Prioritize photos on Flickr

20150917-OSEC-LSC-0551 by U.S. Department of Agriculture

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.

Illusion of Knowledge by Aaron Bieleck

7

"The Obstacle to Discovery is the Illusion of Knowledge"

For anyone familiar with this sculpture, you know that Vita Mensae is right brained. As in, he only has a right side and is therefore affectionately know around campus as "Half Head".

It's thought that heavily left brained people may lack empathy and rely mainly, or perhaps solely, on linear logic. They may be more apt toward self absorption, materialism, and an egotistical outlook. While those that are right brain focused can often be idealistic; prioritizing feelings, emotions, and spiritualness. The left brain can be effective, but can also be cold and calculated. The right brain, compassionate but lacking the tactics it takes to affect significant change.

So what does it say that Vita Mensae is solely right brained, while sitting in a quad surrounded by buildings that house logical data based left brained research? Is he a reminder to those who pass him on a daily basis to consider humanity as a whole?

Recently there was a virtual town hall held by the leadership on campus to address the topic of racism. The head of research spoke about dedicating funds to the cause and achieving change through measurable data. Not surprisingly, a very left brained approach that will yield data, but may result in a general lack empathy and an even greater "illusion of knowledge". Now, if you can link the statistics to personal experiences, stories, and emotions, then you have an organized message that bridges the gap and engages the left and right side of the brain, possibly leading to actionable change.

Regardless, the quote located on the adjacent steps applies. The obstacle to personal growth, social change, and general understanding, is thinking that we know what we know, and even know what we don't know.

Image with my Hasselblad 500cm.

20150915-OSEC-LSC-0145 by U.S. Department of Agriculture

Highrise construction towers above the trees on 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.

Chinon CP-5s by AnalogBob

9 8

I have been a fan of Chinon camera gear from many years. I just recently hunted this one down on eBay, and I absolutely love it so far. The "S" in the name is for spot metering! It's also what Chinon called a "twin program" model. P1 is for shooting fast moving scenes (prioritizing faster shutter speeds as possible), and P2 is for non-moving subjects or slow moving subjects (it prioritizes greater depth of field). That's pretty cool and I may play with it, although I'm most likely to keep shooting in A or M mode as I typically do. Build quality seems great, and the film advance is very smooth (ball bearings?). It has an all plastic shell, but I read somewhere it does have a metal chassis under the hood. Oh, and it's very comfortable to hold thanks to the nice size hand grip. The grip doubles as the battery chamber, holding 3 AAA batteries. I'm also quite pleased about that - it's great that it uses relatively cheap and easy to find batteries.

Photo taken with a Nikon D200 and AF-S DX Micro Nikkor 40mm f/2.8G.

TIME TO PRIORITIZE by Alessandra Gregori

16

♡ ♡ ♡ ♡ Skindustrial Bodyworks ♡ ♡ ♡ ♡ by Dev0rah Resident

28 1

SKBW Sakura Makeup

♡ Japanese makeup stands out for its natural approach, prioritizing flawless, luminous, and hydrated skin over full coverage. It's characterized by a sweet and innocent style, subtle "puppy eye" eyeliner, and blush applied high, often on the nose or eyelids.

♡In World: maps.secondlife.com/secondlife/Exclusive%20Village/207/18...

♡Marketplace: marketplace.secondlife.com/stores/119058

♡Primfeed: www.primfeed.com/zinti.resident

♡Flickr: www.flickr.com/photos/126285169@N02/

♡Skindustrial Bodyworks Ceo: Zinti Resident

20150915-OSEC-LSC-0172 by U.S. Department of Agriculture

Visitors can take their time to enjoy an elevated view of New Youk City from High Line an elevated railway line owned by the City of New York, today 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.

20150917-OSEC-LSC-0109 by U.S. Department of Agriculture

“Peel-up” benches are a signature element of 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 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.

Adam & Eve / Gustav Klimt by Alejandro David Olivera

6

Belvedere Palace / Wien

One of Gustav Klimt’s final artworks, Adam and Eve is unfinished due to Klimt’s sudden death on February 6, 1918. Biblical themes were rare for Klimt, and while Adam and Eve does show the artist’s prioritization of the female form, Eve is blond—a departure from his typical dark-haired muses.

20150917-OSEC-LSC-0034 by U.S. Department of Agriculture

Early morning on 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.

KANAKA LANDING HARBOUR AUTHORITY - Kanaka (Haney) Landing by Peterson Ph♡tography

3

23250 McKay Avenue

Maple Ridge, BC Canada

A Harbour Authority (HA) is a non-profit, locally controlled organization which operates under a head lease with the Department of Fisheries and Oceans (DFO) to operate and maintain a DFO-owned public commercial fishing harbour in the best interests of the commercial fishing fleet.

The harbour facility consists entirely of the property and water lots under the ownership of DFO – Small Craft Harbours (SCH).

An HA must operate the harbour as a public facility in accordance with the terms of the head lease and must at all times prioritize the needs of the commercial fishing industry above all else

Image best viewed in large screen.

