 2nd to the last post already since i dont have a pro account.
Peace to you all and god bless Philippines.
Okay, I AM showing off here just a bit...well I am showing off my D3S's sensor to be more precise. ;-) This was shot at iso 16,000. Even to me this is insane that one can actually shoot a (pretty) clear image in almost total darkness and STILL have this much fine detail in the image.
I had such a BLAST with this camera on this trip! I must admit though, I am thinking about NOT bringing a DSLR on my next trip in March. After purchasing the P7100 I am thinking of just bringing that camera instead. I know that I won't be able to get shots like this with the P7100, but I also won't be getting a sore back or be worrying about banging $6,000+ dollars worth of gear around on the rides either. :-) I am in a "simplifying" mood here recently, though actually it is more of a prioritizing kinda mood.
I hope EVERYONE has a wonderful weekend!
Oostende’s promenade was once lined with grand villas and Art Nouveau buildings, reflecting its status as a luxurious seaside resort during King Leopold II's era. After World War II, most of these historic structures were demolished to make way for modern high-rise apartments. This transformation was driven by the rise of mass tourism, prioritizing functionality over preserving architectural heritage.
Today, the Belgian coastline, including Oostende, is heavily urbanized and often criticized for its lack of charm compared to other European coastal areas. Dense apartment blocks have replaced natural dunes and historic landmarks, permanently altering the landscape. Unlike places such as the French Riviera or Dutch coastal towns, which have preserved their historical appeal, the Belgian coast has lost much of its unique identity.
In this image, I aim to create beauty out of this stark reality, playing with light and shadows to transform the setting.
Ostend, Belgium
Due to work, my music and photography have taken a back seat. I'm in the process of making some big life changes and prioritizing music and photography are definitely at the forefront of those changes. I'll be creating a FB page soon! Hope you're all doing well!
After lunch on Avalon Siem Reap, the river boat made its way up the Mekong River to Cu Lao Gieng (January) Island.
So, more river activity shots.
The number of fish farms along the Mekong River is mind boggling. This one looks like a commercial set up, not a mom and pop one.
The impact of floating fish farms is a challenge facing the Mekong River delta because farmers use hormones and fertilizers to grow the fish faster than the normal growth rate, polluting the water, which then causes other farmers downstream to introduce even more external chemicals.
It is a “potential slow moving disaster” that doesn’t seem to have a viable environmental or economic solution. In developing countries like Vietnam, governments often prioritize increasing the size of the middle class and growing the economy over sustainability or environmental justice, which can account for issues like the ones facing the Mekong.
Full set of new old with Marie-Pier
new old: from unused, unexploited, forgotten RAW files from a shoot. Back then I was prioritizing film shots, so I didn't feel like processing extra similar digital versions. However with time it's fun to go back in the vault and look at your unused work from a different eye and go in there with a mindset and mood you feel right now.
High Line volunteers Anne Heany spends an early morning hand watering drought-tolerant plants along the High Line an elevated railway line owned by the City of New York, today the High Line is a 1.45-mile-long linear public park maintained, operated, and programmed by Friends of the High Line, in partnership with the New York City Department of Parks & Recreation, on Tuesday, September 15, 2015. High Line was opened in 1934 and moved goods to and from Manhattan’s largest industrial district until 1980. The third and final phase officially opened to the public on September 21, 2014. The High Line's green roof system with drip irrigation is designed to allow the planting beds to retain as much water as possible; because many of the plants are drought-tolerant, they need little supplemental watering. When supplemental watering is needed, hand watering is used so as to tailor the amount of water to the needs of individual species and weather conditions, and to conserve water. High Line is independently funded from U.S. Department of Agriculture (USDA) Forest Service (USFS). Urban forestry and green spaces are priority areas for USFS. With 80 percent* of the nation's population in urban areas, there are strong environmental, social, and economic cases to be made for the conservation of green spaces to guide growth and revitalize city centers and older suburbs. Urban forests broadly include urban parks, street trees, landscaped boulevards, public gardens, river and coastal promenades, greenways, river corridors, wetlands, nature preserves, natural areas, shelter belts of trees and working trees at industrial brownfield sites. Urban forests are dynamic ecosystems that provide needed environmental services by cleaning air and water helping to control storm water, and conserving energy. They add form, structure, beauty and breathing room to urban design, reduce noise, separate incompatible uses, provide places to recreate, strengthen social cohesion, leverage community revitalization, and add economic value to our communities. Urban forests, through planned connections of green spaces, form the green infrastructure system on which communities depend. Green infrastructure works at multiple scales from the neighborhood to the metro area up to the regional landscape. This natural life support system sustains clean air and water, biodiversity, habitat, nesting and travel corridors for wildlife, and connects people to nature. Urban forests, through planned connections of green spaces, form the green infrastructure system on which communities depend. Urban and Community Forestry (UCF) is a cooperative program of the US Forest Service that focuses on the stewardship of urban natural resources. UCF provides technical, financial, research and educational services to local government, non-profit organizations community groups, educational institutions, and tribal governments. The program is delivered through its legislative partners, the state forestry agencies in 59 states and US territories. Forest Service cooperative programs are currently being redesigned to make more effective use of federal resources. Programs will be focused on issues and landscapes of national importance and prioritized through state and regional assessments. Over the next five years an increasing percentage of funding will be focused on landscape scale projects. Three national themes provide a framework for this work: conserve working forest landscapes; protect forests from harm; and enhance benefits associated with trees and forests. More information and upcoming webinars on December 9, 2015 | 1:00pm-2:15pm ET; January 13, 2016 | 1:00pm-2:15pm ET; and February 10, 2016 | 1:00pm-2:15pm ET can be seen at *http://www.fs.fed.us/ucf/program.shtml. USDA Photo By Lance Cheung.
Our home is our sanctuary, a happy place we built together to escape the outside world's noise. We made a deliberate choice to prioritize calm, connection, and peace above everything else. Our home is a quiet haven where we recharge, connect gently, and find true happiness just being together in peace.
One from the archives. This is the Green Blotched Moth (Cosmodes elegans). This individual had managed to get stuck inside our house. I was able to safely relocate it outside. Happy Moth Monday everyone! I am having a really hectic time at the moment (health issues and general busyness) so apologies if I take a while to comment on photos. I am prioritizing getting my own images up as once spring really kicks in I’ll be taking even more photos and completely overwhelmed!
Prioritizing the search for meaning may be the secret to creating insightful images. Find out more about my thoughts here!
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moneymakerphotography.com/podcast
Searching for meaning is something that most of us photographers do almost by default. After all, that’s the point of creating artwork, isn’t it? To create something meaningful that resonates with the people who enjoy it. And that’s why we spend so much time talking about how to imbue our photographs with meaning. Here is perhaps another way to look at or to approach that search for meaning.
As I said, this is something that most of us do sort of automatically as part of the creation process—but when we’re searching for ideas or photographs to take in the field, we’re also usually searching for other things beyond meaning. We might be looking for beautiful objects or looking for things that fit a theme we happen to be working on. For some of us, at times, the objective is to search out new things that no one has ever photographed before.
In this way, the search for meaning almost becomes an accessory to the rest rather than the primary focus of what we’ve set out to do on a given day. Perhaps instead of searching for the next new thing, things to fit our themes, or things of particular beauty, we should focus the whole of our search on meaning alone.
If you think about it, the search for some of these other, more mundane factors has the potential to lead us to create art that has already been done—often exhaustively. Finding something that has never been photographed before? This is an almost impossible feat in a world where billions of photographs have been made. If we focus our search on beauty, then it’s likely that our beauty ideals will align closely with those of many others—and that will lead us to take photographs of the same things that other people found beautiful.
Of course, there’s nothing wrong with taking photographs of things that other people have already photographed. But I still think it valuable to approach these things with the idea of searching for meaning above all else.
That’s because when we are looking for meaning, we tend to apply our entire lives to what we’re seeing. One person can look at a cliff face and have fond memories of rock climbing with friends while another may remember a camping trip where they sheltered against a cliff during a storm. We all have different experiences and personal thoughts that we can apply to the world—and that’s how we give photographs a unique perspective, by creating them through our personal lens into life. You might find it worthwhile on your next photography outing to dispense with the idea of searching for particular subjects in favor of searching for things that stand out to you as meaningful. Walk through the world, and pause in those places that make you think, feel, or remember. Here is where you are likely to find the material that helps you create deep and moving photographs.
Shyam Rai Temple is an example of the Pancha Ratna (meaning five gems) architecture. The gems in this temple are the four small towers and one main tower that build the Temple. The four towers are situated on the four corners and the highest tower is in the middle. The curved ceiling of the Temple is influenced by Islamic architecture which cannot be seen in any other temple. The temple was built by Raghunatha Singha in the year 1643 A.D and has beautiful terracotta sculptures on walkways depicting various scenes from Ramayana, Krishna Leela and Mahabharata. Other subjects include royal hunting sights, musicians and dancers. All these sculptures and carvings are done with such intricateness that they look lively. Do not miss the sculptures which depict the Rasamandala in the Krishna Leela and the dancing Gopis – they truthfully are astonishing. The architecture of this Temple is unique in its own way and is one of the highest prioritized monuments of the Archaeological Survey of India
A antique stereoview. No info on the back.
Theodore Roosevelt Jr. (/ˈroʊzəvɛlt/ ROH-zə-velt;[b] October 27, 1858 – January 6, 1919), often referred to as Teddy or his initials T. R., was an American politician, statesman, conservationist, naturalist, historian, and writer who served as the 26th president of the United States from 1901 to 1909. He previously served as the 25th vice president under William McKinley from March to September 1901, and as the 33rd governor of New York from 1899 to 1900. Having assumed the presidency after McKinley's assassination, Roosevelt emerged as a leader of the Republican Party and became a driving force for anti-trust and Progressive policies.
Roosevelt was a sickly child with debilitating asthma but partly overcame his health problems by embracing a strenuous lifestyle. He integrated his exuberant personality, a vast range of interests and achievements into a "cowboy" persona defined by robust masculinity. He was home-schooled and began a lifelong naturalist avocation before attending Harvard. His book The Naval War of 1812 (1882) established his reputation as a learned historian and popular writer. Upon entering politics, he became the leader of the reform faction of Republicans in New York's state legislature. His wife and mother both died in the same night and he was psychologically devastated. He recuperated by buying and operating a cattle ranch in the Dakotas. He served as Assistant Secretary of the Navy under President William McKinley and in 1898 helped plan the highly successful naval war against Spain. He resigned to help form and lead the Rough Riders, a unit that fought the Spanish army in Cuba to great publicity. Returning a war hero, he was elected governor of New York in 1898. The New York state party leadership disliked his ambitious agenda and convinced McKinley to make Roosevelt his running mate in the 1900 election. Roosevelt campaigned vigorously, and the McKinley–Roosevelt ticket won a landslide victory based on a platform of victory, peace and prosperity.
Roosevelt assumed the presidency at age 42 after McKinley was assassinated in September 1901. He remains the youngest person to become president of the United States. Roosevelt was a leader of the progressive movement and championed his "Square Deal" domestic policies, promising the average citizen fairness, breaking of trusts, regulation of railroads, and pure food and drugs. He prioritized conservation and established national parks, forests, and monuments intended to preserve the nation's natural resources. In foreign policy, he focused on Central America where he began construction of the Panama Canal. He expanded the Navy and sent the Great White Fleet on a world tour to project American naval power. His successful efforts to broker the end of the Russo-Japanese War won him the 1906 Nobel Peace Prize. Roosevelt was elected to a full term in 1904 and continued to promote progressive policies. He groomed his close friend William Howard Taft to succeed him in the 1908 presidential election.
Roosevelt grew frustrated with Taft's brand of conservatism and belatedly tried to win the 1912 Republican nomination for president. He failed, walked out, and founded the Progressive Party. He ran in the 1912 presidential election and the split allowed the Democratic nominee Woodrow Wilson to win the election. Following the defeat, Roosevelt led a two-year expedition to the Amazon basin where he nearly died of tropical disease. During World War I, he criticized Wilson for keeping the country out of the war; his offer to lead volunteers to France was rejected. He considered running for president again in 1920, but his health continued to deteriorate. He died in 1919. He is generally ranked in polls of historians and political scientists as one of the five best presidents.
Staging area for priority piloted convoy procession along the BC Highway 4 detour route. BC Highway 4 remains closed. Detour route is prioritizing commercial vehicle traffic at each side of the detour throughout the day. For more info check DriveBC.ca
Elida V is a top-modern performance megayacht, and with the launching of this ketch-rigged beauty, a new epoch began in the history of Elida.
The old schooner model, which had followed us since the start of the organization in 1963, was then replaced by more modern sailing yacht features, even though there is still some resemblance with Elida I.
With the new model, the maintenance and running costs are lowered significantly, and environmental issues are prioritized. Thanks to modern materials and construction principles, the performance of the new ship is of the class of sail racing yachts.
With its 45 meter (148 feet) tall mast, Elida V raises curiosity and attention wherever she comes, and many are drawn to the ship to learn more about her construction and purpose.
i'll be using this example of user profiles & conversion events to describe how startups should design & prioritize features in their product development process.
A couple years back I was hired by Andy and Fred of 'AFA' (pioneers of advanced noise cancellation technology).
These images were harder to produce than might appear. I knew I wanted to prioritize Andy and Fred, but also at the same time give a sense of speed and movement. Had I shot in traditional fashion then the shutter speed needed to produce motion blur of the cars would have been dangerously low to also introduce motion blur of Andy and Fred as well. So in order to successfully achieve this look I needed to shoot the images on a tripod and involve strobe work directed at the guys which assists with 'freezing motion' (as well as helping them 'pop out' of the scene). In addition to this I used ND filters to allow me to shoot at wide apertures to allow me to help separate them from the busy backdrop and keep attention placed firmly on them.
The additional benefits of using a tripod allowed me to take several images and blend speeding cars and smoke into any scene of the two of them that I liked.
Overall I think they turned out pretty good.
I am saddened to hear that since this shoot Fred has passed away (pictured on the right). He seemed like such a lovely man with a genuine gentle soul.
Kamera: Nikon FM
Linse: Nikkor-S Auto 55mm f1.2 (1970)
Film: Rollei P&R 640 @ box speed
Kjemi: Rodinal (1:25 / 13:30 min. @ 20°C)
-Monday 26 February 2024: What an eventful day - so many things happening all at once - all of which deserves looking further into:
- US Air Force soldier Aaron Bushnell self-immolates in a shocking protest outside the Israeli embassy in Washington D.C and dies from his injuries.
- Palestinian prime minister Mohammad Shtayyeh (b. 1958) and his PA government resigns.
- Jordanian Air-Force airdrops humanitarian aid of food and other supplies in Gaza
- Last day of the ICJ hearing on the legality of Israeli occupation of West Bank, Gaza and East Jerusalem.
- Final day for Israel to deliver their report to the ICJ in the South Africa vs. Israel genocide case on what measures they have been taking in order to prevent genocide - it was delivered just hours before the deadline.
While we try to digest the rapid bombardment of suddenly fast-forward development, news and unexpected flux - for a better understanding of the context, I want to share with you a worthwile broadcast which goes deeper into the history of Palestine, the PLO and the PA:
COLONIAL LAW AND THE ERASURE OF PALESTINE
by Chris Hedges (b. 1956), The Real News Network February 2, 2024 [See and listen here]
For a century, international law derived from British colonial rule has been premised on the non-existence of Palestinians as a people.
In Palestine, the law has been used as a tool of oppression to legitimize and advance the dispossession of the Palestinian people for more than a century. From the theft of Palestinian land by legal mechanisms to the non-recognition of Palestinians as a people with the inalienable right of self-determination, the law is yet another weapon wielded against the Palestinian people by Israel and its patrons. Activist, attorney, and Rutgers University professor Noura Erakat joins The Chris Hedges Report to discuss the use of lawfare against Palestine and her new book, Justice for Some: Law and the Question of Palestine.
Studio Production: Cameron Granadino
Post-Production: Adam Coley
TRANSCRIPT
The following is a rushed transcript and may contain errors. A proofread version will be made available as soon as possible.
Chris Hedges:
“Time and time again,” the human rights attorney, Noura Erakat (b. 1980), writes, “we see evidence of the laws assumed insignificance in the dispossession of Palestinians. Great Britain remained committed to establishing a Jewish national homeland and Palestine, despite its legal duties as the mandatory power to shepherd local Arab peoples to independence. The permanent mandates commission remained committed to the incorporation of the Balfour Declaration into the Mandate for Palestine in contravention of the covenant of the League of Nations, which in discussing the dispossession of the communities formally belonging to the Turkish empire, stated that the wishes of these communities must be a primary consideration.”
“The United Nations proposed a partition of Palestine without legal consultation and in disregard of the existing populations wellbeing and development, which the same covenant had declared to be a sacred trust of civilization. Zionist militias established Israel by force without regard to the partition plans stipulated borders.”
“The United Nations accepted Israel as a member despite the state’s violation of the non-discrimination clauses of the partition plan and of the UN’s own condition that Israel permit the return of forcibly displaced Palestinian refugees. The very origins of the Palestinian Israeli conflict,” Erakat continues, “suggests that it is characterized by outright lawlessness and yet few conflicts have been as defined by astute attention to law and legal controversy as this one.”
“Do Jews have a right to self-determination in a territory in which they did not reside but settled? Are Palestinians a nation with the right to self-determination or are they merely a heterogeneous polity of Arabs eligible for minority rights? Did the United Nations have the authority to propose partition in contravention of the will of the local population? Are the West Bank including East Jerusalem and the Gaza Strip occupied as a matter of law that is, are they recognized as such by law?”
Does Israel have the right in law to self-defense against the Palestinians living in the occupied territories? Do Palestinians have the right to use armed force against Israel? Is the root of Israel’s separation barrier built predominantly in the West Bank illegal? Is Israel an apartheid regime?
Joining me, discussing these issues examined in her book, Justice For Some: Law and The Question of Palestine, is the human rights attorney and assistant professor at Rutgers University, Noura Erakat (b. 1980).
You begin the book, I think making a crucial point, and that is that the entire legal system, and this predates the establishment of the state of Israel under the British mandate, is grounded in the denial of sovereignty to the Palestinian people. And I, as we said before I went on air, reminded me very much of the construction of the American legal system, another settler colonial project, basing it on Locke’s primacy of property. So you build a legal system on a distortion. And this was something that the British imposed. Let’s go back and look at that.