Thank-you for your visit, and any comments or faves are always very much appreciated! ~Sonja.

Slow Dance Debate @Venice Biennale 2011 . Art Format debating on Emergencies, by Biennalist by Thierry Geoffroy / Colonel : Artist

3

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

www.colonel.dk/

—--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

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

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

twilight of the flowering bulbs by one_man's_life

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twilight of the flowering bulbs

This is one of my three season borders at home. The bulbs here are two weeks later than they are in our nations capital owing to lying in a colder geographic region of the country. It was the first of only two pictures I took yesterday. I would wager that the bulbs are at their peak now and that I will see petal wilt soon. I find myself spending more time on my ornamental beds this year than I have in the past. It is not that I neglect them but that I have prioritized them beneath the plants that feed us. I think it might be that we are actually experiencing a true spring this year. We had snow around this time last year. It did not last but it did fall and blanket the ground. That is obviously disheartening for a gardener.

FORTUNE Brainstorm Health 2023 by Fortune Brainstorm Health

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015

FORTUNE Brainstorm Health 2023

Wednesday, April 26th, 2023

Los Angeles, CA, USA

7:30-8:45 AM

CONCURRENT BREAKFASTS SESSIONS

BREAKING DOWN BARRIERS TO CANCER CARE IN UNDERSERVED POPULATIONS

Hosted by City of Hope

Cancer is the second-leading cause of death for both men and women across the U.S., but it doesn’t affect everyone equally. Many cancer patients face insurmountable barriers to the leading-edge treatments, support, and technologies most likely to save their lives. Geography, common industry interventions—such as narrow networks—and social determinants of health all play a role in obstructing access to specialized care and life-saving experts. Hear from champions of health equity on how they are democratizing cancer care by creating new systems that prioritize patient survival, quality of life, and a return to normalcy by providing vulnerable populations with better access to education, screening, and treatment.

Helmy Eltoukhy, Co-founder and Co-CEO, Guardant

Dr. Folasade May, Co-Leader, Stand Up To Cancer Colorectal Cancer Health Equity Dream Team, University of California, Los Angeles

Anand Parikh, Co-founder and CEO, Faeth Therapeutics

Robert Stone, Chief Executive Officer, City of Hope

Carla Tardif, Chief Executive Officer, Family Reach

Moderator: Clifton Leaf, FORTUNE

Photograph by Stuart Isett/Fortune

Sainte-Chapelle, January 2018 by Justin Kern

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Sainte-Chapelle, the radiant Gothic chapel in the middle of Paris, has been a "bucket list" photo destination of mine for years. It's hidden within the Palais de Justice and underneath the shadow of its more famous, larger cousin: Notre Dame.

Gothic cathedrals are famous for their heavy stone structures and foreboding decorations. The purpose of all that masonry is to provide support for enormous windows. Nowhere is this more evident than Sainte-Chapelle: it seems the entire structure is made of garishly-saturated stained glass.

Now, I find many of the most interesting Sainte-Chapelle photographs were taken when just light enough outside to illuminate the windows, but dark enough to necessitate the interior chandeliers to be lit. Given you are not allowed to bring a tripod into the chapel, that means that most of the work I've seen of the chapel either lacks dynamic range, detail, or is butchered by overly-aggressive post-processing.

Years ago, during my last visit to Paris, I had missed the opportunity to tour the chapel. Knowing I had a few free hours in Paris upcoming, I immediately prioritized bringing a camera to the chapel and I decided to rent a new Sony A7r III for two purposes: to compare it to my standby D800, and to see if the in-body image stabilization (IBIS) that the camera boasts was truly able to offer multiple stops of stabilization.

I received a Sony A7r III (I'm sure I was the first person to use this particular camera) and a Novoflex Nikon G to Sony FE adapter on a Thursday and by Saturday I had shoved it along with a tripod and my D800 and associated lenses into a duffel and was on my way to the airport.

The first visit I made was during the daytime hours on a Sunday, the place was relatively empty and the sunlight was both intense and direct. It shone through the glass and cast shades of purple and blue throughout the chapel. Though the photographs (and more importantly, the experience of visiting) were beautiful - I had a different image in my mind.

Under these well-lit conditions, there was little difference between the Nikon and the Sony - chalk that up to the ability to stop down and still achieve a low ISO with either camera. The Nikon was far more pleasant to use (perhaps a function of familiarity), however, and therefore I ended up taking more images and ended with a better set.

When the skies opened up a day later and stormy weather began to roll over Paris, I had a short window of time available before meetings and I decided to try again. I trudged through the rain to wait in line once more. This time, I was rewarded with near perfect lighting conditions - the thunderstorm had created precisely the atmosphere I was seeking.

Inside the chapel, I worked to capture most angles with both cameras - I wasn't interested in a scientific comparison, but in a real-world test of image quality in the field. This is about comparing the in-the-moment experiences and qualitative impressions of both systems captured while using both heavily under time pressure and in difficult lighting.