Noura Erakat:
Absolutely. And so I think that the invocation of John Locke (1632-1704) is very apt here. Specifically as we were discussing earlier, Locke theorizes the social contract as was later applied in the United States as a social contract for settlers only through the exclusion of indigenous peoples and their erasure. And here what you’re describing as the perversion and the denial of sovereignty to Palestinians is what I capture as a colonial erasure, the erasure of the juridical status of Palestinians as a international people with the right to self-determination. There was never a denial that there were people on these lands, but that there was an outright denial whether these people constituted a political community with the right to exercise self-determination, what we’re using interchangeably here with sovereignty, though I would caution that sovereignty has come to take on quite new meaning beyond just statehood and self-governance. But in so far as we’re discussing this particular moment, it’s the aftermath of the First World War.
And the British have basically promised Palestine to its native peoples and promised self-determination across the former Ottoman territory is what they describe as the area a mandate. They’ve also promised Palestine and designated it as a site of Jewish settlement as captured by the Balfour Declaration, which was approved by British Parliament in 1917. That later becomes the Preambular text for the Palestine mandate, which governs the regulation of this mandate territory. Now, in so doing, and this is why I examine the language of the Balfour Declaration, the declaration itself only recognizes Jews was having a right to self-determination when they designated as a site of settlement and recognizes the original inhabitants, but only describes them as having a right to civil and religious rights. So they have the right to practice their religion freely and to move about freely, but they do not have a right to political rights.
And that’s what I capture as the colonial erasure. Once the British do that, and now it’s incorporated in the Palestine mandate in 1921, it becomes, I suggest, not just British colonial prerogative as the mandatory power. It now becomes international law and policy by which the entire permanent mandate commission, which is overseeing the governance of all the mandates. Now remember the mandates are set up as being trusteeships that will be shepherded to self-determination. But as Timothy Mitchell points out, this was about the consent of the governed. That self-determination here only meant that the governed decided who would be their mandatory power. But this becomes an other way to continue French and British colonial penetration into the Middle East and North Africa without necessarily granting independence to these peoples who have to fight for their independence. But even within that construction, they set apart Palestine as a part of international law and policy.
They set it apart from the other class A mandates in saying unlike those mandates that are being shepherded to independents that have a provisional government, that are able to represent themselves, Palestine because of its designation as a side of Jewish settlement has to be now developed in another way. And so they suppress any form of Palestinian sovereignty and self-determination even in contravention of the League of Nations covenant, which regulates the mandate territories, the mandates themselves that says, for example, “You cannot contravene the wishes of the original inhabitants.” Well, obviously we know that the inhabitants rejected Zionism and wanted self-determination, that there should be some sort of self-government, but they wouldn’t allow representative self-government because if they did, that would contravene the Balfour Declaration.
And now the Balfour Declaration was part of the Palestine mandate, which was international law. The PMC resolves this in basically saying, “Why don’t we first prioritize the settlement of Jewish persons and then we’ll move on to resolve the issue of the rights of the original inhabitants?”
And this points out to something interesting, Chris, which is often I think we give too much credit to Britain and to this imperial access of having a plan, that they planned that there would be a Jewish state. And I don’t think so. I don’t think so. I think that they wanted to thwart self-determination in general and maintain Palestine as a site where they can continually justify their intervention and their colonial penetration in order to basically compete with the French in the MENA region as well as to justify their presence through some sort of colonial benevolence.
And what crystallizes later is why this becomes the demand. Now, the Zionist demand for a Jewish state is not something that they necessarily intended and why it becomes a blunder. This becomes a blunderous policy for them as we see in the aftermath of the Second World War, when the British leave and they give this to the United Nations and they say, “We don’t know what to do anymore. We can’t resolve this. We’ve made too many promises, we’ve created a bit of a Frankenstein here.” But all that to say is that it was through their 30 years of that mandatory authority that they create the conditions that basically make ripe Zionist militias to then establish a Jewish state themselves, a Zionist state with a solid Jewish demographic majority that is contingent on the removal and dispossession of the original Palestinian people.
Chris Hedges:
Well, at the inception, the Jews and Palestine who were a small minority were essentially seen as colonial administrators. And during the Arab Revolt, 37, 38, 39, the British were arming the Zionist militias as auxiliary units. You’re write, all of it backfired. But from the inception, and this was I think the underlying point of the Balfour administration, it was through the Jewish community that essentially they were going to maintain this colony. Isn’t that correct?
Noura Erakat:
Yeah, very interesting here. This is also part of a broader colonial trope that they wanted to protect the minority Jewish population as a religious population, and it’s under this kind of benevolent auspices that they can justify their own intervention, right? But they wanted, for example, to maintain direct access and build a railroad from Haifa to Baghdad as part of a broader British vision, that this wasn’t about creating a homeland for Jews, for the British as much as it was about achieving their policy as you’re describing. A few things about the Great Revolt. The Great Revolt is so significant, not only because here the British are arming the Jewish Yeshu, the Zionists and training them in this moment leaving arms to them. At the same time, Rashid Khalidi (b. 1948) points out to us that through the course of the Great Revolt, the British actually end up decimating 10% of the male adult population either through imprisonment, exile, or outright killing.
And so this makes the Palestinians, in fact, some 10 years later when now they’re facing off with the Zionist militias in the falling apart of the partition plan, unable to resist I think more forcefully. So that’s absolutely significant.
The second thing I’ll say about the Great Revolt is that it changed British policy that whereas the British refused to reexamine their commitment to Zionism between 1917 and 1936 in the aftermath of the Great Revolt because they realized that they could not resolve this forcefully, they could not partition Palestine as a matter of force, that the Palestinians refused that outcome, that it would have to be done by force. They actually revised their Zionist policy for the first time when they issue the white paper and they walk back that policy and now say that the future will be determined by a referendum and that there will somehow be an Arab federal state instead. Obviously, none of this comes to fruition, not least of which because the Second World War begins.
Chris Hedges:
And I just, as you point out in your book, the Arab Revolt was actually quite successful. I think they even occupied, as you say, Jerusalem for five days, huge parts of the country. And the British declared martial law and brought in, was it a hundred thousand or 200,000 British troops? So it required Draconian British military power, in essence to crush these aspirations. And then as you point out, left the Palestinians weakened. You had a Jewish brigade of course in World War II incorporated into the British Army, and then they pushed through the seizure of land, 78% of land 1948 when they created the state of Israel, which is an important part.
Noura Erakat:
Before you go there, Chris, I just want to point out this point about martial law significant in three ways, I should say. Number one, the martial law regime that the British apply during the Great Revolt in order to basically crush the Palestinian insurgency and uprising is something that they’re applying across their colonial geographies and their colonial holdings, whether it be in Malay, in Kenya, in India, this is a form of their suspending all civil rights in order to be able to exercise whatever they deem necessary for their national interests. And so the colonial legacy, here, I say that to just emphasize that as exceptional as many aspects of the Palestinian struggle for liberation are, that it’s actually quite common and emblematic of a broader colonial history. The second thing that I want to point out is that upon its establishment, Israel, one of the first act of the Knesset is to adopt Britain’s emergency regime, almost verbatim, almost verbatim, for the purpose of achieving its settler colonial ambitions.
Of course, they become sovereign over 78% of Palestinian lands, but those lands still belong to Palestinians. It takes 12 years until 1960 in four phase plan where now the state of Israel, no longer the Zionist militias, are now the state forces, are incrementally taking that land through a regime of immigration law, property law, and emergency rule of which the military law is central as it’s applied solely to the Palestinian population that remains, that eventually become citizens of the state as well.
And then the third thing that I’ll say about that martial law is that once they lift the martial law, in 1966, this is precisely what now they apply to the Palestinians and the West Bank in Gaza to continue that settler colonial expansion. So the legacy, this broad global legacy of martial rule in order to achieve their colonial ambitions becomes a central organizing technology of Israeli governance in order to fulfill its own settler colonial ambitions, both within what becomes Israel as well as in what we describe as the occupied territories in the West Bank, including East Jerusalem and the Gaza Strip.
Chris Hedges:
So there were two key points I picked up from your book. One, this continuum between a legal system set up by the British settler Colonial project and the Israeli settler colonial project really almost seamless and premised on exactly the same point that the Palestinians have no sovereignty, the Palestinians, Golda Meir (1898-1978), I think said they don’t exist as a people. And so just the same legal tools that the British were using to dispossess and strip Palestinians of basic rights are no different from the tools that Israel uses. Is that correct?
Noura Erakat:
I’ll modify that slightly. And also, unfortunately, [inaudible 00:18:35] D. Muir says this in an interview with the International Herald Tribune where she says, “It’s not as if there was a land with a people that we dispossessed. It was a land without a people for a people without a land.” This is emphasizing that colonial erasure, Golda Meir, Theodor Herzl (1860-1904), Chaim Weizmann (1874-1952), Arthur Ruppin (1876-1943), all of these founding figures, Zionist figures understand full well there are Palestinians, they just do not recognize them as a political community.
There’s this continuing discourse of savagery, barbarism, lack of civilization, do not know how to rule themselves. It’s a colonial project. Zionism is very much a settler colonial project, which makes this revisionism that we’re seeing today, describing it as a national self-determination movement, or worse as the greatest form of anti-colonial revolt. So laughable because it is exalted, self exalted as a colonial project. The other thing I’ll just modify slightly is that insofar as the British were concerned, it wasn’t just that they were targeting Palestinians, they were also suppressing any form of national self-determination because of their imperial interest.
They wanted to stay there, they didn’t want to leave. But the infrastructure that they set up for us, this emergency infrastructure in particular is what Zionists adopt in Toto, almost verbatim, when the Israel establishes itself and they do so whereas when the British passed, they actually impose the martial law and the emergency regime on everyone. The Jewish Zionists as well as Palestinians, when Israel adopts it in the Knesset, it’s imposed on Palestinians only in order to continue now a specific form of dispossession. What the British do is engage in immigration, which is engage in a discriminatory form of immigration that just doesn’t regulate the immigration of Jewish settlers. And also a land regime where we’re seeing a tremendous sale of lands that’s also unregulated, not regulating the market properly so that Palestinians are not necessarily stripped forcefully what they’re stripped of as their political right, their political right to represent themselves, their political right to organize their political right to make decisions on what this looks like.
But not in the same way of once Israel is established. At that point, the law is retooled specifically to transform Palestinian lands into Israel lands. And once in the form of Israel lands, that’s just the cover because if you say Israel, that means that, oh, everybody who’s a citizen of Israel. But in fact, it’s a cover to say Jewish national lands in particular because upon its establishment in 1950 and 1952, Israel bifurcates Jewish nationality from Israeli citizenship. And this is key. This is key especially to those who discuss apartheid because Israel doesn’t become an apartheid regime for failing to establish a Palestinian state and truncating Zionist sovereignty across the 1949 Armistice lines or what we know as the 1967 lines. Israel is predicated on a discriminatory framework that bifurcates Jewish nationality through which all rights flow.
This is an extraterritorial right that promises any Jewish person within outside, who’s never even heard of the state, who might be born today, to land, to employment, to housing, to education, to governance in a way that will never become accessible even to the Palestinian inhabitants that never leave. 20% of Israel’s population are the Palestinians that stay through the 1948 war, but even they don’t have those same rights. They’re only entitled to Israeli citizenship. And there’s a two-tiered system, one of nationality and citizenship, and one of citizenship only, and citizenship only is a form of second class citizenship or a fifth pillar. And so this too is part of a legal edifice that defines the state and its establishment.
Chris Hedges:
In the book, you talk about the legal recourses that Palestinians, in particular the PLO, and what I found interesting is that while they didn’t achieve their ultimate objective, they often achieve secondary objectives that benefited the Palestinian people almost by default. Can you explain that?
Noura Erakat:
Well, you’re leaving it very open-ended because as you know, I divide the book into five critical junctures. Each of those junctures is really catalyzed by some sort of violent confrontation that becomes an opportunity to recalibrate the balance of power. And in each of these episodes, that relationship between power and law becomes formative in both defining how we understand the question of what becomes the question of Palestine as articulated by the United Nations in 1948, it suddenly becomes a question, and defines the meaning of law in particular. So what the Palestinians do, and those junctures are 1917, in the aftermath of the first World War, 1967, the 1967 war, 1973, the October 1973 war, 1987, the First Palestinian Intifada and 2000, the Second Palestinian Intifada, which also shapes and defines ongoing warfare to this day when Israel shifts from a policy of occupation to explicit warfare against the Palestinians who live under its occupation.
So I say that all to lay out the audience, that I’ll just focus on the juncture and the aftermath of the 1973 war. When I articulate in the book that this was really the apex of when the Palestinian Liberation Organization due to the law astutely to achieve its national ambitions. Now, this is also nuanced because at this time in 1973, the PLO as defined by its militia forces who take over the PLO in 1968, their goal is full liberation. They want to liberate all of Palestine. They have no ambitions for a state. There’s no articulation of that. This is a decolonization movement they want to liberate. They want to free the land. In the aftermath of the 1973 war, and specifically we see this very explicitly in ’74, we might see it earlier, but very explicitly in ’74, there is now a seed planted that envisions the establishment of a truncated Palestinian state as either the stepping stone of full liberation or the final solution.
We don’t see that question resolved until 1988 when the Palestinians now enter Oslo. So I’m just setting this up for the audience to be able to explain that even we say, what do Palestinians want? At this point there’s a lot of nuance. There’s an explicit agenda of full liberation, but there’s also now a latent agenda by some elements of the PLO led by Fatah, and I would say even a very conservative element of Fatah, not all of Fatah at this time. So now what? Okay, so in ’74, the Palestinians basically make their first foray into the United Nations. Their objective is actually not to enter the United Nations. They want to enter the Middle East peace process now being shepherded by the Soviet Union, but by primarily the United States, by Nixon, who’s both the Secretary of State and the head of the National Security Council, who in pursuance of Zionist goals as well as US national interest, disaggregates the Arab Israeli question, or the Arab Israeli conflict, I should say, into an Egyptian Israeli track, a Lebanese Israeli track, a Jordanian Israeli track, a Syrian Israeli track, and leaves out the Palestinians altogether.
What the PLO really wants is to be able to negotiate on behalf of themselves and not by proxy. Failure to be able to incorporate themselves into that negotiating process, now they set their sights on the United Nations, and that’s when they enter in ’74 to pass Resolution 3236 and 3237, which together both affirms their Juridical status as a people when it says that the PLO is the sole and legitimate representative of the Palestinian people and not merely a [inaudible 00:28:23] of refugees in need of humanitarian assistance and establishes a corrective to Resolution 242, which doubles down on their erasure by describing them as refugees only, and establishes a quid pro quo arrangement whereby Israel will enjoy permanent peace in recognition for returning all of the territories. And so this is seen as an instrument of defeat. So that’s the first kind of what, I guess, one might describe as that’s not exactly what they wanted.
What they wanted was to enter into the negotiations. This is what they do, which is also very successful. That didn’t advance their cause as much. And in the summer of ’75, they decided that they wanted to expel Israel from the United Nations in the same way that the non-aligned movement had expelled South Africa and unseated it from the United Nations. But in their effort to do so, they were primarily blocked by Egypt under the leadership of Anwar El-Sadat (1918-1981), who saw that the only pathway forward was through some sort of US alliance in order to get the Sinai back to recoup the Sinai and wanted to continue negotiations with Israel. So actually stymied this initiative to unseat Israel from the United Nations. Instead, what the Palestinians do in the summer of ’75 at the International Women’s Conference, at the Organization of Islamic Cooperation, at the non-aligned movement, amongst the organization of African Union is basically a condemnation of Zionism as a form of racism and racial discrimination.
That wasn’t the primary goal, but that was the consensus. So they come back to the general assembly and now work to create one of the most significant, I think, legal achievements when they amend the decade against racism that was targeting apartheid in Namibia and South Africa to also include a condemnation of Zionism. And we get Resolution 3379 that declares that Zionism is a form of racism and racial discrimination that would only be rescinded by the PLO itself in 1991. And so I would say that these are just a few examples of what… I think I’m responding to your question of perhaps what Palestinians had sought and what they do instead using these legal maneuvers. And obviously all of this entry of foray is also restricting the Palestinians themselves, but it’s a restriction that they welcome in order to advance their other goals.
Chris Hedges:
Let’s talk about Oslo. You opened that chapter quoting Edward Said (1935-2003), who calls it a Palestinian Versailles, and really, I think, you make a very persuasive argument that it destroys the PLO as an effective resistance organization.
Noura Erakat:
When I started this chapter, I really was starting it and interested in it as a legal scholar, and I thought to myself, one of the offerings that I can make is to explain to a non-specialist, what did Oslo do in order to permanently subjugate Palestinians? Because that’s what it is. Oslo is a sovereignty trap. It doesn’t promise, there’s never even a mention of the Palestinian state. None of its negotiating terms promises an eventual outcome of a Palestinian state. Palestinians don’t get anything. And so I wanted to explain that, how does Israel create this new administration under Oslo to regulate access to water, access to land, access to movement? How does Oslo set up all of these strictures? But when I read the actual documents, the Declaration of Principles, also known as Oslo 1, when you read Oslo 2, that sets up this jurisdictional regime of area A, B, and C, when you read why and Taba and so on, it’s so obvious how Palestinians are subjugated that I thought to myself, well, you don’t need to be a legal expert to have this takeaway, you just need to be literate.
So instead, I decide to answer a question I don’t know the answer to yet, which is why? Why would the PLO enter into something so obviously devastating and self-defeating. And in trying to answer that question, what becomes clearer to me anyway, is that this really is about salvaging the PLO, that that’s what was being done. The PLO after its expulsion from Lebanon in 1982 in removal to Tunisia, is now no longer has a solid base where it almost oversees, one would say the infrastructure of a para state with a significant refugee population within Lebanon that constitutes an entire institution of representation and services and functioning, and also it doesn’t have the grounds for cross border attacks. That’s a significant blow. By 1987, they continue to weaken, not least because of the emergence of opposition like Hamas, that now becomes even more popular than the PLO struggle, as well as the fact that now there’s an organic movement within the West Bank in Gaza that’s leading an Intifada, an uprising so that the center of gravity shifts from the Palestinian diaspora to Palestinian lands themselves.
And this is undermining the PLO’s authority together with the fact now by the time Arafat throws his hat in and supports Saddam Hussein’s occupation of Kuwait, which in retribution Gulf states, Kuwait, number one basically says Palestinians out. And now there’s a whole loss of remittances to the Palestinians, as well as the fact that anybody that wants to support Palestine is going to support opposition and not the PLO itself. So all of these things come together to basically shape a moment where the PLO was at the edge of irrelevance, at the edge of irrelevance. And entering into the negotiations, they had a very adept team at Madrid, Washington, that saw the writing on the wall [foreign language 00:35:33] are very clear in their legal analysis in mourning that Israel is basically offering the same thing that was offered in the 1978 Middle East peace process in the negotiation between Sadat and Begin leading up to the 1979 permanent Egyptian Israeli peace, which is an autonomy framework.
That’s all they’re offering. They offered the same thing in ’78. The only difference now when they’re offering it in the lead up to the adoption of the Declaration of principles is that they’re saying that Palestinians will not only be able to govern themselves on these different plot of lands, but can also govern certain plots of land, but only there. They still won’t be able to exercise jurisdiction. And instead of electing a local government to do it, they’ll allow the PLO to do it. Those are literally the only differences between ’78 and what we ultimately see in ’93. One of the interesting things about doing this work, Chris, and this research, is that the legal literature is dominated by Israeli scholars, especially on these questions. So part of the work that I was doing was also helping to create a Palestinian archive to advance these legal arguments.
And doing that meant that I interviewed the interlocutors that were there. I interviewed the negotiators themselves, so Camille Mansour (b. 1945), who was there and was a negotiator and is a legal scholar. It’s his words where he illuminates that if you lose Palestinian representation, we go back to being just no people anymore. We had to save the PLO in order to save our status as a juridical people. But in exchange for that recognition, we basically relinquished Palestine.
The rescindment of the 1975 resolution declaring Zionism is a form of racism, is emblematic. The amendment of the charter that says that Palestinians will no longer resort to armed force when Israel is not making similar concessions. It doesn’t say we’re not resorting to armed force. The recognition of Israel. Palestinians recognize Israel. There’s no mutual recognition of a Palestine. And so Palestinians basically see and surrender what should have remained on the table as part of their negotiating leverage as a condition for entering into Oslo, which becomes the trap that they remained frankly ensconed within. Although we obviously see many, many cracks and Oslo has been dead, even though many have tried to keep it up on stilts. But that’s what’s happening. That’s what people are celebrating in 1993, even though though Edward Said, Haidar Abdel-Shafi, Nabil Shaath, and many others recognized as an instrument of defeat, this Palestine, it’s done, Palestine has been lost. And even Hanan Ashrawi (b. 1946), Dr. Hahan Ashrawi, who recognizes what a loss this is, also agrees that it was still worthwhile because they didn’t want to relinquish the status of the PLO. And so people are not stupid.
This was a very logical decision. The PNC approves Oslo, approves the DOP. So this is also not necessarily just betrayal by the PLO, even though it is betrayal by the negotiating team in Oslo, which was the back channel secret negotiation, but the negotiators in Washington had no idea about. But just adding nuance here that there was a lot. The PLO in its own documentation says that they entered into Oslo and Dr. Nabil Shaath (b. 1938), who’s also one of my interlocutors, says, “We knew it was bad, but we entered on good faith.” And that faith obviously didn’t bear out for them. It didn’t do what they had hoped.
Chris Hedges:
There was a lot of corruption. I was in Gaza after Oslo and the PLO leadership were importing their duty free Mercedes and building villas. As you point out in the book, the PA (Palestinian Authority) spends most of its budget on internal security functioning in essence as a colonial police force, the hierarchy that’s willing to do that dirty work can live very well. But we’ve now reached a point, and of course in the elections in 2006, the PA lost, Hamas won even in the West Bank. So in many ways, I don’t know if you would agree, it’s nullified itself as a credible movement on behalf of the Palestinian people at this point. Would you agree?
Noura Erakat:
100%. I think that this is consensus amongst Palestinians, which is what’s so troubling that the PA, even according to Oslo, the PA is only meant to be an administrative body. It should deliver mail. It should pick up the trash. It should complete administrative functions. It was never appointed to lead the Palestinian liberation movement, which should have remained within the purview of the PLO. But we see a collapse of the PA in the PLO in a way that blurs these lines on the firsthand. And then instead what we see, it was supposed to have a temporary function until we moved into permanent status negotiations and the establishment of the Palestinian state. There’s never a mention of the Palestinian state, Chris. Even the negotiators themselves, Yitzhak Rabin (1922-1995) who is hailed as the peacemaker and assassinated for his willingness to enter into Oslo by an Israeli settler.
Even he says there will never be a Palestinian state. So this temporary arrangement should have only lasted for five years. Let alone now we’re above three decades, and the PA has been a very, very significant instrument part and parcel of Israel’s occupation regime. It is doing the work on behalf of Israel. It is coordinating security with Israel. It is arresting Palestinians. It is providing intelligence on where Palestinians are. It is actually entering into Palestinian public squares to beat Palestinians to suppress their protests, even now against the genocide in Gaza. Just think. Just think the fact that the public sector is bloated, but the primary part of the Palestinian public sector is the security sector. And that security sector is basically policing Palestinians to protect Israel settlement enterprises. I had said before, and I’m saying now again, that in contrast, there’s no dedication, for example, to invest in the agricultural sector.
Had the PA now collapsed with a PLO invested in an agricultural sector, it might’ve been able to create and cultivate an economy that can engage in boycott of Israeli goods even rather than be flooded with Israeli goods into the market. But this also goes hand in hand with the fact that the PLO has never even endorsed boycott. There’s still committed, even if it’s a state led, a truncated Palestinian state, to that structure at the expense of liberation. And why at the expense of liberation, because this is not inclusive of all Palestinians. It’s not inclusive of the Palestinian refugees. It’s certainly not inclusive of the Palestinians who are citizens of Israel, and it doesn’t have a vision of how is it that Palestinians are going to be free from Israeli dominance as opposed to what they’re banking on, which is an autonomy arrangement whereby they will forever receive certain incremental privileges from Israel and its patron, the United States, in exchange for being good natives.
And this is the trap that we remain in, and it puts Palestinians… It makes our struggles so much harder. And many people are asking, how is Gaza? And the West Bank too. I mean, obviously the West Bank is being subject to untold and unprecedented violence from the beginning of this year, but especially since early October. But Palestinians are not even able to mount a significant and a robust resistance to protect themselves because not only are they being attacked by Israel and their settler vigilantes who are being armed, but they’re also being attacked and policed by the Palestinian authority.
Chris Hedges:
You compare the PLO to the Namibians and you make some, I think, really important points about how they were far more astute. They rejected the South African peace process as an alternative. SWAPO refused to enter South Africa’s exclusive sphere of influence and maintain an adversarial position, unlike the PLO, which has committed to US mediated bilateral talks for 25 years, SWAPO never relinquished its right to the use of force, and it never ceased its armed struggle. Talk about the difference because they were far more successful. And then of course you had Cuban troops stationed in Angola.
Noura Erakat:
I bring up Namibia in the conclusion because there is, especially in the realm of Palestine, and we see this now because of the South Africa application at the ICJ, there is a way because of the failure of politics really, and a failure of a Palestinian leadership to articulate some sort of a political program and a resistance vision. And resistance here, I mean robustly like diplomatic resistance, economic resistance, popular resistance, cultural resistance, delegitimizing, a Zionist colonial project. Nothing. There’s nothing. And in the absence of that, unfortunately, human rights and rights-based programs have taken up an inordinate amount of space in a way that even supplants the language of politics that now Palestinian politics are hollowed out instead with principles of law, which is detrimental, is detrimental because the law is only a tool. That very same law like human rights law that Palestinians use to assert their right to family and their right to not be harmed.
Settlers in the West Bank are invoking that same body of law to say that it’s their human right to maintain these lands and to be protected and to be free of Israeli state violence. The law will set up a battleground only, but that can only be resolved through politics. And so I bring that to the fore to say, because so many people bring up Namibia as an example of a very astute use of the law. Here it is. Namibia waged a multi-year legal battle where they incrementally scaffolded a legal argument at the ICJ in order to demonstrate firstly and foremost the illegitimacy of South Africa as a mandatory power and a governing power in Namibia and South Africa. And then scaffolding on top of that other rights of their right to self-determination and so on and so forth. But it’s not because of this robust jurisprudence that the Namibians ultimately gain independence. That’s necessary.
That was strategic. That helped build a language to use. It helped cultivate international support. But ultimately it wasn’t a legal decision. South Africans don’t leave Namibia because the court said so, they could care less. Ultimately why they leave is because you have Cuban forces who are fighting alongside, who are in Angola that the US wants out of Angola. This becomes a proxy for the US and the Soviet Union and Cuba being involved, and part of that negotiation of withdrawal includes withdrawal from Namibia. So there are other things happening where this influences the United States and shifts its position on apartheid as well. But the Namibians, as you point out in and as I point out in the book, are also very astute. They never enter into a South African sphere of influence. They’re offered the same thing that Palestinians are offered in the form of black homelands and autonomous governance.
They reject that. They never rescind their right and to use armed force, which is enshrined as a result of the non-aligned movement, enshrined as a right for people living under alien occupation, racism and domination. So that matters too. Now, I say all that to say to the credit of the Palestinians that this environment in which Namibia is maneuvering or Namibians are maneuvering, excuse me, doesn’t exist by the time the Palestinians are entering into Oslo. In fact, we’re seeing Namibian and South African independence. Mandela has been released. We’re seeing the fall of apartheid. We see the fall of the Soviet Union. We see the emergence of a unipolar world. So this balance of power that really did enable a different kind of liberation struggle for Namibians is not available to the Palestinians at the time. And so we can sit here retrospectively and say, “Well, nothing could have been worse than what they’ve done now.”
But all of this is conjecture, obviously. I’m less concerned about the trap that Palestinians enter into based on this balance of power based on the political considerations. I’m more concerned that they haven’t shifted course and policy when it was clear. If you didn’t know the day of like Abdel-Shafi and Said than others, you certainly knew by 2000 when the Camp David agreement collapses. Now it’s over. [inaudible 00:51:44] is besieged and killed. That’s it. There’s no excuse. Because I want to give some benefit of the doubt that they thought they couldn’t get anything better. Fine. But by 2000, you knew that this was a dead end. So there’s absolutely no explanation why Palestinians would stay in that arrangement since 2000 through 2023, a quarter of a century, knowing full well, there’s no way out.
Chris Hedges:
Well, Palestinian Street. The average Palestinian has walked away from it. They walked away from it a long time ago.
Noura Erakat:
Even in this moment, the Palestinian liberation struggle’s not being led by an official Palestinian leadership, which makes this moment even more profound, that we’re Palestinian Diaspora, Palestinians on the ground. Everybody has been coordinating and working without a centralized governance system, certainly without any means and funding, and yet has been able to mobilize in a decentralized fashion.
The Boycott National Committee establishes itself in 2005, launches an international boycott divestment in sanctions movement. This is civil society. It has nothing to do with the Palestinian leadership. The way that Palestinians bring back a condemnation of Zionism, which we see first in the Durban Conference in 2001. The review conference of the decade against racism happens in Durban, South Africa in 2001, where Palestinians raise the banner and say, “Israel’s an apartheid regime, and Zionism is racism once again.” Palestinians have never relinquished that front, and we even see it in the realm of knowledge production where scholars have reconstructed very robustly, not only making clear that Israel is a settler colonial project, but that there’s an entire realm of Palestinian indigenous studies of tradition, of economy, of belonging, of family, all sorts of tradition of land use, of sea technology that could be studied, which brings us into 2024.
The reason we remain alive as a people is because the people have insisted that we are here.
Chris Hedges:
I want to close by talking about the resistance. That was more than a hundred days of saturation, bombing of Gaza, destruction of every form of infrastructure that can sustain existence from wells to hospitals, to bakeries to schools, horrific numbers of dead. I was in Sarajevo during the war, which was awful, three to 400 shells a day, four to five dead a day, two dozen wounded a day. I only say that as a comparison to Gaza, where hundreds of people are being wounded and killed a day just to point out the scale. And yet, US intelligence estimates that only 20 to 30% of resistance or fighters, Hamas fighters, have been killed. It’s becoming clear that if Israel does not achieve its goal, which I don’t see how it will of eradicating Hamas, and Hamas and the resistance survives, which I feel it will then in any way, the Palestinians win.
And however horrific Gaza becomes other than the Yemenis, the Houthis, nobody is intervening to halt this genocide despite all the legal bodies we have at the UN and everywhere else. But talk about the resistance and whether I know how I knew one of the founders of Hamas, Abdel Aziz al-Rantisi (1947-2004) was in his house with him and his family. His wife was just killed on October 19th. And not by the way, the demonized image of a leader of Hamas. He was a pediatrician, highly educated, graduated first in his class from the University of Alexandria, very soft-spoken, brilliant figure, assassinated in 2004 along with one of his sons. Let’s talk about the resistance. And so whether you embrace the ideology of Hamas or not, for me, is irrelevant. I think it’s been amazingly successful.
Noura Erakat:
Well, I want to nuance this in many ways. I want to nuance this by having a lot of mixed feelings about strategy and moving forward. And I want to emphasize here, I think, and I understand, I understand this idea of that if they’re not defeated, they win, which is a tenant of asymmetric warfare and guerilla combat. But I can’t do that with ease, given the magnitude of loss and given just how painful it’s been.
Images that I saw last night are still ravaging me inside of what are we going to tell these kids who have suffered so much? 355,000 children because of dehydration are at risk of permanent, cognitive, under development and stunting, right? So it’s hard for me, Chris, as much as if they’re not defeated, obviously I don’t want them to be defeated. And what people don’t understand when they say that is because surrender doesn’t bring us back to an ordinary life, which is normally what war looks like. You fight, you fight, you fight, you fight, and then one party surrenders because then you just go back to ordinary life. Palestinians don’t go back to an ordinary life. So surrender is not an option. At the same time, I want to take time to mourn. Palestinians have not had time to mourn. There is such deep devastation that’s generational, that’s traumatic, that’s social, that’s political that I want to honor and hold here. And it’s very painful. It’s just very, very painful.
And I don’t know what we do. I don’t know what we do because not only are we holding onto that pain, but now we have in Israel a society that is not just quasi okay with an apartheid racist regime. They have literally become avid supporters of genocide as a matter of rights. They’re fascists, society, media, children are taunting their elders, their principal for expressing empathy for Palestinians. For me, I paused to say, what is the victory here when now we have to deal with a society? What is the exit plan? How do you defeat fascism in a world where it’s being nurtured by Germany and the United States and Britain and Canada? They’re applauding them. And so where is the accountability here? So I just countenance the language of victory, to be honest, and I know that puts me at odds and probably deflates a lot of people who want to hear something else, and I just want to ground this in something else of what it means that Israel cannot decimate Hamas military.
They cannot. There is no military solution. There is no military solution. They cannot decimate Hamas. They haven’t. Hamas is still firing rockets from the middle of Gaza City. As you point out, they’ve not even decimated half of their militants in the Gaza Strip. They’ve not turned the Palestinians against Hamas, which was part of their military objective. If anything, they’ve made Hamas more popular and robust, not only amongst Palestinians, across the air world and the world in general. And they’re not any closer to retrieving their captive, their captive military personnel or rescuing their civilian hostages, which they were only able to retrieve and return through diplomatic negotiations. Someone has to ask, how can you justify the 11th most significant military in the world? Be trust by US intelligence, with advanced weapons technology that has had no red lines for over a hundred days, that has not even come close to achieving any of its military objectives, but has certainly destroyed Palestinian life, conditions of life that’s promising devastation into the future.
We have to agree that anybody who’s now supporting this is outright supporting a terroristic program that’s basically targeting Palestinian civilians, as put by Professor [inaudible 01:01:51], Palestinian civilians are clearly the military objectives. Hamas is the collateral damage.
So I think that we have to use this to agree that there is no way out, but that the road ahead is what we absolutely need to keep our eyes on. For me, victory is liberation. Victory is a world where Palestinians are recognized as having human life that is sacred and worthy of protection and deserving of self-defense, which Palestinians have asserted over and over and refused to relinquish. I cannot believe this is in controversy.
And so insofar as the cessation, for me, first and foremost, the cessation of hostilities is necessary just to end the genocide. And then insofar as it demonstrates there’s no military solution and exposes that Zionism is predicated on just a genocidal program that’s an ongoing Nakba in their own words, Avi Dichter (b. 1952) said it clearly, “This is Gaza.” Gaza Nakba 2023. They’ve equated their peace and security to genocide and ethnic cleansing. In so far as it illuminates that in order to get us to the threshold that it’s not controversial, that it’s not controversial, that Palestinians deserve life.
Chris Hedges:
Thank you. That was Noura Erakat, human rights attorney and assistant professor at Rutgers University. I want to thank the Real News Network and his production team, Cameron Granadino, Adam Coley, David Hebden, and Kayla Rivara. You can find me at chrishedges.substack.com.
This article first appeared on The Real News Network and is republished here under a Creative Commons license.
Courtesy of Karina Natalie Hahn, the Weepbot Humanoid Queen.
October is not an easy month for me, and neither is the first week of November. I've kept myself busy, what with hiding out, shaving my head, screening my calls and covering my tracks.
Now it's time to move on and finish this year strong. Prioritize, execute and keep moving forward. Regret can wait.
I'm playing catch-up for last month's absence. New music and doodles and photography are pending. This is just me checking in.
Bear with me (or don't, I'll understand) and I will catch you all on the next one. Stay fierce. - O.P.
Biennalist :
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
-------------------------------------------
links about Biennalist :
Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
—--Biennale from wikipedia —--
The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.
Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).
Characteristics[edit]
According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]
The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.
A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.
The Venice Biennale as an archetype[edit]
The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.
The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.
Biennials after the 1990s[edit]
The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.
International biennales[edit]
In the term's most commonly used context of major recurrent art exhibitions:
Adelaide Biennial of Australian Art, South Australia
Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Athens Biennale, in Athens, Greece
Bienal de Arte Paiz, in Guatemala City, Guatemala[4]
Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)
Bamako Encounters, a biennale of photography in Mali
Bat-Yam International Biennale of Landscape Urbanism
Beijing Biennale
Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)
Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no
Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China
Bienal de Arte de Ponce in Ponce, Puerto Rico
Biënnale van België, Biennial of Belgium, Belgium
BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.
Biennial of Hawaii Artists
Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]
Biwako Biennale [ja], in Shiga, Japan
La Biennale de Montreal
Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola
Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal
Bucharest Biennale in Bucharest, Romania
Bushwick Biennial, in Bushwick, Brooklyn, New York
Canakkale Biennial, in Canakkale, Turkey
Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]
Changwon Sculpture Biennale in Changwon, South Korea
Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal
Documenta, contemporary art exhibition held every five years in Kassel, Germany
Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France
EVA International, biennial in Limerick, Republic of Ireland
Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]
Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan
Gwangju Biennale, Asia's first and most prestigious contemporary art biennale
Havana biennial, in Havana, Cuba
Helsinki Biennial, in Helsinki, Finland
Herzliya Biennial For Contemporary Art, in Herzliya, Israel
Incheon Women Artists' Biennale, in Incheon, South Korea
Iowa Biennial, in Iowa, USA
Istanbul Biennial, in Istanbul, Turkey
International Roaming Biennial of Tehran, in Tehran and Istanbul
Jakarta Biennale, in Jakarta, Indonesia
Jerusalem Biennale, in Jerusalem, Israel
Jogja Biennale, in Yogyakarta, Indonesia
Karachi Biennale, in Karachi, Pakistan
Keelung Harbor Biennale, in Keelung, Taiwan
Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India
Kortrijk Design Biennale Interieur, in Kortrijk, Belgium
Kobe Biennale, in Japan
Kuandu Biennale, in Taipei, Taiwan
Lagos Biennial, in Lagos, Nigeria[10]
Light Art Biennale Austria, in Austria
Liverpool Biennial, in Liverpool, UK
Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]
Manifesta, European Biennale of contemporary art in different European cities
Mediations Biennale, in Poznań, Poland
Melbourne International Biennial 1999
Mediterranean Biennale in Sakhnin 2013
MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada
MOMENTUM [no], in Moss, Norway[12]
Moscow Biennale, in Moscow, Russia
Munich Biennale, new opera and music-theatre in even-numbered years
Mykonos Biennale
Nakanojo Biennale[13]
NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia
October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]
OSTEN Biennial of Drawing Skopje, North Macedonia[15]
Biennale de Paris
Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]
São Paulo Art Biennial, in São Paulo, Brazil
SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]
Prospect New Orleans
Seoul Biennale of Architecture and Urbanism
Sequences, in Reykjavík, Iceland[18]
Shanghai Biennale
Sharjah Biennale, in Sharjah, UAE
Singapore Biennale, held in various locations across the city-state island of Singapore
Screen City Biennial, in Stavanger, Norway
Biennale of Sydney
Taipei Biennale, in Taipei, Taiwan
Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.
Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]
Dream city, produced by ART Rue Association in Tunisia
Vancouver Biennale
Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]
Venice Biennale, in Venice, Italy, which includes:
Venice Biennale of Contemporary Art
Venice Biennale of Architecture
Venice Film Festival
Vladivostok biennale of Visual Arts, in Vladivostok, Russia
Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA
Web Biennial, produced with teams from Athens, Berlin and Istanbul.
West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.
WRO Biennale, in Wrocław, Poland[22]
Music Biennale Zagreb
[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.
—---Venice Biennale from wikipedia —
The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]
Organization[edit]
Art Biennale
Art Biennale
International Art Exhibition
1895
Even-numbered years (since 2022)
Venice Biennale of Architecture
International Architecture Exhibition
1980
Odd-numbered years (since 2021)
Biennale Musica
International Festival of Contemporary Music
1930
Annually (Sep/Oct)
Biennale Teatro
International Theatre Festival
1934
Annually (Jul/Aug)
Venice Film Festival
Venice International Film Festival
1932
Annually (Aug/Sep)
Venice Dance Biennale
International Festival of Contemporary Dance
1999
Annually (June; biennially 2010–16)
International Kids' Carnival
2009
Annually (during Carnevale)
History
1895–1947
On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]
A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]
The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.
The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).
During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.
1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.
In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.
In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.
During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]
1948–1973[edit]
The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.
1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.
In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.
1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.
The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]
In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").
Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]
1974–1998[edit]
1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.
On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]
In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.
In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]
The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.
For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]
1999–present[edit]
In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.
In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).
The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.
The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.
In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.
Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".
The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".
The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]
Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]
The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]
The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]
The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]
The Biennale has an attendance today of over 500,000 visitors.[30][31][32]
Role in the art market[edit]
When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]
Central Pavilion and Arsenale[edit]
The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.
Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]
A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi.[37]
National pavilions[edit]
Main article: National pavilions at the Venice Biennale
The Giardini houses 30 permanent national pavilions.[13] Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Giardini are occupied by a further 29 pavilions built at different periods by the various countries participating in the Biennale. The first nation to build a pavilion was Belgium in 1907, followed by Germany, Britain and Hungary in 1909.[13] The pavilions are the property of the individual countries and are managed by their ministries of culture.[38]
Countries not owning a pavilion in the Giardini are exhibited in other venues across Venice. The number of countries represented is still growing. In 2005, China was showing for the first time, followed by the African Pavilion and Mexico (2007), the United Arab Emirates (2009), and India (2011).[39]
The assignment of the permanent pavilions was largely dictated by the international politics of the 1930s and the Cold War. There is no single format to how each country manages their pavilion, established and emerging countries represented at the biennial maintain and fund their pavilions in different ways.[38] While pavilions are usually government-funded, private money plays an increasingly large role; in 2015, the pavilions of Iraq, Ukraine and Syria were completely privately funded.[40] The pavilion for Great Britain is always managed by the British Council[41] while the United States assigns the responsibility to a public gallery chosen by the Department of State which, since 1985, has been the Peggy Guggenheim Collection.[42] The countries at the Arsenale that request a temporary exhibition space pay a hire fee per square meter.[38]
In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czechia and Slovakia, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, eleven new participant countries developed national pavilions for the Biennale: Angola, Bosnia and Herzegowina, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada,[43] Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[44] In 2019, four countries participated in the Art Biennale for the first time: Ghana, Madagascar, Malaysia, and Pakistan.[45]
As well as the national pavilions there are countless "unofficial pavilions"[46] that spring up every year. In 2009 there were pavilions such as the Gabon Pavilion and a Peckham pavilion. In 2017 The Diaspora Pavilion bought together 19 artists from complex, multinational backgrounds to challenge the prevalence of the nation state at the Biennale.[47]
The Internet Pavilion (Italian: Padiglione Internet) was founded in 2009 as a platform for activists and artists working in new media.[48][49][50] Subsequent editions were held since,[51] 2013,[51] in conjunction with the biennale.[52]
-----
وینسVenetsiya
art umjetnost umění kunst taideτέχνη művészetList ealaínarte māksla menasartiKunst sztuka artăumenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism
Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia
--------key words
headband protest fashion protestfashion artistic intervention performance artformat action installation critical critic critique institutional critic choregraphy scenography
#venicebiennale #biennalist #artformat #biennale #artbiennale #biennial
#BiennaleArte2024 #artformat
"Enough is Enough!"
Anti-UCP Rally
Edmonton, AB
From the event organizers:
"We're here to unite concerned citizens of Alberta in a movement against the current government, the United Conservative Party (UCP), because Enough is Enough.
We believe the UCP has let us down across various fronts, failing to prioritize the needs of everyday Albertans. Whether it's healthcare, electricity pricing, forest management, climate change, education, housing, the cost of living, renewables, or any other issue affecting our province, we share a common frustration: our government isn't working for us.
It's time for change. It's time for a government that truly represents the interests of all Albertans, present, and future. Join us as we mobilize and demand accountability. This is democracy in action.
Enough is Enough! Together, let's make our voices heard and build a better future for Alberta."
Examples of urban forestry are seen between and on Manhatten buildings seen from Long Island City, New York, on Wednesday, September 16, 2015. Urban forestry and green spaces are priority areas for U.S. Department of Agriculture (USDA) Forest Service (USFS). With 80 percent* of the nation's population in urban areas, there are strong environmental, social, and economic cases to be made for the conservation of green spaces to guide growth and revitalize city centers and older suburbs. Urban forests broadly include urban parks, street trees, landscaped boulevards, public gardens, river and coastal promenades, greenways, river corridors, wetlands, nature preserves, natural areas, shelter belts of trees and working trees at industrial brownfield sites. Urban forests are dynamic ecosystems that provide needed environmental services by cleaning air and water helping to control storm water, and conserving energy. They add form, structure, beauty and breathing room to urban design, reduce noise, separate incompatible uses, provide places to recreate, strengthen social cohesion, leverage community revitalization, and add economic value to our communities. Urban forests, through planned connections of green spaces, form the green infrastructure system on which communities depend. Green infrastructure works at multiple scales from the neighborhood to the metro area up to the regional landscape. This natural life support system sustains clean air and water, biodiversity, habitat, nesting and travel corridors for wildlife, and connects people to nature. Urban forests, through planned connections of green spaces, form the green infrastructure system on which communities depend. Urban and Community Forestry (UCF) is a cooperative program of the US Forest Service that focuses on the stewardship of urban natural resources. UCF provides technical, financial, research and educational services to local government, non-profit organizations community groups, educational institutions, and tribal governments. The program is delivered through its legislative partners, the state forestry agencies in 59 states and US territories. Forest Service cooperative programs are currently being redesigned to make more effective use of federal resources. Programs will be focused on issues and landscapes of national importance and prioritized through state and regional assessments. Over the next five years an increasing percentage of funding will be focused on landscape scale projects. Three national themes provide a framework for this work: conserve working forest landscapes; protect forests from harm; and enhance benefits associated with trees and forests. More information and upcoming webinars on December 9, 2015 | 1:00pm-2:15pm ET; January 13, 2016 | 1:00pm-2:15pm ET; and February 10, 2016 | 1:00pm-2:15pm ET can be seen at *http://www.fs.fed.us/ucf/program.shtml. USDA Photo By Lance Cheung.
Well... finally, after all the delays and design challenges, it is done. Here is my B-18A Bolo LEGO MOC, a medium bomber used by the U.S. Army Air Corps primarily in the Pacific during the interwar and early World War II periods. It was a notoriously funkily-proportioned aircraft, with its round-bellied fuselage, its backwards-tapered wings and its odd bombardier canopy shaping at the front; but, all in all, it was a sturdy, rugged bomber (though nothing to write home about as for success in World War II XD). Lots of these were destroyed on the ground during the raids of Pearl harbor, but I really wanted to challenge myself in attempting to construct a plane that isn't all about the glamour and good looks so many beautiful aircraft of its era retained. Having incorporated working landing gear and included string for the wings, I am proud of its functionalities. However, I sadly could not include a working bomb bay due to the construction of its simulated rounded "doors" flush with the fuselage. Nothing opens on the underside, but that was due to the fact of me wanting to prioritize structure and look to the Bolo. Unfortunately, the sacrifice ended up being without a functioning bomb bay... but, overall, the result (for now) is adequate for my liking. But, let me know YOUR thoughts in the comments! Faves are also appreciated, and, as always, have an awesome day! (:
Biennalist :
Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.
-------------------------------------------
links about Biennalist :
Thierry Geoffroy/Colonel:
en.wikipedia.org/wiki/Thierry_Geoffroy
en.wikipedia.org/wiki/Emergency_Room_(art)
www.emergencyrooms.org/formats.html
—--Biennale from wikipedia —--
The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.
Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).
Characteristics[edit]
According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]
The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.
A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.
The Venice Biennale as an archetype[edit]
The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.
The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.
Biennials after the 1990s[edit]
The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.
International biennales[edit]
In the term's most commonly used context of major recurrent art exhibitions:
Adelaide Biennial of Australian Art, South Australia
Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Athens Biennale, in Athens, Greece
Bienal de Arte Paiz, in Guatemala City, Guatemala[4]
Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)
Bamako Encounters, a biennale of photography in Mali
Bat-Yam International Biennale of Landscape Urbanism
Beijing Biennale
Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)
Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no
Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China
Bienal de Arte de Ponce in Ponce, Puerto Rico
Biënnale van België, Biennial of Belgium, Belgium
BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.
Biennial of Hawaii Artists
Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]
Biwako Biennale [ja], in Shiga, Japan
La Biennale de Montreal
Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola
Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal
Bucharest Biennale in Bucharest, Romania
Bushwick Biennial, in Bushwick, Brooklyn, New York
Canakkale Biennial, in Canakkale, Turkey
Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]
Changwon Sculpture Biennale in Changwon, South Korea
Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal
Documenta, contemporary art exhibition held every five years in Kassel, Germany
Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France
EVA International, biennial in Limerick, Republic of Ireland
Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]
Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan
Gwangju Biennale, Asia's first and most prestigious contemporary art biennale
Havana biennial, in Havana, Cuba
Helsinki Biennial, in Helsinki, Finland
Herzliya Biennial For Contemporary Art, in Herzliya, Israel
Incheon Women Artists' Biennale, in Incheon, South Korea
Iowa Biennial, in Iowa, USA
Istanbul Biennial, in Istanbul, Turkey
International Roaming Biennial of Tehran, in Tehran and Istanbul
Jakarta Biennale, in Jakarta, Indonesia
Jerusalem Biennale, in Jerusalem, Israel
Jogja Biennale, in Yogyakarta, Indonesia
Karachi Biennale, in Karachi, Pakistan
Keelung Harbor Biennale, in Keelung, Taiwan
Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India
Kortrijk Design Biennale Interieur, in Kortrijk, Belgium
Kobe Biennale, in Japan
Kuandu Biennale, in Taipei, Taiwan
Lagos Biennial, in Lagos, Nigeria[10]
Light Art Biennale Austria, in Austria
Liverpool Biennial, in Liverpool, UK
Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]
Manifesta, European Biennale of contemporary art in different European cities
Mediations Biennale, in Poznań, Poland
Melbourne International Biennial 1999
Mediterranean Biennale in Sakhnin 2013
MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada
MOMENTUM [no], in Moss, Norway[12]
Moscow Biennale, in Moscow, Russia
Munich Biennale, new opera and music-theatre in even-numbered years
Mykonos Biennale
Nakanojo Biennale[13]
NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia
October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]
OSTEN Biennial of Drawing Skopje, North Macedonia[15]
Biennale de Paris
Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]
São Paulo Art Biennial, in São Paulo, Brazil
SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]
Prospect New Orleans
Seoul Biennale of Architecture and Urbanism
Sequences, in Reykjavík, Iceland[18]
Shanghai Biennale
Sharjah Biennale, in Sharjah, UAE
Singapore Biennale, held in various locations across the city-state island of Singapore
Screen City Biennial, in Stavanger, Norway
Biennale of Sydney
Taipei Biennale, in Taipei, Taiwan
Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)
Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.
Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]
Dream city, produced by ART Rue Association in Tunisia
Vancouver Biennale
Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]
Venice Biennale, in Venice, Italy, which includes:
Venice Biennale of Contemporary Art
Venice Biennale of Architecture
Venice Film Festival
Vladivostok biennale of Visual Arts, in Vladivostok, Russia
Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA
Web Biennial, produced with teams from Athens, Berlin and Istanbul.
West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.
WRO Biennale, in Wrocław, Poland[22]
Music Biennale Zagreb
[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.
—---Venice Biennale from wikipedia —
The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]
Organization[edit]
Art Biennale
Art Biennale
International Art Exhibition
1895
Even-numbered years (since 2022)
Venice Biennale of Architecture
International Architecture Exhibition
1980
Odd-numbered years (since 2021)
Biennale Musica
International Festival of Contemporary Music
1930
Annually (Sep/Oct)
Biennale Teatro
International Theatre Festival
1934
Annually (Jul/Aug)
Venice Film Festival
Venice International Film Festival
1932
Annually (Aug/Sep)
Venice Dance Biennale
International Festival of Contemporary Dance
1999
Annually (June; biennially 2010–16)
International Kids' Carnival
2009
Annually (during Carnevale)
History
1895–1947
On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]
A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]
The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.
The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).
During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.
1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.
In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.
In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.
During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]
1948–1973[edit]
The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.
1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.
In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.
1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.
The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]
In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").
Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]
1974–1998[edit]
1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.
On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]
In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.
In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]
The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.
For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]
1999–present[edit]
In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.
In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).
The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.
The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.
In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.
Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".
The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".
The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]
Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]
The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]
The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]
The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]
The Biennale has an attendance today of over 500,000 visitors.[30][31][32]
Role in the art market[edit]
When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]
Central Pavilion and Arsenale[edit]
The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.
Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]
A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi.[37]
National pavilions[edit]
Main article: National pavilions at the Venice Biennale
The Giardini houses 30 permanent national pavilions.[13] Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Giardini are occupied by a further 29 pavilions built at different periods by the various countries participating in the Biennale. The first nation to build a pavilion was Belgium in 1907, followed by Germany, Britain and Hungary in 1909.[13] The pavilions are the property of the individual countries and are managed by their ministries of culture.[38]
Countries not owning a pavilion in the Giardini are exhibited in other venues across Venice. The number of countries represented is still growing. In 2005, China was showing for the first time, followed by the African Pavilion and Mexico (2007), the United Arab Emirates (2009), and India (2011).[39]
The assignment of the permanent pavilions was largely dictated by the international politics of the 1930s and the Cold War. There is no single format to how each country manages their pavilion, established and emerging countries represented at the biennial maintain and fund their pavilions in different ways.[38] While pavilions are usually government-funded, private money plays an increasingly large role; in 2015, the pavilions of Iraq, Ukraine and Syria were completely privately funded.[40] The pavilion for Great Britain is always managed by the British Council[41] while the United States assigns the responsibility to a public gallery chosen by the Department of State which, since 1985, has been the Peggy Guggenheim Collection.[42] The countries at the Arsenale that request a temporary exhibition space pay a hire fee per square meter.[38]
In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czechia and Slovakia, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, eleven new participant countries developed national pavilions for the Biennale: Angola, Bosnia and Herzegowina, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada,[43] Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[44] In 2019, four countries participated in the Art Biennale for the first time: Ghana, Madagascar, Malaysia, and Pakistan.[45]
As well as the national pavilions there are countless "unofficial pavilions"[46] that spring up every year. In 2009 there were pavilions such as the Gabon Pavilion and a Peckham pavilion. In 2017 The Diaspora Pavilion bought together 19 artists from complex, multinational backgrounds to challenge the prevalence of the nation state at the Biennale.[47]
The Internet Pavilion (Italian: Padiglione Internet) was founded in 2009 as a platform for activists and artists working in new media.[48][49][50] Subsequent editions were held since,[51] 2013,[51] in conjunction with the biennale.[52]
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وینسVenetsiya
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venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism
Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia
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For years, I’ve made a habit of looking for my FOY Horned Larks in wintertime. They’re actually easiest to find in the dead of a Minnesota winter, especially in barren agricultural fields. For whatever reason, I just never prioritized them this winter, so this summertime sighting was extra special. I rarely see Horned Larks this late into the season, and seeing them among the green cornstalks was new for me. I gotta admit, their “mauve” coloring never really made sense to me (especially in winter). But now, I can see exactly how that coloring would help them blend into their summer environment. Benton County, MN 06/11/25
VENDEDOR-ALFOMBRAS-AFGANISTAN-ARTE-PINTURA-PLASTICA-TIENDAS-PERSONAJES-LONDRES-PINTOR-ERNEST DESCALS-
Siguiendo en el pintar los personajes y las escenas en la ciudad de Londres, Inglaterra, el vendedor afganès de alfombras en el interior de su tienda, he primado el manchado sobre los detalles para captar la colorista atmósfera del establecimiento, predominio del color rojo, que la luz acentúa. Pintura con amplias y sueltas manchas de los pinceles del artista pintor Ernest Descals sobre papel de 50 x 70 centímetros.
Following the painting of the characters and the scenes in the city of London, England, the Afghan carpet seller inside his store, I prioritized the stained over the details to capture the colorful atmosphere of the establishment, predominance of the color red, which the light accentuates. Painting with large and loose brush marks by the artist painter Ernest Descals on 50 x 70 centimeter paper.
Canyonlands National Park is an American national park located in southeastern Utah near the town of Moab. The park preserves a colorful landscape eroded into numerous canyons, mesas, and buttes by the Colorado River, the Green River, and their respective tributaries. Legislation creating the park was signed into law by President Lyndon Johnson on September 12, 1964.
The park is divided into four districts: the Island in the Sky, the Needles, the Maze, and the combined rivers—the Green and Colorado—which carved two large canyons into the Colorado Plateau. While these areas share a primitive desert atmosphere, each retains its own character. Author Edward Abbey, a frequent visitor, described the Canyonlands as "the most weird, wonderful, magical place on earth—there is nothing else like it anywhere."
In the early 1950s, Bates Wilson, then superintendent of Arches National Monument, began exploring the area to the south and west of Moab, Utah. After seeing what is now known as the Needles District of Canyonlands National Park, Wilson began advocating for the establishment of a new national park that would include the Needles. Additional explorations by Wilson and others expanded the areas proposed for inclusion into the new national park to include the confluence of Green and Colorado rivers, the Maze District, and Horseshoe Canyon.
In 1961, Secretary of the Interior Stewart Udall was scheduled to address a conference at Grand Canyon National Park. On his flight to the conference, he flew over the Confluence (where the Colorado and Green rivers meet). The view apparently sparked Udall's interest in Wilson's proposal for a new national park in that area and Udall began promoting the establishment of Canyonlands National Park.
Utah Senator Frank Moss first introduced legislation into Congress to create Canyonlands National Park. His legislation attempted to satisfy both nature preservationists' and commercial developers' interests. Over the next four years, his proposal was struck down, debated, revised, and reintroduced to Congress many times before being passed and signed into creation.
In September, 1964, after several years of debate, President Lyndon B. Johnson signed Pub.L. 88–590, which established Canyonlands National Park as a new national park. Bates Wilson became the first superintendent of the new park and is often referred to as the "Father of Canyonlands."
The Colorado River and Green River combine within the park, dividing it into three districts called the Island in the Sky, the Needles, and the Maze. The Colorado River flows through Cataract Canyon below its confluence with the Green River.
The Island in the Sky district is a broad and level mesa in the northern section of the park, between the Colorado and Green rivers. The district has many viewpoints overlooking the White Rim, a sandstone bench 1,200 feet (370 m) below the Island, and the rivers, which are another 1,000 feet (300 m) below the White Rim.
The Needles district is located south of the Island in the Sky, on the east side of the Colorado River. The district is named for the red and white banded rock pinnacles which are a major feature of the area. Various other naturally sculpted rock formations are also within this district, including grabens, potholes, and arches. Unlike Arches National Park, where many arches are accessible by short to moderate hikes, most of the arches in the Needles district lie in backcountry canyons, requiring long hikes or four-wheel drive trips to reach them.
The Ancestral Puebloans inhabited this area and some of their stone and mud dwellings are well-preserved, although the items and tools they used were mostly removed by looters. The Ancestral Puebloans also created rock art in the form of petroglyphs, most notably on Newspaper Rock along the Needles access road.
The Maze district is located west of the Colorado and Green rivers. The Maze is the least accessible section of the park, and one of the most remote and inaccessible areas of the United States.
A geographically detached section of the park located north of the Maze district, Horseshoe Canyon contains panels of rock art made by hunter-gatherers from the Late Archaic Period (2000-1000 BC) pre-dating the Ancestral Puebloans. Originally called Barrier Canyon, Horseshoe's artifacts, dwellings, pictographs, and murals are some of the oldest in America. The images depicting horses date from after 1540 AD, when the Spanish reintroduced horses to America.
Since the 1950s, scientists have been studying an area of 200 acres (81 ha) completely surrounded by cliffs. The cliffs have prevented cattle from ever grazing on the area's 62 acres (25 ha) of grassland. According to the scientists, the site may contain the largest undisturbed grassland in the Four Corners region. Studies have continued biannually since the mid-1990s. The area has been closed to the public since 1993 to maintain the nearly pristine environment.
Mammals that roam this park include black bears, coyotes, skunks, bats, elk, foxes, bobcats, badgers, ring-tailed cats, pronghorns, desert bighorn sheep, and cougars. Desert cottontails, kangaroo rats and mule deer are commonly seen by visitors.
At least 273 species of birds inhabit the park. A variety of hawks and eagles are found, including the Cooper's hawk, the northern goshawk, the sharp-shinned hawk, the red-tailed hawk, the golden and bald eagles, the rough-legged hawk, the Swainson's hawk, and the northern harrier. Several species of owls are found, including the great horned owl, the northern saw-whet owl, the western screech owl, and the Mexican spotted owl. Grebes, woodpeckers, ravens, herons, flycatchers, crows, bluebirds, wrens, warblers, blackbirds, orioles, goldfinches, swallows, sparrows, ducks, quail, grouse, pheasants, hummingbirds, falcons, gulls, and ospreys are some of the other birds that can be found.
Several reptiles can be found, including eleven species of lizards and eight species of snake (including the midget faded rattlesnake). The common kingsnake and prairie rattlesnake have been reported in the park, but not confirmed by the National Park Service.
The park is home to six confirmed amphibian species, including the red-spotted toad, Woodhouse's toad, American bullfrog, northern leopard frog, Great Basin spadefoot toad, and tiger salamander. The canyon tree frog was reported to be in the park in 2000, but was not confirmed during a study in 2004.
Canyonlands National Park contains a wide variety of plant life, including 11 cactus species,[34] 20 moss species, liverworts, grasses and wildflowers. Varieties of trees include netleaf hackberry, Russian olive, Utah juniper, pinyon pine, tamarisk, and Fremont's cottonwood. Shrubs include Mormon tea, blackbrush, four-wing saltbush, cliffrose, littleleaf mountain mahogany, and snakeweed
Cryptobiotic soil is the foundation of life in Canyonlands, providing nitrogen fixation and moisture for plant seeds. One footprint can destroy decades of growth.
According to the Köppen climate classification system, Canyonlands National Park has a cold semi-arid climate ("BSk"). The plant hardiness zones at the Island in the Sky and Needles District Visitor Centers are 7a with an average annual extreme minimum air temperature of 4.0 °F (-15.6 °C) and 2.9 °F (-16.2 °C), respectively.
The National Weather Service has maintained two cooperative weather stations in the park since June 1965. Official data documents the desert climate with less than 10 inches (250 millimetres) of annual rainfall, as well as hot, mostly dry summers and cold, occasionally wet winters. Snowfall is generally light during the winter.
The station in The Neck region reports an average January temperature of 29.6 °F and an average July temperature of 79.3 °F. Average July temperatures range from a high of 90.8 °F (32.7 °C) to a low of 67.9 °F (19.9 °C). There are an average of 45.7 days with highs of 90 °F (32 °C) or higher and an average of 117.3 days with lows of 32 °F (0 °C) or lower. The highest recorded temperature was 105 °F (41 °C) on July 15, 2005, and the lowest recorded temperature was −13 °F (−25 °C) on February 6, 1989. Average annual precipitation is 9.33 inches (237 mm). There are an average of 59 days with measurable precipitation. The wettest year was 1984, with 13.66 in (347 mm), and the driest year was 1989, with 4.63 in (118 mm). The most precipitation in one month was 5.19 in (132 mm) in October 2006. The most precipitation in 24 hours was 1.76 in (45 mm) on April 9, 1978. Average annual snowfall is 22.8 in (58 cm). The most snowfall in one year was 47.4 in (120 cm) in 1975, and the most snowfall in one month was 27.0 in (69 cm) in January 1978.
The station in The Needles region reports an average January temperature of 29.7 °F and an average July temperature of 79.1 °F.[44] Average July temperatures range from a high of 95.4 °F (35.2 °C) to a low of 62.4 °F (16.9 °C). There are an average of 75.4 days with highs of 90 °F (32 °C) or higher and an average of 143.6 days with lows of 32 °F (0 °C) or lower. The highest recorded temperature was 107 °F (42 °C) on July 13, 1971, and the lowest recorded temperature was −16 °F (−27 °C) on January 16, 1971. Average annual precipitation is 8.49 in (216 mm). There are an average of 56 days with measurable precipitation. The wettest year was 1969, with 11.19 in (284 mm), and the driest year was 1989, with 4.25 in (108 mm). The most precipitation in one month was 4.43 in (113 mm) in October 1972. The most precipitation in 24 hours was 1.56 in (40 mm) on September 17, 1999. Average annual snowfall is 14.4 in (37 cm). The most snowfall in one year was 39.3 in (100 cm) in 1975, and the most snowfall in one month was 24.0 in (61 cm) in March 1985.
National parks in the Western US are more affected by climate change than the country as a whole, and the National Park Service has begun research into how exactly this will effect the ecosystem of Canyonlands National Park and the surrounding areas and ways to protect the park for the future. The mean annual temperature of Canyonlands National Park increased by 2.6 °F (1.4 °C) from 1916 to 2018. It is predicted that if current warming trends continue, the average highs in the park during the summer will be over 100 °F (40 °C) by 2100. In addition to warming, the region has begun to see more severe and frequent droughts which causes native grass cover to decrease and a lower flow of the Colorado River. The flows of the Upper Colorado Basin have decreased by 300,000 acre⋅ft (370,000,000 m3) per year, which has led to a decreased amount of sediment carried by the river and rockier rapids which are more frequently impassable to rafters. The area has also begun to see an earlier spring, which will lead to changes in the timing of leaves and flowers blooming and migrational patterns of wildlife that could lead to food shortages for the wildlife, as well as a longer fire season.
The National Park Service is currently closely monitoring the impacts of climate change in Canyonlands National Park in order to create management strategies that will best help conserve the park's landscapes and ecosystems for the long term. Although the National Park Service's original goal was to preserve landscapes as they were before European colonization, they have now switched to a more adaptive management strategy with the ultimate goal of conserving the biodiversity of the park. The NPS is collaborating with other organizations including the US Geological Survey, local indigenous tribes, and nearby universities in order to create a management plan for the national park. Right now, there is a focus on research into which native plants will be most resistant to climate change so that the park can decide on what to prioritize in conservation efforts. The Canyonlands Natural History Association has been giving money to the US Geological Survey to fund this and other climate related research. They gave $30,000 in 2019 and $61,000 in 2020.
A subsiding basin and nearby uplifting mountain range (the Uncompahgre) existed in the area in Pennsylvanian time. Seawater trapped in the subsiding basin created thick evaporite deposits by Mid Pennsylvanian. This, along with eroded material from the nearby mountain range, became the Paradox Formation, itself a part of the Hermosa Group. Paradox salt beds started to flow later in the Pennsylvanian and probably continued to move until the end of the Jurassic. Some scientists believe Upheaval Dome was created from Paradox salt bed movement, creating a salt dome, but more modern studies show that the meteorite theory is more likely to be correct.
A warm shallow sea again flooded the region near the end of the Pennsylvanian. Fossil-rich limestones, sandstones, and shales of the gray-colored Honaker Trail Formation resulted. A period of erosion then ensued, creating a break in the geologic record called an unconformity. Early in the Permian an advancing sea laid down the Halgaito Shale. Coastal lowlands later returned to the area, forming the Elephant Canyon Formation.
Large alluvial fans filled the basin where it met the Uncompahgre Mountains, creating the Cutler red beds of iron-rich arkose sandstone. Underwater sand bars and sand dunes on the coast inter-fingered with the red beds and later became the white-colored cliff-forming Cedar Mesa Sandstone. Brightly colored oxidized muds were then deposited, forming the Organ Rock Shale. Coastal sand dunes and marine sand bars once again became dominant, creating the White Rim Sandstone.
A second unconformity was created after the Permian sea retreated. Flood plains on an expansive lowland covered the eroded surface and mud built up in tidal flats, creating the Moenkopi Formation. Erosion returned, forming a third unconformity. The Chinle Formation was then laid down on top of this eroded surface.
Increasingly dry climates dominated the Triassic. Therefore, sand in the form of sand dunes invaded and became the Wingate Sandstone. For a time climatic conditions became wetter and streams cut channels through the sand dunes, forming the Kayenta Formation. Arid conditions returned to the region with a vengeance; a large desert spread over much of western North America and later became the Navajo Sandstone. A fourth unconformity was created by a period of erosion.
Mud flats returned, forming the Carmel Formation, and the Entrada Sandstone was laid down next. A long period of erosion stripped away most of the San Rafael Group in the area, along with any formations that may have been laid down in the Cretaceous period.
The Laramide orogeny started to uplift the Rocky Mountains 70 million years ago and with it, the Canyonlands region. Erosion intensified and when the Colorado River Canyon reached the salt beds of the Paradox Formation the overlying strata extended toward the river canyon, forming features such as The Grabens. Increased precipitation during the ice ages of the Pleistocene quickened the rate of canyon excavation along with other erosion. Similar types of erosion are ongoing, but occur at a slower rate.
Utah is a landlocked state in the Mountain West subregion of the Western United States. It borders Colorado to its east, Wyoming to its northeast, Idaho to its north, Arizona to its south, and Nevada to its west. Utah also touches a corner of New Mexico in the southeast. Of the fifty U.S. states, Utah is the 13th-largest by area; with a population over three million, it is the 30th-most-populous and 11th-least-densely populated. Urban development is mostly concentrated in two areas: the Wasatch Front in the north-central part of the state, which is home to roughly two-thirds of the population and includes the capital city, Salt Lake City; and Washington County in the southwest, with more than 180,000 residents. Most of the western half of Utah lies in the Great Basin.
Utah has been inhabited for thousands of years by various indigenous groups such as the ancient Puebloans, Navajo, and Ute. The Spanish were the first Europeans to arrive in the mid-16th century, though the region's difficult geography and harsh climate made it a peripheral part of New Spain and later Mexico. Even while it was Mexican territory, many of Utah's earliest settlers were American, particularly Mormons fleeing marginalization and persecution from the United States via the Mormon Trail. Following the Mexican–American War in 1848, the region was annexed by the U.S., becoming part of the Utah Territory, which included what is now Colorado and Nevada. Disputes between the dominant Mormon community and the federal government delayed Utah's admission as a state; only after the outlawing of polygamy was it admitted in 1896 as the 45th.
People from Utah are known as Utahns. Slightly over half of all Utahns are Mormons, the vast majority of whom are members of the Church of Jesus Christ of Latter-day Saints (LDS Church), which has its world headquarters in Salt Lake City; Utah is the only state where a majority of the population belongs to a single church. A 2023 paper challenged this perception (claiming only 42% of Utahns are Mormons) however most statistics still show a majority of Utah residents belong to the LDS church; estimates from the LDS church suggests 60.68% of Utah's population belongs to the church whilst some sources put the number as high as 68%. The paper replied that membership count done by the LDS Church is too high for several reasons. The LDS Church greatly influences Utahn culture, politics, and daily life, though since the 1990s the state has become more religiously diverse as well as secular.
Utah has a highly diversified economy, with major sectors including transportation, education, information technology and research, government services, mining, multi-level marketing, and tourism. Utah has been one of the fastest growing states since 2000, with the 2020 U.S. census confirming the fastest population growth in the nation since 2010. St. George was the fastest-growing metropolitan area in the United States from 2000 to 2005. Utah ranks among the overall best states in metrics such as healthcare, governance, education, and infrastructure. It has the 12th-highest median average income and the least income inequality of any U.S. state. Over time and influenced by climate change, droughts in Utah have been increasing in frequency and severity, putting a further strain on Utah's water security and impacting the state's economy.
The History of Utah is an examination of the human history and social activity within the state of Utah located in the western United States.
Archaeological evidence dates the earliest habitation of humans in Utah to about 10,000 to 12,000 years ago. Paleolithic people lived near the Great Basin's swamps and marshes, which had an abundance of fish, birds, and small game animals. Big game, including bison, mammoths and ground sloths, also were attracted to these water sources. Over the centuries, the mega-fauna died, this population was replaced by the Desert Archaic people, who sheltered in caves near the Great Salt Lake. Relying more on gathering than the previous Utah residents, their diet was mainly composed of cattails and other salt tolerant plants such as pickleweed, burro weed and sedge. Red meat appears to have been more of a luxury, although these people used nets and the atlatl to hunt water fowl, ducks, small animals and antelope. Artifacts include nets woven with plant fibers and rabbit skin, woven sandals, gaming sticks, and animal figures made from split-twigs. About 3,500 years ago, lake levels rose and the population of Desert Archaic people appears to have dramatically decreased. The Great Basin may have been almost unoccupied for 1,000 years.
The Fremont culture, named from sites near the Fremont River in Utah, lived in what is now north and western Utah and parts of Nevada, Idaho and Colorado from approximately 600 to 1300 AD. These people lived in areas close to water sources that had been previously occupied by the Desert Archaic people, and may have had some relationship with them. However, their use of new technologies define them as a distinct people. Fremont technologies include:
use of the bow and arrow while hunting,
building pithouse shelters,
growing maize and probably beans and squash,
building above ground granaries of adobe or stone,
creating and decorating low-fired pottery ware,
producing art, including jewelry and rock art such as petroglyphs and pictographs.
The ancient Puebloan culture, also known as the Anasazi, occupied territory adjacent to the Fremont. The ancestral Puebloan culture centered on the present-day Four Corners area of the Southwest United States, including the San Juan River region of Utah. Archaeologists debate when this distinct culture emerged, but cultural development seems to date from about the common era, about 500 years before the Fremont appeared. It is generally accepted that the cultural peak of these people was around the 1200 CE. Ancient Puebloan culture is known for well constructed pithouses and more elaborate adobe and masonry dwellings. They were excellent craftsmen, producing turquoise jewelry and fine pottery. The Puebloan culture was based on agriculture, and the people created and cultivated fields of maize, beans, and squash and domesticated turkeys. They designed and produced elaborate field terracing and irrigation systems. They also built structures, some known as kivas, apparently designed solely for cultural and religious rituals.
These two later cultures were roughly contemporaneous, and appear to have established trading relationships. They also shared enough cultural traits that archaeologists believe the cultures may have common roots in the early American Southwest. However, each remained culturally distinct throughout most of their existence. These two well established cultures appear to have been severely impacted by climatic change and perhaps by the incursion of new people in about 1200 CE. Over the next two centuries, the Fremont and ancient Pueblo people may have moved into the American southwest, finding new homes and farmlands in the river drainages of Arizona, New Mexico and northern Mexico.
In about 1200, Shoshonean speaking peoples entered Utah territory from the west. They may have originated in southern California and moved into the desert environment due to population pressure along the coast. They were an upland people with a hunting and gathering lifestyle utilizing roots and seeds, including the pinyon nut. They were also skillful fishermen, created pottery and raised some crops. When they first arrived in Utah, they lived as small family groups with little tribal organization. Four main Shoshonean peoples inhabited Utah country. The Shoshone in the north and northeast, the Gosiutes in the northwest, the Utes in the central and eastern parts of the region and the Southern Paiutes in the southwest. Initially, there seems to have been very little conflict between these groups.
In the early 16th century, the San Juan River basin in Utah's southeast also saw a new people, the Díne or Navajo, part of a greater group of plains Athabaskan speakers moved into the Southwest from the Great Plains. In addition to the Navajo, this language group contained people that were later known as Apaches, including the Lipan, Jicarilla, and Mescalero Apaches.
Athabaskans were a hunting people who initially followed the bison, and were identified in 16th-century Spanish accounts as "dog nomads". The Athabaskans expanded their range throughout the 17th century, occupying areas the Pueblo peoples had abandoned during prior centuries. The Spanish first specifically mention the "Apachu de Nabajo" (Navaho) in the 1620s, referring to the people in the Chama valley region east of the San Juan River, and north west of Santa Fe. By the 1640s, the term Navaho was applied to these same people. Although the Navajo newcomers established a generally peaceful trading and cultural exchange with the some modern Pueblo peoples to the south, they experienced intermittent warfare with the Shoshonean peoples, particularly the Utes in eastern Utah and western Colorado.
At the time of European expansion, beginning with Spanish explorers traveling from Mexico, five distinct native peoples occupied territory within the Utah area: the Northern Shoshone, the Goshute, the Ute, the Paiute and the Navajo.
The Spanish explorer Francisco Vázquez de Coronado may have crossed into what is now southern Utah in 1540, when he was seeking the legendary Cíbola.
A group led by two Spanish Catholic priests—sometimes called the Domínguez–Escalante expedition—left Santa Fe in 1776, hoping to find a route to the California coast. The expedition traveled as far north as Utah Lake and encountered the native residents. All of what is now Utah was claimed by the Spanish Empire from the 1500s to 1821 as part of New Spain (later as the province Alta California); and subsequently claimed by Mexico from 1821 to 1848. However, Spain and Mexico had little permanent presence in, or control of, the region.
Fur trappers (also known as mountain men) including Jim Bridger, explored some regions of Utah in the early 19th century. The city of Provo was named for one such man, Étienne Provost, who visited the area in 1825. The city of Ogden, Utah is named for a brigade leader of the Hudson's Bay Company, Peter Skene Ogden who trapped in the Weber Valley. In 1846, a year before the arrival of members from the Church of Jesus Christ of latter-day Saints, the ill-fated Donner Party crossed through the Salt Lake valley late in the season, deciding not to stay the winter there but to continue forward to California, and beyond.
Members of the Church of Jesus Christ of Latter-day Saints, commonly known as Mormon pioneers, first came to the Salt Lake Valley on July 24, 1847. At the time, the U.S. had already captured the Mexican territories of Alta California and New Mexico in the Mexican–American War and planned to keep them, but those territories, including the future state of Utah, officially became United States territory upon the signing of the Treaty of Guadalupe Hidalgo, February 2, 1848. The treaty was ratified by the United States Senate on March 10, 1848.
Upon arrival in the Salt Lake Valley, the Mormon pioneers found no permanent settlement of Indians. Other areas along the Wasatch Range were occupied at the time of settlement by the Northwestern Shoshone and adjacent areas by other bands of Shoshone such as the Gosiute. The Northwestern Shoshone lived in the valleys on the eastern shore of Great Salt Lake and in adjacent mountain valleys. Some years after arriving in the Salt Lake Valley Mormons, who went on to colonize many other areas of what is now Utah, were petitioned by Indians for recompense for land taken. The response of Heber C. Kimball, first counselor to Brigham Young, was that the land belonged to "our Father in Heaven and we expect to plow and plant it." A 1945 Supreme Court decision found that the land had been treated by the United States as public domain; no aboriginal title by the Northwestern Shoshone had been recognized by the United States or extinguished by treaty with the United States.
Upon arriving in the Salt Lake Valley, the Mormons had to make a place to live. They created irrigation systems, laid out farms, built houses, churches, and schools. Access to water was crucially important. Almost immediately, Brigham Young set out to identify and claim additional community sites. While it was difficult to find large areas in the Great Basin where water sources were dependable and growing seasons long enough to raise vitally important subsistence crops, satellite communities began to be formed.
Shortly after the first company arrived in the Salt Lake Valley in 1847, the community of Bountiful was settled to the north. In 1848, settlers moved into lands purchased from trapper Miles Goodyear in present-day Ogden. In 1849, Tooele and Provo were founded. Also that year, at the invitation of Ute chief Wakara, settlers moved into the Sanpete Valley in central Utah to establish the community of Manti. Fillmore, Utah, intended to be the capital of the new territory, was established in 1851. In 1855, missionary efforts aimed at western native cultures led to outposts in Fort Lemhi, Idaho, Las Vegas, Nevada and Elk Mountain in east-central Utah.
The experiences of returning members of the Mormon Battalion were also important in establishing new communities. On their journey west, the Mormon soldiers had identified dependable rivers and fertile river valleys in Colorado, Arizona and southern California. In addition, as the men traveled to rejoin their families in the Salt Lake Valley, they moved through southern Nevada and the eastern segments of southern Utah. Jefferson Hunt, a senior Mormon officer of the Battalion, actively searched for settlement sites, minerals, and other resources. His report encouraged 1851 settlement efforts in Iron County, near present-day Cedar City. These southern explorations eventually led to Mormon settlements in St. George, Utah, Las Vegas and San Bernardino, California, as well as communities in southern Arizona.
Prior to establishment of the Oregon and California trails and Mormon settlement, Indians native to the Salt Lake Valley and adjacent areas lived by hunting buffalo and other game, but also gathered grass seed from the bountiful grass of the area as well as roots such as those of the Indian Camas. By the time of settlement, indeed before 1840, the buffalo were gone from the valley, but hunting by settlers and grazing of cattle severely impacted the Indians in the area, and as settlement expanded into nearby river valleys and oases, indigenous tribes experienced increasing difficulty in gathering sufficient food. Brigham Young's counsel was to feed the hungry tribes, and that was done, but it was often not enough. These tensions formed the background to the Bear River massacre committed by California Militia stationed in Salt Lake City during the Civil War. The site of the massacre is just inside Preston, Idaho, but was generally thought to be within Utah at the time.
Statehood was petitioned for in 1849-50 using the name Deseret. The proposed State of Deseret would have been quite large, encompassing all of what is now Utah, and portions of Colorado, Idaho, Nevada, Wyoming, Arizona, Oregon, New Mexico and California. The name of Deseret was favored by the LDS leader Brigham Young as a symbol of industry and was derived from a reference in the Book of Mormon. The petition was rejected by Congress and Utah did not become a state until 1896, following the Utah Constitutional Convention of 1895.
In 1850, the Utah Territory was created with the Compromise of 1850, and Fillmore (named after President Fillmore) was designated the capital. In 1856, Salt Lake City replaced Fillmore as the territorial capital.
The first group of pioneers brought African slaves with them, making Utah the only place in the western United States to have African slavery. Three slaves, Green Flake, Hark Lay, and Oscar Crosby, came west with this first group in 1847. The settlers also began to purchase Indian slaves in the well-established Indian slave trade, as well as enslaving Indian prisoners of war. In 1850, 26 slaves were counted in Salt Lake County. Slavery didn't become officially recognized until 1852, when the Act in Relation to Service and the Act for the relief of Indian Slaves and Prisoners were passed. Slavery was repealed on June 19, 1862, when Congress prohibited slavery in all US territories.
Disputes between the Mormon inhabitants and the federal government intensified after the Church of Jesus Christ of Latter-day Saints' practice of polygamy became known. The polygamous practices of the Mormons, which were made public in 1854, would be one of the major reasons Utah was denied statehood until almost 50 years after the Mormons had entered the area.
After news of their polygamous practices spread, the members of the LDS Church were quickly viewed by some as un-American and rebellious. In 1857, after news of a possible rebellion spread, President James Buchanan sent troops on the Utah expedition to quell the growing unrest and to replace Brigham Young as territorial governor with Alfred Cumming. The expedition was also known as the Utah War.
As fear of invasion grew, Mormon settlers had convinced some Paiute Indians to aid in a Mormon-led attack on 120 immigrants from Arkansas under the guise of Indian aggression. The murder of these settlers became known as the Mountain Meadows massacre. The Mormon leadership had adopted a defensive posture that led to a ban on the selling of grain to outsiders in preparation for an impending war. This chafed pioneers traveling through the region, who were unable to purchase badly needed supplies. A disagreement between some of the Arkansas pioneers and the Mormons in Cedar City led to the secret planning of the massacre by a few Mormon leaders in the area. Some scholars debate the involvement of Brigham Young. Only one man, John D. Lee, was ever convicted of the murders, and he was executed at the massacre site.
Express riders had brought the news 1,000 miles from the Missouri River settlements to Salt Lake City within about two weeks of the army's beginning to march west. Fearing the worst as 2,500 troops (roughly 1/3rd of the army then) led by General Albert Sidney Johnston started west, Brigham Young ordered all residents of Salt Lake City and neighboring communities to prepare their homes for burning and evacuate southward to Utah Valley and southern Utah. Young also sent out a few units of the Nauvoo Legion (numbering roughly 8,000–10,000), to delay the army's advance. The majority he sent into the mountains to prepare defenses or south to prepare for a scorched earth retreat. Although some army wagon supply trains were captured and burned and herds of army horses and cattle run off no serious fighting occurred. Starting late and short on supplies, the United States Army camped during the bitter winter of 1857–58 near a burned out Fort Bridger in Wyoming. Through the negotiations between emissary Thomas L. Kane, Young, Cumming and Johnston, control of Utah territory was peacefully transferred to Cumming, who entered an eerily vacant Salt Lake City in the spring of 1858. By agreement with Young, Johnston established the army at Fort Floyd 40 miles away from Salt Lake City, to the southwest.
Salt Lake City was the last link of the First Transcontinental Telegraph, between Carson City, Nevada and Omaha, Nebraska completed in October 1861. Brigham Young, who had helped expedite construction, was among the first to send a message, along with Abraham Lincoln and other officials. Soon after the telegraph line was completed, the Deseret Telegraph Company built the Deseret line connecting the settlements in the territory with Salt Lake City and, by extension, the rest of the United States.
Because of the American Civil War, federal troops were pulled out of Utah Territory (and their fort auctioned off), leaving the territorial government in federal hands without army backing until General Patrick E. Connor arrived with the 3rd Regiment of California Volunteers in 1862. While in Utah, Connor and his troops soon became discontent with this assignment wanting to head to Virginia where the "real" fighting and glory was occurring. Connor established Fort Douglas just three miles (5 km) east of Salt Lake City and encouraged his bored and often idle soldiers to go out and explore for mineral deposits to bring more non-Mormons into the state. Minerals were discovered in Tooele County, and some miners began to come to the territory. Conner also solved the Shoshone Indian problem in Cache Valley Utah by luring the Shoshone into a midwinter confrontation on January 29, 1863. The armed conflict quickly turned into a rout, discipline among the soldiers broke down, and the Battle of Bear River is today usually referred to by historians as the Bear River Massacre. Between 200 and 400 Shoshone men, women and children were killed, as were 27 soldiers, with over 50 more soldiers wounded or suffering from frostbite.
Beginning in 1865, Utah's Black Hawk War developed into the deadliest conflict in the territory's history. Chief Antonga Black Hawk died in 1870, but fights continued to break out until additional federal troops were sent in to suppress the Ghost Dance of 1872. The war is unique among Indian Wars because it was a three-way conflict, with mounted Timpanogos Utes led by Antonga Black Hawk fighting federal and Utah local militia.
On May 10, 1869, the First transcontinental railroad was completed at Promontory Summit, north of the Great Salt Lake. The railroad brought increasing numbers of people into the state, and several influential businessmen made fortunes in the territory.
Main article: Latter Day Saint polygamy in the late-19th century
During the 1870s and 1880s, federal laws were passed and federal marshals assigned to enforce the laws against polygamy. In the 1890 Manifesto, the LDS Church leadership dropped its approval of polygamy citing divine revelation. When Utah applied for statehood again in 1895, it was accepted. Statehood was officially granted on January 4, 1896.
The Mormon issue made the situation for women the topic of nationwide controversy. In 1870 the Utah Territory, controlled by Mormons, gave women the right to vote. However, in 1887, Congress disenfranchised Utah women with the Edmunds–Tucker Act. In 1867–96, eastern activists promoted women's suffrage in Utah as an experiment, and as a way to eliminate polygamy. They were Presbyterians and other Protestants convinced that Mormonism was a non-Christian cult that grossly mistreated women. The Mormons promoted woman suffrage to counter the negative image of downtrodden Mormon women. With the 1890 Manifesto clearing the way for statehood, in 1895 Utah adopted a constitution restoring the right of women's suffrage. Congress admitted Utah as a state with that constitution in 1896.
Though less numerous than other intermountain states at the time, several lynching murders for alleged misdeeds occurred in Utah territory at the hand of vigilantes. Those documented include the following, with their ethnicity or national origin noted in parentheses if it was provided in the source:
William Torrington in Carson City (then a part of Utah territory), 1859
Thomas Coleman (Black man) in Salt Lake City, 1866
3 unidentified men at Wahsatch, winter of 1868
A Black man in Uintah, 1869
Charles A. Benson in Logan, 1873
Ah Sing (Chinese man) in Corinne, 1874
Thomas Forrest in St. George, 1880
William Harvey (Black man) in Salt Lake City, 1883
John Murphy in Park City, 1883
George Segal (Japanese man) in Ogden, 1884
Joseph Fisher in Eureka, 1886
Robert Marshall (Black man) in Castle Gate, 1925
Other lynchings in Utah territory include multiple instances of mass murder of Native American children, women, and men by White settlers including the Battle Creek massacre (1849), Provo River Massacre (1850), Nephi massacre (1853), and Circleville Massacre (1866).
Beginning in the early 20th century, with the establishment of such national parks as Bryce Canyon National Park and Zion National Park, Utah began to become known for its natural beauty. Southern Utah became a popular filming spot for arid, rugged scenes, and such natural landmarks as Delicate Arch and "the Mittens" of Monument Valley are instantly recognizable to most national residents. During the 1950s, 1960s, and 1970s, with the construction of the Interstate highway system, accessibility to the southern scenic areas was made easier.
Beginning in 1939, with the establishment of Alta Ski Area, Utah has become world-renowned for its skiing. The dry, powdery snow of the Wasatch Range is considered some of the best skiing in the world. Salt Lake City won the bid for the 2002 Winter Olympics in 1995, and this has served as a great boost to the economy. The ski resorts have increased in popularity, and many of the Olympic venues scattered across the Wasatch Front continue to be used for sporting events. This also spurred the development of the light-rail system in the Salt Lake Valley, known as TRAX, and the re-construction of the freeway system around the city.
During the late 20th century, the state grew quickly. In the 1970s, growth was phenomenal in the suburbs. Sandy was one of the fastest-growing cities in the country at that time, and West Valley City is the state's 2nd most populous city. Today, many areas of Utah are seeing phenomenal growth. Northern Davis, southern and western Salt Lake, Summit, eastern Tooele, Utah, Wasatch, and Washington counties are all growing very quickly. Transportation and urbanization are major issues in politics as development consumes agricultural land and wilderness areas.
In 2012, the State of Utah passed the Utah Transfer of Public Lands Act in an attempt to gain control over a substantial portion of federal land in the state from the federal government, based on language in the Utah Enabling Act of 1894. The State does not intend to use force or assert control by limiting access in an attempt to control the disputed lands, but does intend to use a multi-step process of education, negotiation, legislation, and if necessary, litigation as part of its multi-year effort to gain state or private control over the lands after 2014.
Utah families, like most Americans everywhere, did their utmost to assist in the war effort. Tires, meat, butter, sugar, fats, oils, coffee, shoes, boots, gasoline, canned fruits, vegetables, and soups were rationed on a national basis. The school day was shortened and bus routes were reduced to limit the number of resources used stateside and increase what could be sent to soldiers.
Geneva Steel was built to increase the steel production for America during World War II. President Franklin D. Roosevelt had proposed opening a steel mill in Utah in 1936, but the idea was shelved after a couple of months. After the attack on Pearl Harbor, the United States entered the war and the steel plant was put into progress. In April 1944, Geneva shipped its first order, which consisted of over 600 tons of steel plate. Geneva Steel also brought thousands of job opportunities to Utah. The positions were hard to fill as many of Utah's men were overseas fighting. Women began working, filling 25 percent of the jobs.
As a result of Utah's and Geneva Steels contribution during the war, several Liberty Ships were named in honor of Utah including the USS Joseph Smith, USS Brigham Young, USS Provo, and the USS Peter Skene Ogden.
One of the sectors of the beachhead of Normandy Landings was codenamed Utah Beach, and the amphibious landings at the beach were undertaken by United States Army troops.
It is estimated that 1,450 soldiers from Utah were killed in the war.
High Line volunteers Anne Heany spends an early morning hand watering drought-tolerant plants along the High Line an elevated railway line owned by the City of New York, today the High Line is a 1.45-mile-long linear public park maintained, operated, and programmed by Friends of the High Line, in partnership with the New York City Department of Parks & Recreation, on Tuesday, September 15, 2015. High Line was opened in 1934 and moved goods to and from Manhattan’s largest industrial district until 1980. The third and final phase officially opened to the public on September 21, 2014. The High Line's green roof system with drip irrigation is designed to allow the planting beds to retain as much water as possible; because many of the plants are drought-tolerant, they need little supplemental watering. When supplemental watering is needed, hand watering is used so as to tailor the amount of water to the needs of individual species and weather conditions, and to conserve water. High Line is independently funded from U.S. Department of Agriculture (USDA) Forest Service (USFS). Urban forestry and green spaces are priority areas for USFS. With 80 percent* of the nation's population in urban areas, there are strong environmental, social, and economic cases to be made for the conservation of green spaces to guide growth and revitalize city centers and older suburbs. Urban forests broadly include urban parks, street trees, landscaped boulevards, public gardens, river and coastal promenades, greenways, river corridors, wetlands, nature preserves, natural areas, shelter belts of trees and working trees at industrial brownfield sites. Urban forests are dynamic ecosystems that provide needed environmental services by cleaning air and water helping to control storm water, and conserving energy. They add form, structure, beauty and breathing room to urban design, reduce noise, separate incompatible uses, provide places to recreate, strengthen social cohesion, leverage community revitalization, and add economic value to our communities. Urban forests, through planned connections of green spaces, form the green infrastructure system on which communities depend. Green infrastructure works at multiple scales from the neighborhood to the metro area up to the regional landscape. This natural life support system sustains clean air and water, biodiversity, habitat, nesting and travel corridors for wildlife, and connects people to nature. Urban forests, through planned connections of green spaces, form the green infrastructure system on which communities depend. Urban and Community Forestry (UCF) is a cooperative program of the US Forest Service that focuses on the stewardship of urban natural resources. UCF provides technical, financial, research and educational services to local government, non-profit organizations community groups, educational institutions, and tribal governments. The program is delivered through its legislative partners, the state forestry agencies in 59 states and US territories. Forest Service cooperative programs are currently being redesigned to make more effective use of federal resources. Programs will be focused on issues and landscapes of national importance and prioritized through state and regional assessments. Over the next five years an increasing percentage of funding will be focused on landscape scale projects. Three national themes provide a framework for this work: conserve working forest landscapes; protect forests from harm; and enhance benefits associated with trees and forests. More information and upcoming webinars on December 9, 2015 | 1:00pm-2:15pm ET; January 13, 2016 | 1:00pm-2:15pm ET; and February 10, 2016 | 1:00pm-2:15pm ET can be seen at *http://www.fs.fed.us/ucf/program.shtml. USDA Photo By Lance Cheung.
i took a stroll in the island and saw this puppy. i can't blame them for tying it, because anti-rabies shots are rare in this part of the city. its difficult to prioritize animals in the "to-do list" if you can hardly serve your family 3 meals in a day.
that is the cultural difference.
A couple years back I was hired by Andy and Fred of 'AFA' (pioneers of advanced noise cancellation technology).
These images were harder to produce than might appear. I knew I wanted to prioritize Andy and Fred, but also at the same time give a sense of speed and movement. Had I shot in traditional fashion then the shutter speed needed to produce motion blur of the cars would have been dangerously low to also introduce motion blur of Andy and Fred as well. So in order to successfully achieve this look I needed to shoot the images on a tripod and involve strobe work directed at the guys which assists with 'freezing motion' (as well as helping them 'pop out' of the scene). In addition to this I used ND filters to allow me to shoot at wide apertures to allow me to help separate them from the busy backdrop and keep attention placed firmly on them.
The additional benefits of using a tripod allowed me to take several images and blend speeding cars and smoke into any scene of the two of them that I liked.
Overall I think they turned out pretty good.
I am saddened to hear that since this shoot Fred has passed away (pictured on the right). He seemed like such a lovely man with a genuine gentle soul.
I am SO excited about these arrivals; gotta decide how to prioritize them.
I just finished Airless Wilds (2021), the new release on the development of the Lunar Rover, “the crowning accomplishment of America’s manned space program.”
And that segues to the pre-release of Chris Hadfield’s Apollo Murders (Oct 2021), woven with his first-hand perspective and polymathic heroics. I have already read about a number of my work artifacts in the opening pages: the F-4 Phantom ejection seat, LLTV thruster, and spy periscope from the Soviet Almaz (military space station).
I am looking forward to Hager’s Alchemy of Air (2008), the story of “the most important discovery ever made. See if you can think of another that ranks with it in terms of life-and-death importance for the largest number of people. Put simply, this discovery is keeping alive half the people on earth.” We need fixed nitrogen, available to our organic chemistries. It is the limiting factor for the growth of all food. While nitrogen gas is about 80% of our atmosphere, not one atom of it is available for our use when tightly bound by the triple bond of N2 gas. It is sequestered all around us. In nature, N2 is liberated to atomic nitrogen in small amounts by lightning strikes and nitrogen-fixing bacteria. Hager argues that if we reverted to relying on just those natural sources, billions of people would die of starvation in short order. He tells the story of the Haber-Bosch process to catalyze the production of ammonia (NH3) from N2 and H2 gas. It is the stuff we’re made of. From CO2, O2, H2 and N2 — “you could say we are air made solid.”
I have been a closet fan of Cal Tech’s Carver Mead and his seminal book on Analog VLSI and Neural Systems (1989). The circuit diagrams remind me of my VLSI texts from the mid 80’s. But Mead was a fan of analog computing, a closer mimic of the brain and the deep learning AI of today. So, I am curious to see how much of this he foretold. I started a PhD in neural nets in 1989, but left in 1990, so this would have been essential reading. He opens with “the viewpoint described in this book is the result of my conviction that the nervous system of even a very simple animal contains computing paradigms that are orders of magnitude more effective than are those found in systems made by humans. After many years of study, I have become confident that the powerful organizing principles found in the nervous system can be realized in our most commonly available technology — silicon integrated circuits. It is clear to me that we will develop silicon neural systems, and that learning how to design them is one of the great intellectual quests of all time. We are witnessing the birth of a new discipline.” Indeed! “We are not limited by the constraints in our fabrication technology; we are limited by the paucity of our understanding. The efficient mapping of a system onto its implementation medium is the essence of the design problem.” Ah yes, the medium is the message. :) This approach is experiencing a revival in the latest analog ML chips from Mythic and the future roadmap from IBM.
And for fun, Andy Weir’s latest astro-abandonment adventure, Hail Mary (2021). I did an interview with him about The Martian and handed him his first touch of Martian rock.
And the D&D Foil Covers Edition (2018), because Dungeon Master nostalgia.
Darkness has its way with me.
Darkness makes me anticipate the worst. It makes me worry, fear, hurt, and lose control. But then, I have learned to see many of the brighter things it evokes. If you ask me, darkness offers a stupendous opportunity to grow and conquer oneself. It lets me rise above my phobias and seek the truth, the eternal. It lets me think straight and makes me prioritize. In total darkness, I can quit my selfish world effortlessly and grow into greater pains and sufferings. I feel less adamant and arrogance finds a nicer replacement in introspection. You know, come to think of it, darkness is not that bad, if you live with it long enough.
And sometimes, if it gets too gloomy, darkness smiles and rains stars. It just rains stars.
Examples of urban forestry in New York City are seen from and on the High Line, an elevated railway line owned by the City of New York, today it is a 1.45-mile-long linear public park maintained, operated, and programmed by Friends of the High Line, in partnership with the New York City Department of Parks & Recreation, on Thursday, September 17, 2015. High Line was opened in 1934 and moved goods to and from Manhattan’s largest industrial district until 1980. The third and final phase officially opened to the public on September 21, 2014. The High Line's green roof system with drip irrigation is designed to allow the planting beds to retain as much water as possible; because many of the plants are drought-tolerant, they need little supplemental watering. When supplemental watering is needed, hand watering is used so as to tailor the amount of water to the needs of individual species and weather conditions, and to conserve water. High Line is independently funded from U.S. Department of Agriculture (USDA) Forest Service (USFS). Urban forestry and green spaces are priority areas for USFS. With 80 percent* of the nation's population in urban areas, there are strong environmental, social, and economic cases to be made for the conservation of green spaces to guide growth and revitalize city centers and older suburbs. Urban forests broadly include urban parks, street trees, landscaped boulevards, public gardens, river and coastal promenades, greenways, river corridors, wetlands, nature preserves, natural areas, shelter belts of trees and working trees at industrial brownfield sites. Urban forests are dynamic ecosystems that provide needed environmental services by cleaning air and water helping to control storm water, and conserving energy. They add form, structure, beauty and breathing room to urban design, reduce noise, separate incompatible uses, provide places to recreate, strengthen social cohesion, leverage community revitalization, and add economic value to our communities. Urban forests, through planned connections of green spaces, form the green infrastructure system on which communities depend. Green infrastructure works at multiple scales from the neighborhood to the metro area up to the regional landscape. This natural life support system sustains clean air and water, biodiversity, habitat, nesting and travel corridors for wildlife, and connects people to nature. Urban forests, through planned connections of green spaces, form the green infrastructure system on which communities depend. Urban and Community Forestry (UCF) is a cooperative program of the US Forest Service that focuses on the stewardship of urban natural resources. UCF provides technical, financial, research and educational services to local government, non-profit organizations community groups, educational institutions, and tribal governments. The program is delivered through its legislative partners, the state forestry agencies in 59 states and US territories. Forest Service cooperative programs are currently being redesigned to make more effective use of federal resources. Programs will be focused on issues and landscapes of national importance and prioritized through state and regional assessments. Over the next five years an increasing percentage of funding will be focused on landscape scale projects. Three national themes provide a framework for this work: conserve working forest landscapes; protect forests from harm; and enhance benefits associated with trees and forests. More information and upcoming webinars on December 9, 2015 | 1:00pm-2:15pm ET; January 13, 2016 | 1:00pm-2:15pm ET; and February 10, 2016 | 1:00pm-2:15pm ET can be seen at *http://www.fs.fed.us/ucf/program.shtml. USDA Photo By Lance Cheung.
Well... finally, after all the delays and design challenges, it is done. Here is my B-18A Bolo LEGO MOC, a medium bomber used by the U.S. Army Air Corps primarily in the Pacific during the interwar and early World War II periods. It was a notoriously funkily-proportioned aircraft, with its round-bellied fuselage, its backwards-tapered wings and its odd bombardier canopy shaping at the front; but, all in all, it was a sturdy, rugged bomber (though nothing to write home about as for success in World War II XD). Lots of these were destroyed on the ground during the raids of Pearl harbor, but I really wanted to challenge myself in attempting to construct a plane that isn't all about the glamour and good looks so many beautiful aircraft of its era retained. Having incorporated working landing gear and included string for the wings, I am proud of its functionalities. However, I sadly could not include a working bomb bay due to the construction of its simulated rounded "doors" flush with the fuselage. Nothing opens on the underside, but that was due to the fact of me wanting to prioritize structure and look to the Bolo. Unfortunately, the sacrifice ended up being without a functioning bomb bay... but, overall, the result (for now) is adequate for my liking. But, let me know YOUR thoughts in the comments! Faves are also appreciated, and, as always, have an awesome day! (:
Wasn't very happy with how much damage the chip in my previous Ivy-Bridge shot (flic.kr/p/2jhRmyV) experienced so I tried again. This one experienced much less damage, but I had a hard time getting the colours to look good while also preserving details in all areas, so I prioritized details. This is very close to what it actually looked like, so It's not a camera problem, just a light positioning issue.
The top left corner chipped during cleaning, not during the process of exposing the die. Also a few small pieces of dust managed to get onto the chip while I was taking photos, but I removed them in post as best as I could. If you are using this for analyzing the architechture or something reach out for the original.
s/n 0585GT
240 bhp, 2,953 cc single overhead camshaft V-12 engine with three Weber carburetors, four-speed all-synchromesh manual gearbox, independent front suspension with unequal-length A-arms and coil springs, live rear axle with semi-elliptic leaf springs and parallel trailing arms, and four-wheel drum brakes. Wheelbase: 2,600 mm
• Very first of the second series 14-louver design
• One of nine examples built
• Featured in the Hollywood Classic, The Love Bug
• Matching numbers, extensively documented, and complete with full Ferrari Classiche certification
• Received a class award at the 2011 Quail Motorsports Gathering
• Single ownership for 14 years and offered for the first time ever at auction
• Pristine example of Ferrari’s most revered berlinetta
The tragic accident at the 1955 24 Hours of Le Mans that claimed the lives of one driver and 79 spectators had a profound effect on the shape of racing, one that ultimately led to the creation of one of Ferrari’s most celebrated models. Racing enthusiasts and competitors alike agreed that the crash was ultimately the result of the increasingly potent powertrains of the Le Mans sports cars, and in order to prevent further disaster, new regulations would be required to veer from the path of these thinly veiled race cars, which were essentially grand prix cars packaged with two-seater bodies.
The following year, the FIA responded by creating new gran turismo classes that not only prioritized safety, but also re-established the concept of competitively racing a road-based production car. Ferrari, of course, was well prepared for the challenge, having just debuted its new series-production 250 GT at the Geneva Motor Show of 1956. While the coupe on display featured an elegant body that would go on to be produced in quantity by Boano, thus providing necessary homologation, the underlying chassis proved to be the basis for the competition car, or berlinetta, that Ferrari sought to enter into the FIA’s new racing classifications. Pininfarina designed a new lightweight body that was built by Scaglietti, using thin-gauge aluminum and Perspex windows and a minimally upholstered cabin. The finished car, then known officially as the 250 GT Berlinetta, was ultimately made in a sparing quantity of 77 examples that are further sub-divided by subtle differences in coachwork over the model’s four-year production run.
Ferrari’s hopes for competitive success were quickly realized when Olivier Gendebien and Jacques Washer co-drove the very first car, chassis number 0503 GT, to a First in Class and Fourth Overall at the Giro di Sicilia in April 1956, with a Fifth Overall (First in Class) at the Mille Miglia later that month. But the model’s defining success didn’t occur until September, during the 1956 Tour de France Automobile, a grueling 3,600 mile, week-long contest that combined six circuit races, two hill climbs, and a drag race. The Marquis Alfonso de Portago, a Spanish aristocrat and privateer racer, drove chassis number 0557 GT to a dominating victory that sealed the dynamic model’s reputation. Enzo Ferrari was so pleased with the outcome that the 250 GT Berlinetta was subsequently and internally, though never officially, referred to as the Tour de France. The moniker proved to be quite fitting, as Gendebien took First Overall at the 1957, 1958, and 1959 installments of the French race, as well as a Third Overall at the 1957 Mille Miglia, a triumph that witnessed the defeat of many more purpose-built sports racers.
With the introduction of a short-wheelbase 250 GT in late-1959, the outgoing platform became retrospectively labeled as the long-wheelbase version, though the original car’s designation of 250 GT LWB Berlinetta is now largely simplified with the name ‘Tour de France.’ Through its brief production run, the TdF underwent several external body modifications, ultimately resulting in four different series-produced body styles (not including a handful of Zagato-bodied cars). The alterations in appearance are most easily recognizable in the so-called sail panels, the rear ¾-panels of the c-pillar that adjoin the roof. Initially produced with no louvers at all, these panels featured 14 louvers in the second-series cars, followed by a series with just three louvers, and ending with a series that featured just one sail-panel louver. Of all of these series, the 14-louver cars are the rarest, with only nine examples produced, and are judged by many enthusiasts to be the handsomest of the group.
This fabulous, early Ferrari 250 GT Tour de France is the very first example constructed of the second series design that featured 14-louver sail-panels. On November 15, 1956, the stunning TdF was purchased by Tony Parravano, the Italian national and Southern California building construction magnate who is better known among 1950s racing enthusiasts for the numerous Italian sports cars that he campaigned in the area’s SCCA circuit. 0585 GT was entered for the Palm Springs road races in early April of 1957, before being disqualified because the sanctioning body did not recognize it as a production car. Changing hands among a couple of Los Angeles-based owners during the early-1960s, 0585 GT eventually came into the possession of Walt Disney Studios for use in the 1966 film The Love Bug, the celebrated Disney classic about “Herbie,” the racing VW Beetle with a soul.
Following its memorable Hollywood turn, this important 250 GT fell on hard times, passing through the Schaub family, of Los Angeles, before reportedly being abandoned on the side of the Hollywood freeway. Records indicate two more owners during the 1970s and 1980s. In September 1994, the car surfaced and was offered for sale in an unrestored state by David Cottingham’s DK Engineering in Watford, England. Unable to sell 0585 GT for its true value, DK, in late-1996, elected to totally restore the historically significant Tour de France, a freshening that debuted to overwhelming acclaim at Coy’s International Historic Festival at Silverstone in July 1997. The festival proved to be a perfect stage for the immaculate car, as it was sold the following October to its current owner, a well-respected Southern California-based collector who has a 40-year history of collecting and caring for some of the most recognizable and important Ferrari cars ever built.
Registered under license plate “MY 56 TDF,” 0585 GT was soon campaigned in a number of vintage rallies, including the Tour Auto of April 1998, as well as the Mille Miglia of the following May. The car also participated in the Tour Auto in 1999 and 2000, and placed 39th Overall at the 2000 Shell Ferrari/Maserati Historic Challenge at Le Mans. 0585 GT returned to the Tour Auto in 2001, 2002, 2004, and 2006 and was displayed at Car Classic: Freedom of Motion, the 2010 exhibition held at the Art Center College of Design in Pasadena, California. The following August, 0585 GT’s extreme quality and rarity were confirmed with the ultimate in exhibitive recognition, a class award at the 2011 Quail Motorsports Gathering in Carmel, California, where the car won “The Great Ferraris” class, honoring some of the marque’s earliest and important sports and racing cars.
In addition to all of these awards and racing achievements, 0585 GT has also gone under the scrutiny of the Ferrari factory’s certification program and easily received the full “Red Book” certification through Newport Beach Ferrari specialist, John Amette. For the certification process, the original gearbox was put in the car; however, the current owner has since removed it and put a more user-friendly synchromesh gearbox in the car for much better drivability purposes. It must be noted that the original unit will be supplied with the sale of this car. A full set of original tools and a jack will also be included, as well as a booklet of documentation and various trophies and awards that the car has received over the years. In preparation for the sale, 0585 GT has also just been completely detailed and sorted at well-respected Junior’s House of Color in Long Beach, California, so it will look stunning in presentation.
On a recent track drive in preparation for RM’s video and photography efforts, the car performed flawlessly, handling directly and powering through all of the gears with ease. As the RM specialist describes, “The four-wheel drum brakes and skinny tyres can sometimes provide a different driving experience for those familiar with later cars fitted with disk brakes and wider stances; however, it allows the pilot to become much more intimate with the driving experience and to engage the engine in a much different way, creating a completely different awareness of timing and speed…The most beautiful thing about these early TDs is what most Ferraristi will attest to, and that is the sound of the exhaust note when the car breaches 3500 rpm. As you power out of the corners, there is that point when the car just feels and sounds right! All the noises, the vibrations, and the elements of speed come together to create a symphonic harmony that is unlike anything else. Moreover, the sound is not too overpowering and is pleasurable for extended periods of time, which cannot be said for many other race-bred cars. It is the ultimate dual-purpose Ferrari!”
Impeccably cared for and stunningly restored, 0585 GT is a beautiful and rare example of the second series 14-louver Tour de France, one of Ferrari’s greatest sports cars of all time. This car’s next owner can look forward to continued warm receptions at the world’s finest automotive events, including rallies such as the Tour Auto and Mille Miglia, and premium exhibitive venues, such as Pebble Beach, Amelia Island, and the Palm Beach Cavallino Classic. It is a truly unique representative of one of Ferrari’s most revered models, and in many ways, it is the ultimate symbol of Ferrari’s long pursuit of dual-purpose sports cars that can be seriously campaigned as easily as they can be road driven. Given their extremely low production numbers and desirability, these cars rarely come to the market. The availability of 0585 GT after 14-years of single ownership offers an unbeatable chance to acquire one of the most storied machines to emerge from Maranello’s legendary motoring lore.
[Text from RM Auctions]
www.rmauctions.com/lots/lot.cfm?lot_id=1052658
This Lego miniland-scale Ferrari 250 GT LWB Berlinetta 'Tour de France' (1956 - Scaglietti), has been created for Flickr LUGNuts' 89th Build Challenge, - "Over a Million, Under a Thousand", - a challenge to build vehicles valued over one million (US) dollars, or under one thousand (US) dollars.
This particular vehicle was auctioned by the RM Auction house on Saturday, August 18, 2012, where it sold for $6,710,000.
In June 2020, after experiencing a devastating spring due to COVID, New York State announced that certain businesses could begin partially opening again. New York City’s response included a program called Open Restaurants, which allowed restaurants to use sidewalks and parking spaces for outdoor, socially distant dining. Owners quickly built temporary enclosures in the streets in front of their businesses to try and recover from months of shutdown. Small stretches of Brooklyn in early 2021 display the variety and feel of these enclosures. Hopefully, the Open Restaurants initiative will help these businesses to survive and may even lead to a more permanent reorienting of streets to prioritize people over cars.
Rovingian Council - Building Tunnels Through Walls - Political Spirituality by Daniel Arrhakis (2026)
Rovingian Council - Building Tunnels Through Walls - Spirituality and Social change
For the Rovingian Council and the Nomad Monks, spiritual life is not separate from our daily experience and is not independent of the sociocultural environment. Beyond its relationship with nature, humanity is primarily a temporal reflection of the sociocultural environment in which it is embedded.
Political and social transformations have been a source of development but have also fueled conflicts, cycles of construction and destruction that are sometimes dramatic.
The Rovingian Council’s philosophy positions the "tunnel" not as an engineering feat, but as a metaphysical bypass of systemic barriers. By focusing on internal transformation rather than external political revolution, the Council and the nomadic monks seek to render existing power structures obsolete rather than engaging in the destructive cycle of conflict.
Core Tenets of the Rovingian Approach
The Obsolescence of Walls:
Rather than seeking to demolish social, political, or cultural barriers—which often leads to further conflict—the Council advocates for "building tunnels." This represents creating alternative pathways of connection and consciousness that allow humanity to function and evolve beneath or beyond the reach of traditional power structures.
Spirituality as Socio-Cultural Integration:
Spiritual life is viewed as inseparable from the daily experience. It is not an escape from the world, but a method of engaging with it. The Council posits that humanity is a "temporal reflection" of its environment; therefore, to change the reflection, one must transform the internal state of the observer.
Critique of Political Inconstancy:
The Council identifies the "thirst for power and domination" in political movements as a primary inhibitor of human development. Because political cycles are inherently brief and conflict-driven, they are deemed incapable of fostering long-term, global spiritual or cultural maturity or even sustainable development.
Paths to Transformation
To achieve this "profound internal transformation," the nomadic monks and the Council emphasize three specific recoveries:
Connection with Nature:
Restoring the bond between the human spirit and the natural world to move beyond the artificial constructs of the modern socio-cultural environment.
Internal Alchemy / Self Spiritual Transformation:
Shifting the focus from changing the "other" or the "system" to changing the self. This personal transformation acts as the foundational brick for a new societal structure.
Fundamental Values:
Recovering lost ethical and spiritual foundations that prioritize the collective growth of humanity over regional or global dominance.
____________________________________________________________
Conselho Rovingiano - Construir Túneis Através de Paredes - Espiritualidade e Mudança Social
Para o Conselho Rovingiano e os Monges Nómadas, a vida espiritual não está separada da nossa experiência diária e não é independente do ambiente sociocultural. Para além da sua relação com a natureza, a humanidade é, antes de mais, um reflexo temporal do meio sociocultural em que se insere.
As transformações políticas e sociais têm sido uma fonte de desenvolvimento, mas também alimentaram conflitos, ciclos de construção e destruição, por vezes dramáticos.
A filosofia do Conselho Rovingiano posiciona o "túnel" não como um feito de engenharia, mas como uma forma metafísica de contornar as muralhas ou barreiras sistémicas. Ao focarem-se na transformação interna em vez da revolução política externa, o Conselho e os monges nómadas procuram tornar obsoletas as estruturas de poder existentes, em vez de se envolverem no ciclo destrutivo dos conflitos.
Princípios Fundamentais da Abordagem Rovingiana
A Obsolescência dos Muros:
Em vez de procurar demolir barreiras sociais, políticas ou culturais — o que leva frequentemente a mais conflitos — o Conselho defende a "construção de túneis". Isto representa a criação de caminhos alternativos de ligação e consciência que permitam à humanidade funcionar e evoluir abaixo ou para além do alcance das estruturas de poder tradicionais.
A Espiritualidade como Integração Sociocultural:
A vida espiritual é vista como indissociável da experiência quotidiana. Não é uma fuga ao mundo, mas um método de interação com ele. O Conselho postula que a humanidade é um "reflexo temporal" do seu ambiente; portanto, para alterar o reflexo, é necessário transformar o estado interno do observador.
Crítica à Inconstância Política:
O Conselho identifica a "sede de poder e de dominação" nos movimentos políticos como um dos principais inibidores do desenvolvimento humano. Uma vez que os ciclos políticos são inerentemente breves e movidos por conflitos, considera-se que são incapazes de promover uma maturidade espiritual ou cultural global ou mesmo um desenvolvimento sustentável a longo prazo.
Caminhos para a Transformação
Para alcançar esta "profunda transformação interna", os monges nómadas e o Conselho enfatizam três recuperações específicas:
Ligação com a Natureza:
Restaurar o vínculo entre o espírito humano e o mundo natural para transcender as construções artificiais do ambiente sociocultural moderno.
Alquimia Interna / Autotransformação Espiritual:
Mudar o foco da transformação do "outro" ou do "sistema" para a transformação de si mesmo. Esta transformação pessoal atua como o alicerce para uma nova estrutura social.
Valores Fundamentais:
Recuperar os fundamentos éticos e espirituais perdidos que priorizam o crescimento coletivo da humanidade em detrimento da dominação regional ou global.
San Pedro Bridge. The police were not too thrilled with me taking this picture. First of all, this shot was taken near the Queen Mary harbor in San Pedro (socal) along the docks in an area where you arnt really supposed to go. I set up my tripod, shot a few test shots, then began shooting this shot that you see here. In the middle of this exposure a Segway riding police officer approached me and demanded immediately talk to him. I of course prioritized the shot waited for the exposure to end before going over and chatting. Basically, he asked about what I was doing and wanted to know if I was a terrorist. Pointing to my camera gear and tripod, I told him that I was just a photographer, not a terrorist. We chatted about me not being a terrorist, then showed him my wallet with ID, but he still didn't seem convinced. Finally I showed him this shot on my camera LCD, which I guess didn't look very terroristy, and he finally believed me. A few of his other Segway riding police buddies showed up, but they eventually let me go without charges =]
Just another frame of this spot from from my October Minnesota trip that was on my wish list. When we were here in May we only got one train here at the 37th Avenue crossing and it wasn't the classic head on view of a train coming south under the DMIR docks, so I prioritized that this time.
This is an interesting stretch of track because it sees trains of four different Class 1s operate on it, owner BNSF, and trains of CPKC, UP, and CN which are successors to legacy Twin Ports carriers Soo, CNW, and DMIR. Dating from 1892 the tracks here were once owned by the short Duluth Transfer Railway, a Northern Pacific subsidiary. Note the twin mileposts with the 2.51 at right being the BNSF's ex NP/DTRR mileage and the 0 at left which is the beginning of CN's ex Missabe mainline. To learn more about the NP and the Duluth Transfer check out this tremendous link: zenithcity.com/archive/historic-industry/the-northern-pac...
Just about to cross Merrit Creek and 37th Avenue is CPKC's morning Duluth Yard job JS12 headed from Rices Point Yard to Stinson Yard in Superior by way of BNSF's running track and the Grassy Point Draw over the Saint Louis Bay. The lone Canadian Pacific GP20C-ECO has a lengthy cut from the Port of Duluth and CN's isolated intermodal terminal that they transfer to Pokegama Yard.
Duluth, Minnesota
Wednesday October 4, 2023
Some clever and accurate thoughts on the Edinburgh Fringe Festival. “If only the Metropolitan Police were there to batter them all with sticks.”
Taken from another vantage point up high over the madness that is August in Edinburgh. The city swells beyond its capacity, key traffic routes are annoyingly shut to those who depend on them, tourists are prioritized over residents, and hipsters of all kinds flock to sell their artsy opinions to the masses. If you haven't noticed, I hate this tourist festival. On the bright side, no one is paying attention to the shifty guy looking for a couple of new views over this beautiful city.
Three exposures, stitched together, cropped significantly for composition. It was very windy and thus not terribly sharp as similar shots.
5D II + 85L II
A antique stereoview. No info on the back.
Theodore Roosevelt Jr. (/ˈroʊzəvɛlt/ ROH-zə-velt;[b] October 27, 1858 – January 6, 1919), often referred to as Teddy or his initials T. R., was an American politician, statesman, conservationist, naturalist, historian, and writer who served as the 26th president of the United States from 1901 to 1909. He previously served as the 25th vice president under William McKinley from March to September 1901, and as the 33rd governor of New York from 1899 to 1900. Having assumed the presidency after McKinley's assassination, Roosevelt emerged as a leader of the Republican Party and became a driving force for anti-trust and Progressive policies.
Roosevelt was a sickly child with debilitating asthma but partly overcame his health problems by embracing a strenuous lifestyle. He integrated his exuberant personality, a vast range of interests and achievements into a "cowboy" persona defined by robust masculinity. He was home-schooled and began a lifelong naturalist avocation before attending Harvard. His book The Naval War of 1812 (1882) established his reputation as a learned historian and popular writer. Upon entering politics, he became the leader of the reform faction of Republicans in New York's state legislature. His wife and mother both died in the same night and he was psychologically devastated. He recuperated by buying and operating a cattle ranch in the Dakotas. He served as Assistant Secretary of the Navy under President William McKinley and in 1898 helped plan the highly successful naval war against Spain. He resigned to help form and lead the Rough Riders, a unit that fought the Spanish army in Cuba to great publicity. Returning a war hero, he was elected governor of New York in 1898. The New York state party leadership disliked his ambitious agenda and convinced McKinley to make Roosevelt his running mate in the 1900 election. Roosevelt campaigned vigorously, and the McKinley–Roosevelt ticket won a landslide victory based on a platform of victory, peace and prosperity.
Roosevelt assumed the presidency at age 42 after McKinley was assassinated in September 1901. He remains the youngest person to become president of the United States. Roosevelt was a leader of the progressive movement and championed his "Square Deal" domestic policies, promising the average citizen fairness, breaking of trusts, regulation of railroads, and pure food and drugs. He prioritized conservation and established national parks, forests, and monuments intended to preserve the nation's natural resources. In foreign policy, he focused on Central America where he began construction of the Panama Canal. He expanded the Navy and sent the Great White Fleet on a world tour to project American naval power. His successful efforts to broker the end of the Russo-Japanese War won him the 1906 Nobel Peace Prize. Roosevelt was elected to a full term in 1904 and continued to promote progressive policies. He groomed his close friend William Howard Taft to succeed him in the 1908 presidential election.
Roosevelt grew frustrated with Taft's brand of conservatism and belatedly tried to win the 1912 Republican nomination for president. He failed, walked out, and founded the Progressive Party. He ran in the 1912 presidential election and the split allowed the Democratic nominee Woodrow Wilson to win the election. Following the defeat, Roosevelt led a two-year expedition to the Amazon basin where he nearly died of tropical disease. During World War I, he criticized Wilson for keeping the country out of the war; his offer to lead volunteers to France was rejected. He considered running for president again in 1920, but his health continued to deteriorate. He died in 1919. He is generally ranked in polls of historians and political scientists as one of the five best presidents.
Ensuring safe, clean drinking water is a challenge for city planners in Atlanta, where the population and thus development, is expanding exceptionally fast. A leading cause of water pollution in cities is stormwater runoff, where oil, pesticides, and other chemicals get washed into a city’s streams, rivers, and lakes. Working with city planners and the non-governmental group The Nature Conservancy, NASA’s program to incorporate satellite data into decision making, DEVELOP, identified areas where roadways, parking lots, and other impervious surfaces, were leading to high levels of polluted stormwater runoff. By prioritizing these areas, they were also able to identify communities where major sources of runoff could be minimized by additional green infrastructure.
www.nasa.gov/SpaceforUS/stories/ga.html
Credit: USDA
Dear friends,
I started new semester :o). My time with flickr will be very limited. I will still be uploading photos to Flickr (..as it has the best uploading quality) to share my photos, but visiting yours might be a hard thing for me... I'll try to catch the best i can with longer comments :o). Many important things need to be prioritized this time..
Thank you so much for being my friends here on Flickr :o). I want to apologize if miss your wonderful photos, many times. Feel free to alert me if you want me to comment them!
I'm sorry again my Dearest Friends!
Examples of urban forestry are seen from and on the High Line, an elevated railway line owned by the City of New York, today it is a 1.45-mile-long linear public park maintained, operated, and programmed by Friends of the High Line, in partnership with the New York City Department of Parks & Recreation, on Thursday, September 17, 2015. High Line was opened in 1934 and moved goods to and from Manhattan’s largest industrial district until 1980. The third and final phase officially opened to the public on September 21, 2014. The High Line's green roof system with drip irrigation is designed to allow the planting beds to retain as much water as possible; because many of the plants are drought-tolerant, they need little supplemental watering. When supplemental watering is needed, hand watering is used so as to tailor the amount of water to the needs of individual species and weather conditions, and to conserve water. High Line is independently funded from U.S. Department of Agriculture (USDA) Forest Service (USFS). Urban forestry and green spaces are priority areas for USFS. With 80 percent* of the nation's population in urban areas, there are strong environmental, social, and economic cases to be made for the conservation of green spaces to guide growth and revitalize city centers and older suburbs. Urban forests broadly include urban parks, street trees, landscaped boulevards, public gardens, river and coastal promenades, greenways, river corridors, wetlands, nature preserves, natural areas, shelter belts of trees and working trees at industrial brownfield sites. Urban forests are dynamic ecosystems that provide needed environmental services by cleaning air and water helping to control storm water, and conserving energy. They add form, structure, beauty and breathing room to urban design, reduce noise, separate incompatible uses, provide places to recreate, strengthen social cohesion, leverage community revitalization, and add economic value to our communities. Urban forests, through planned connections of green spaces, form the green infrastructure system on which communities depend. Green infrastructure works at multiple scales from the neighborhood to the metro area up to the regional landscape. This natural life support system sustains clean air and water, biodiversity, habitat, nesting and travel corridors for wildlife, and connects people to nature. Urban forests, through planned connections of green spaces, form the green infrastructure system on which communities depend. Urban and Community Forestry (UCF) is a cooperative program of the US Forest Service that focuses on the stewardship of urban natural resources. UCF provides technical, financial, research and educational services to local government, non-profit organizations community groups, educational institutions, and tribal governments. The program is delivered through its legislative partners, the state forestry agencies in 59 states and US territories. Forest Service cooperative programs are currently being redesigned to make more effective use of federal resources. Programs will be focused on issues and landscapes of national importance and prioritized through state and regional assessments. Over the next five years an increasing percentage of funding will be focused on landscape scale projects. Three national themes provide a framework for this work: conserve working forest landscapes; protect forests from harm; and enhance benefits associated with trees and forests. More information and upcoming webinars on December 9, 2015 | 1:00pm-2:15pm ET; January 13, 2016 | 1:00pm-2:15pm ET; and February 10, 2016 | 1:00pm-2:15pm ET can be seen at *http://www.fs.fed.us/ucf/program.shtml. USDA Photo By Lance Cheung.