Another long flight back and I sat in front of the computer to compare results. A couple of conclusions:

1) On overall image quality, and particularly dynamic range, the Nikon D800, for being many years old, can still hold its own against the latest and greatest offerings.

2) For those of us accustomed to DSLRs - the OVF and ergnomics are superior to the more compact, mirrorless options. This is purely subjective and, as advantages go, short-lived. Photographers who buy into mirrorless will feel the opposite way once their muscle memory is accustomed to their cameras. Kudos to Sony for making something I could rent and learn and use effectively in a weekend - but it's tiny and cramped and all a bit, well... unsubstantial.

3) Nikon owners don't have automatic adapters yet (or at least I didn't) and therefore are still reliant on manual focusing and manual aperture control - if you're thinking of switching you can use your Nikkor lenses, but don't expect to enjoy it.

4) 42MP is a truly marginal improvement over 36MP - if you're a D800 user lusting after more resolution, you're either eyeing the D850 or (more accurately) a 100MP back or future camera to see another step-change the likes of which you experienced moving to the D800

5) The Sony A7r III produces truly amazing images - on par or better with the best DSLRs. This bit is obvious and has been shown over and over again in qualitative and quantitative tests.

6) The Sony's IBIS gave me at least 1-2 stops improvement over the Nikon - producing sharp images at ~1/8 of a second and below. When you consider that IBIS systems in general degrade image quality (the sensor is moving, after all) and that 42 megapixels is a brutal judge of sharpness - that I could reliably shoot below 1/10th of a second and produce sharp images is truly remarkable. The top image is 6 frames shot handheld and stitched - all of them were taken in quick succession and have no issues with blur or hand shake. Amazing.

7) The Sony's dynamic range and therefore the ability to draw out shadows and pull back highlights in post was at least as good as the D800 - an awesome parlor trick for those of us who grew up on film and early digital no matter how old.

8) I have no idea if the A7r III has a focusing advantage or even how it operates with an autofocus lens.

9) It's not that much smaller. If you're trekking through the back-country then the size matters, but the much-touted smaller form factor comes with as many costs as benefits. I have a Leica Q, so maybe that disqualifies me from commenting on size (as I already have a camera that solves for the size/quality maximum) - but if you're a DSLR user, I wouldn't buy this for the size advantage. After all, a good lens (and you'll need one to benefit from that sensor) isn't going to clock in any smaller on the Sony than the Nikon

10) There are a mix of Nikon and Sony images on this page - you can't tell them apart unless you look at the EXIF - and both are years ahead of mobile image quality. As good as it is, the iPhone photo below (shot in RAW and processed with Adobe Lightroom Mobile) is clearly inferior to the "big camera" images. Mobile cameras were, at one point, "catching up" with DSLR image quality, but we've now entered into a time where that gap is opening again.

11) None of these images were possible anywhere near this quality 10 years ago. This is the bit that's exciting - despite diminishing returns - digital tech is still opening up new frontiers in what you can capture. That goes double for the "low quality" iPhone image - if I'd brought film with me, the iPhone would blow it out of the water.

Was the image quality noticeably better under tougher conditions with the Sony? Yes. Would I switch to Sony mirrorless? Not yet. Would I rent again for a situation like this? Yes - I may even leave the DSLR home next time and save a little carry-on room for a warmer jacket.

This technology is real - Nikon and Canon (who may have fallen permanently behind) need to continue to over-deliver on their DSLRs - the D850 probably keeps me in the Nikon fold if I need to replace my 800 in the coming years.

the great divide by Stitch

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Two layers of the horizon show the great divide between the rich and poor. Unfortunately, the maxim of “the rich becoming richer, and the poor, poorer” is very much applicable to our fledging nation. Hopefully, the new set of government officials to be elected in less than 2 months will prioritize/address poverty alleviation and the nagging unemployment/ underemployment problem.

Sunrise Storm by Aristocrats-hat

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It is good to have an end to journey towards; but it is the journey that matters in the end.

Ursula K. Le Guin

Ricoh XR-P multimode by Camera Wiki

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Please see the camera-wiki article on the Ricoh XR-P Multi-program. As the name (and graph) indicate, this model offers different autoexposure programs, which can prioritize depth of field (small apertures), freezing action (fast shutter speeds), or a compromise.

The new Ricoh "P" series lenses are a modification of the original Pentax K mount to enable the body to drive the aperture position. Unfortunately, Ricoh uses its own custom linkage to do this and Pentax--A lenses are not compatible.

whoever got the throne by airrion sanchez

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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.

2045 Mercedes-Benz Athane by Wigboldy

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The 2045 Mercedes Benz Athane prioritizes safety, sustainability, and versatility. The 2045 Athane is the most advanced and cost effective truck in our 150 years of truck building experience.

The front view of the Mercedes-Benz Athane. Submitted to the Building Challenge on Rebrick.com.

Much more at Thirdwigg.com. Find the Youtube video here.

Exctracteur Format @Venice Biennale 2011 . by Biennalist by Thierry Geoffroy / Colonel : Artist

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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.

About artist Thierry Geoffroy/Colonel: