+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!

  

Some background:

The CAC Sabre, sometimes known as the Avon Sabre or CA-27, was an Australian variant of the North American Aviation F-86F Sabre fighter aircraft. In 1951, Commonwealth Aircraft Corporation obtained a license agreement to build the F-86F Sabre. In a major departure from the North American blueprint, it was decided that the CA-27 would be powered by a license-built version of the Rolls-Royce Avon R.A.7, rather than the General Electric J47. In theory, the Avon was capable of more than double the maximum thrust and double the thrust-to-weight ratio of the US engine. This necessitated a re-design of the fuselage, as the Avon was shorter, wider and lighter than the J47.

 

To accommodate the Avon, over 60 percent of the fuselage was altered and there was a 25 percent increase in the size of the air intake. Another major revision was in replacing the F-86F's six machine guns with two 30mm ADEN cannon, while other changes were also made to the cockpit and to provide an increased fuel capacity.

 

The prototype aircraft first flew on 3 August 1953. The production aircrafts' first deliveries to the Royal Australian Air Force began in 1954. The first batch of aircraft were powered by the Avon 20 engine and were designated the Sabre Mk 30. Between 1957 and 1958 this batch had the wing slats removed and were re-designated Sabre Mk 31. These Sabres were supplemented by 20 new-built aircraft. The last batch of aircraft were designated Sabre Mk 32 and used the Avon 26 engine, of which 69 were built up to 1961.

 

Beyond these land-based versions, an indigenous version for carrier operations had been developed and built in small numbers, too, the Sea Sabre Mk 40 and 41. The roots of this aircraft, which was rather a prestigious idea than a sensible project, could be traced back to the immediate post WWII era. A review by the Australian Government's Defence Committee recommended that the post-war forces of the RAN be structured around a Task Force incorporating multiple aircraft carriers. Initial plans were for three carriers, with two active and a third in reserve, although funding cuts led to the purchase of only two carriers in June 1947: Majestic and sister ship HMS Terrible, for the combined cost of AU£2.75 million, plus stores, fuel, and ammunition. As Terrible was the closer of the two ships to completion, she was finished without modification, and was commissioned into the RAN on 16 December 1948 as HMAS Sydney. Work progressed on Majestic at a slower rate, as she was upgraded with the latest technology and equipment. To cover Majestic's absence, the Colossus-class carrier HMS Vengeance was loaned to the RAN from 13 November 1952 until 12 August 1955.

 

Labour difficulties, late delivery of equipment, additional requirements for Australian operations, and the prioritization of merchant ships over naval construction delayed the completion of Majestic. Incorporation of new systems and enhancements caused the cost of the RAN carrier acquisition program to increase to AU£8.3 million. Construction and fitting out did not finish until October 1955. As the carrier neared completion, a commissioning crew was formed in Australia and first used to return Vengeance to the United Kingdom.

The completed carrier was commissioned into the RAN as HMAS Majestic on 26 October 1955, but only two days later, the ship was renamed Melbourne and recommissioned.

 

In the meantime, the rather political decision had been made to equip Melbourne with an indigenous jet-powered aircraft, replacing the piston-driven Hawker Fury that had been successfully operated from HMAS Sydney and HMAS Vengeance, so that the "new jet age" was even more recognizable. The choice fell on the CAC Sabre, certainly inspired by North American's successful contemporary development of the navalized FJ-2 Fury from the land-based F-86 Sabre. The CAC 27 was already a proven design, and with its more powerful Avon engine it even offered a better suitability for carrier operations than the FJ-2 with its rather weak J47 engine.

 

Work on this project, which was initially simply designated Sabre Mk 40, started in 1954, just when the first CAC 27's were delivered to operative RAAF units. While the navalized Avon Sabre differed outwardly only little from its land-based brethren, many details were changed and locally developed. Therefore, there was also, beyond the general outlines, little in common with the North American FJ-2 an -3 Fury.

Externally, a completely new wing with a folding mechanism was fitted. It was based on the F-86's so-called "6-3" wing, with a leading edge that was extended 6 inches at the root and 3 inches at the tip. This modification enhanced maneuverability at the expense of a small increase in landing speed due to deletion of the leading edge slats, a detail that was later introduced on the Sabre Mk 31, too. As a side benefit, the new wing leading edges without the slat mechanisms held extra fuel. However, the Mk 40's wing was different as camber was applied to the underside of the leading edge to improve low-speed handling for carrier operations. The wings were provided with four stations outboard of the landing gear wells for up to 1000 lb external loads on the inboard stations and 500 lb on the outboard stations.

 

Slightly larger stabilizers were fitted and the landing gear was strengthened, including a longer front wheel strut. The latter necessitated an enlarged front wheel well, so that the front leg’s attachment point had to be moved forward. A ventral launch cable hook was added under the wing roots and an external massive arrester hook under the rear fuselage.

Internally, systems were protected against salt and humidity and a Rolls-Royce Avon 211 turbojet was fitted, a downrated variant of the already navalized Avon 208 from the British DH Sea Vixen, but adapted to the different CAC 27 airframe and delivering 8.000 lbf (35.5 kN) thrust – slightly more than the engines of the land-based CAC Sabres, but also without an afterburner.

 

A single Mk 40 prototype was built from a new CAC 27 airframe taken directly from the production line in early 1955 and made its maiden flight on August 20th of the same year. In order to reflect its naval nature and its ancestry, this new CAC 27 variant was officially christened “Sea Sabre”.

Even though the modified machine handled well, and the new, cambered wing proved to be effective, many minor technical flaws were discovered and delayed the aircraft's development until 1957. These included the wing folding mechanism and the respective fuel plumbing connections, the landing gear, which had to be beefed up even more for hard carrier landings and the airframe’s structural strength for catapult launches, esp. around the ventral launch hook.

 

In the meantime, work on the land-based CAC 27 progressed in parallel, too, and innovations that led to the Mk 31 and 32 were also incorporated into the naval Mk 40, leading to the Sea Sabre Mk 41, which became the effective production aircraft. These updates included, among others, a detachable (but fixed) refueling probe under the starboard wing, two more pylons for light loads located under the wing roots and the capability to carry and deploy IR-guided AIM-9 Sidewinder air-to-air missiles, what significantly increased the Mk 41's efficiency as day fighter. With all these constant changes it took until April 1958 that the Sabre Mk 41, after a second prototype had been directly built to the new standard, was finally approved and cleared for production. Upon delivery, the RAN Sea Sabres carried a standard NATO paint scheme with Extra Dark Sea Grey upper surfaces and Sky undersides.

 

In the meantime, the political enthusiasm concerning the Australian carrier fleet had waned, so that only twenty-two aircraft were ordered. The reason behind this decision was that Australia’s carrier fleet and its capacity had become severely reduced: Following the first decommissioning of HMAS Sydney in 1958, Melbourne became the only aircraft carrier in Australian service, and she was unavailable to provide air cover for the RAN for up to four months in every year; this time was required for refits, refueling, personnel leave, and non-carrier duties, such as the transportation of troops or aircraft. Although one of the largest ships to serve in the RAN, Melbourne was one of the smallest carriers to operate in the post-World War II period, so that its contribution to military actions was rather limited. To make matters worse, a decision was made in 1959 to restrict Melbourne's role to helicopter operations only, rendering any carrier-based aircraft in Australian service obsolete. However, this decision was reversed shortly before its planned 1963 implementation, but Australia’s fleet of carrier-borne fixed-wing aircraft would not grow to proportions envisioned 10 years ago.

 

Nevertheless, on 10 November 1964, an AU£212 million increase in defense spending included the purchase of new aircraft for Melbourne. The RAN planned to acquire 14 Grumman S-2E Tracker anti-submarine aircraft and to modernize Melbourne to operate these. The acquisition of 18 new fighter-bombers was suggested (either Sea Sabre Mk 41s or the American Douglas A-4 Skyhawk), too, but these were dropped from the initial plan. A separate proposal to order 10 A-4G Skyhawks, a variant of the Skyhawk designed specifically for the RAN and optimized for air defense, was approved in 1965, but the new aircraft did not fly from Melbourne until the conclusion of her refit in 1969. This move, however, precluded the production of any new and further Sea Sabre.

 

At that time, the RAN Sea Sabres received a new livery in US Navy style, with upper surfaces in Light Gull Gray with white undersides. The CAC Sea Sabres remained the main day fighter and attack aircraft for the RAN, after the vintage Sea Furies had been retired in 1962. The other contemporary RAN fighter type in service, the Sea Venom FAW.53 all-weather fighter that had replaced the Furies, already showed its obsolescence.

In 1969, the RAN purchased another ten A-4G Skyhawks, primarily in order to replace the Sea Venoms on the carriers, instead of the proposed seventh and eighth Oberon-class submarines. These were operated together with the Sea Sabres in mixed units on board of Melbourne and from land bases, e.g. from NAS Nowra in New South Wales, where a number of Sea Sabres were also allocated to 724 Squadron for operational training.

 

Around 1970, Melbourne operated a standard air group of four jet aircraft, six Trackers, and ten Wessex helicopters until 1972, when the Wessexes were replaced with ten Westland Sea King anti-submarine warfare helicopters and the number of jet fighters doubled. Even though the A-4G’s more and more took over the operational duties on board of Melbourne, the Sea Sabres were still frequently deployed on the carrier, too, until the early Eighties, when both the Skyhawks and the Sea Sabres received once more a new camouflage, this time a wraparound scheme in two shades of grey, reflecting their primary airspace defense mission.

 

The CAC 27 Mk 41s’ last carrier operations took place in 1981 in the course of Melbourne’s involvements in two major exercises, Sea Hawk and Kangaroo 81, the ship’s final missions at sea. After Melbourne was decommissioned in 1984, the Fleet Air Arm ceased fixed-wing combat aircraft operation. This was the operational end of the Sabre Mk 41, which had reached the end of their airframe lifetime, and the Sea Sabre fleet had, during its career, severely suffered from accidents and losses: upon retirement, only eight of the original twenty-two aircraft still existed in flightworthy condition, so that the aircraft were all scrapped. The younger RAN A-4Gs were eventually sold to New Zealand, where they were kept in service until 2002.

  

General characteristics:

Crew: 1

Length: 37 ft 6 in (11.43 m)

Wingspan: 37 ft 1 in (11.3 m)

Height: 14 ft 5 in (4.39 m)

Wing area: 302.3 sq ft (28.1 m²)

Empty weight: 12,000 lb (5,443 kg)

Loaded weight: 16,000 lb (7,256 kg)

Max. takeoff weight: 21,210 lb (9,621 kg)

 

Powerplant:

1× Rolls-Royce Avon 208A turbojet engine with 8,200 lbf (36.44 kN)

 

Performance:

Maximum speed: 700 mph (1,100 km/h) (605 knots)

Range: 1,153 mi, (1,000 NM, 1,850 km)

Service ceiling: 52,000 ft (15,850 m)

Rate of climb: 12,000 ft/min at sea level (61 m/s)

 

Armament:

2× 30 mm ADEN cannons with 150 rounds per gun

5,300 lb (2,400 kg) of payload on six external hardpoints;

Bombs were usually mounted on outer two pylons as the mid pair were wet-plumbed pylons for

2× 200 gallons drop tanks, while the inner pair was usually occupied by a pair of AIM-9 Sidewinder

AAMs

A wide variety of bombs could be carried with maximum standard loadout being 2x 1,000 lb bombs

or 2x Matra pods with unguided SURA missiles plus 2 drop tanks for ground attacks, or 2x AIM-9 plus

two drop tanks as day fighter

  

The kit and its assembly:

This project was initially inspired by a set of decals from an ESCI A-4G which I had bought in a lot – I wondered if I could use it for a submission to the “In the navy” group build at whatifmodelers.com in early 2020. I considered an FJ-3M in Australian colors on this basis and had stashed away a Sword kit of that aircraft for this purpose. However, I had already built an FJ variant for the GB (a kitbashed mix of an F-86D and an FJ-4B in USMC colors), and was reluctant to add another Fury.

 

This spontaneously changed after (thanks to Corona virus quarantine…) I cleaned up one of my kit hoards and found a conversion set for a 1:72 CAC 27 from JAYS Model Kits which I had bought eons ago without a concrete plan. That was the eventual trigger to spin the RAN Fury idea further – why not a navalized version of the Avon Sabre for HMAS Melbourne?

 

The result is either another kitbash or a highly modified FJ-3M from Sword. The JAYS Model Kits set comes with a THICK sprue that carries two fuselage halves and an air intake, and it also offers a vacu canopy as a thin fallback option because the set is actually intended to be used together with a Hobby Craft F-86F.

 

While the parts, molded in a somewhat waxy and brittle styrene, look crude on the massive sprue, the fuselage halves come with very fine recessed engravings. And once you have cleaned the parts (NOTHING for people faint at heart, a mini drill with a saw blade is highly recommended), their fit is surprisingly good. The air intake was so exact that no putty was needed to blend it with the rest of the fuselage.

 

The rest came from the Sword kit and integrating the parts into the CAC 27 fuselage went more smoothly than expected. For instance, the FJ-3M comes with a nice cockpit tub that also holds a full air intake duct. Thanks to the slightly wider fuselage of the CAC 27, it could be mounted into the new fuselage halves without problems and the intake duct almost perfectly matches the intake frame from the conversion set. The tailpipe could be easily integrated without any mods, too. The fins had to be glued directly to the fuselage – but this is the way how the Sword kit is actually constructed! Even the FJ-3M’s wings match the different fuselage perfectly. The only modifications I had to make is a slight enlargement of the ventral wing opening at the front and at the read in order to take the deeper wing element from the Sword kit, but that was an easy task. Once in place, the parts blend almost perfectly into each other, just minor PSR was necessary to hide the seams!

 

Other mods include an extended front wheel well for the longer leg from the FJ-3M and a scratched arrester hook installation, made from wire, which is on purpose different from the Y-shaped hook of the Furies.

 

For the canopy I relied on the vacu piece that came with the JAYS set. Fitting it was not easy, though, it took some PSR to blend the windscreen into the rest of the fuselage. Not perfect, but O.K. for such a solution from a conversion set.

 

The underwing pylons were taken from the Sword kit, including the early Sidewinders. I just replaced the drop tanks – the OOB tanks are very wide, and even though they might be authentic for the FJ-3, I was skeptical if they fit at all under the wings with the landing gear extended? In order to avoid trouble and for a more modern look, I replaced them outright with more slender tanks, which were to mimic A-4 tanks (USN FJ-4s frequently carried Skyhawk tanks). They actually come from a Revell F-16 kit, with modified fins. The refueling probe comes from the Sword kit.

 

A last word about the Sword kit: much light, but also much shadow. While I appreciate the fine surface engravings, the recognizably cambered wings, a detailed cockpit with a two-piece resin seat and a pretty landing gear as well as the long air intake, I wonder why the creators totally failed to provide ANY detail of the arrester hook (there is literally nothing, as if this was a land-based Sabre variant!?) or went for doubtful solutions like a front landing gear that consists of five(!) single, tiny parts? Sadism? The resin seat was also broken (despite being packed in a seperate bag), and it did not fit into the cockpit tub at all. Meh!

  

Painting and markings:

From the start I planned to give the model the late RAN A-4Gs’ unique air superiority paint scheme, which was AFAIK introduced in the late Seventies: a two-tone wraparound scheme consisting of “Light Admiralty Grey” (BS381C 697) and “Aircraft Grey” (BS 381C 693). Quite simple, but finding suitable paints was not an easy task, and I based my choice on pictures of the real aircraft (esp. from "buzz" number 880 at the Fleet Air Arm Museum, you find pics of it with very good light condition) rather than rely on (pretty doubtful if not contradictive) recommendations in various painting instructions from models or decal sets.

 

I wanted to keep things simple and settled upon Dark Gull Grey (FS 36231) and Light Blue (FS 35414), both enamel colors from Modelmaster, since both are rather dull interpretations of these tones. Esp. the Light Blue comes quite close to Light Admiralty Grey, even though it should be lighter for more contrast to the darker grey tone. But it has that subtle greenish touch of the original BS tone, and I did not want to mix the colors.

 

The pattern was adapted from the late A-4Gs’ scheme, and the colors were dulled down even more through a light black ink wash. Some post-shading with lighter tones emphasized the contrast between the two colors again. And while it is not an exact representation of the unique RAN air superiority scheme, I think that the overall impression is there.

 

The cockpit interior was painted in very dark grey, while the landing gear, its wells and the inside of the air intake became white. A red rim was painted around the front opening, and the landing gear covers received a red outline, too. The white drop tanks are a detail I took from real world RAN A-4Gs - in the early days of the air superiority scheme, the tanks were frequently still finished in the old USN style livery, hence the white body but fins and tail section already in the updated colors.

 

The decals became a fight, though. As mentioned above, the came from an ESCI kit – and, as expected, the were brittle. All decals with a clear carrier film disintegrated while soaking in water, only those with a fully printed carrier film were more or less usable. One roundel broke and had to be repaired, and the checkered fin flash was a very delicate affair that broke several times, even though I tried to save and repair it with paint. But you can unfortunately see the damage.

 

Most stencils and some replacements (e. g. the “Navy” tag) come from the Sword FJ-3. While these decals are crisply printed, their carrier film is utterly thin, so thin that applying esp. the larger decals turned out to be hazardous and complicated. Another point that did not really convince me about the Sword kit.

 

Finally, the kit was sealed with matt acrylic varnish (Italeri) and some soot stains were added around the exhaust and the gun ports with graphite.

  

In the end, this build looks, despite the troubles and the rather exotic ingredients like a relatively simple Sabre with Australian markings, just with a different Navy livery. You neither immediately recognize the FJ-3 behind it, nor the Avon Sabre’s bigger fuselage, unless you take a close and probably educated look. Very subtle, though.

The RAN air superiority scheme from the late Skyhawks suits the Sabre/Fury-thing well – I like the fact that it is a modern fighter scheme, but, thanks to the tones and the colorful other markings, not as dull and boring like many others, e. g. the contemporary USN "Ghost" scheme. Made me wonder about an early RAAF F-18 in this livery - should look very pretty, too?

Julia Gillard gives the keynote speech at the Educate a Child event following the opening ceremony on financing for education.

 

Credit: GPE/ Karen Pillay

 

Learn more: www.globalpartnership.org/blog/lets-get-wise-about-priori...

FYR Macedonia depends on imports for more than 30% of its electricity needs. The government is prioritizing the energy sector for development, working with the World Bank Group to implement energy efficiency and renewable energy programs. Photo: Tomislav Georgiev / World Bank

During confinement, online shopping and home shipping purchases increased dramatically. So much so that many supermarkets such as Mercadona, Consum, Carrefour or El Corte Inglés prioritized delivery to people at risk (elderly, disabled people, chronically ill) in the face of delays in service due to the avalanche of orders.

In the photo a delivery man from the Consum supermarket chain uploads the purchase to some elderly people.

***UPDATE**Doug and Tim always prioritize their agenda, and news flash....they found a great pair. Thank you both for your continued support!

  

Nice little character piece.

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!

  

Some background:

The CAC Sabre, sometimes known as the Avon Sabre or CA-27, was an Australian variant of the North American Aviation F-86F Sabre fighter aircraft. In 1951, Commonwealth Aircraft Corporation obtained a license agreement to build the F-86F Sabre. In a major departure from the North American blueprint, it was decided that the CA-27 would be powered by a license-built version of the Rolls-Royce Avon R.A.7, rather than the General Electric J47. In theory, the Avon was capable of more than double the maximum thrust and double the thrust-to-weight ratio of the US engine. This necessitated a re-design of the fuselage, as the Avon was shorter, wider and lighter than the J47.

 

To accommodate the Avon, over 60 percent of the fuselage was altered and there was a 25 percent increase in the size of the air intake. Another major revision was in replacing the F-86F's six machine guns with two 30mm ADEN cannon, while other changes were also made to the cockpit and to provide an increased fuel capacity.

 

The prototype aircraft first flew on 3 August 1953. The production aircrafts' first deliveries to the Royal Australian Air Force began in 1954. The first batch of aircraft were powered by the Avon 20 engine and were designated the Sabre Mk 30. Between 1957 and 1958 this batch had the wing slats removed and were re-designated Sabre Mk 31. These Sabres were supplemented by 20 new-built aircraft. The last batch of aircraft were designated Sabre Mk 32 and used the Avon 26 engine, of which 69 were built up to 1961.

 

Beyond these land-based versions, an indigenous version for carrier operations had been developed and built in small numbers, too, the Sea Sabre Mk 40 and 41. The roots of this aircraft, which was rather a prestigious idea than a sensible project, could be traced back to the immediate post WWII era. A review by the Australian Government's Defence Committee recommended that the post-war forces of the RAN be structured around a Task Force incorporating multiple aircraft carriers. Initial plans were for three carriers, with two active and a third in reserve, although funding cuts led to the purchase of only two carriers in June 1947: Majestic and sister ship HMS Terrible, for the combined cost of AU£2.75 million, plus stores, fuel, and ammunition. As Terrible was the closer of the two ships to completion, she was finished without modification, and was commissioned into the RAN on 16 December 1948 as HMAS Sydney. Work progressed on Majestic at a slower rate, as she was upgraded with the latest technology and equipment. To cover Majestic's absence, the Colossus-class carrier HMS Vengeance was loaned to the RAN from 13 November 1952 until 12 August 1955.

 

Labour difficulties, late delivery of equipment, additional requirements for Australian operations, and the prioritization of merchant ships over naval construction delayed the completion of Majestic. Incorporation of new systems and enhancements caused the cost of the RAN carrier acquisition program to increase to AU£8.3 million. Construction and fitting out did not finish until October 1955. As the carrier neared completion, a commissioning crew was formed in Australia and first used to return Vengeance to the United Kingdom.

The completed carrier was commissioned into the RAN as HMAS Majestic on 26 October 1955, but only two days later, the ship was renamed Melbourne and recommissioned.

 

In the meantime, the rather political decision had been made to equip Melbourne with an indigenous jet-powered aircraft, replacing the piston-driven Hawker Fury that had been successfully operated from HMAS Sydney and HMAS Vengeance, so that the "new jet age" was even more recognizable. The choice fell on the CAC Sabre, certainly inspired by North American's successful contemporary development of the navalized FJ-2 Fury from the land-based F-86 Sabre. The CAC 27 was already a proven design, and with its more powerful Avon engine it even offered a better suitability for carrier operations than the FJ-2 with its rather weak J47 engine.

 

Work on this project, which was initially simply designated Sabre Mk 40, started in 1954, just when the first CAC 27's were delivered to operative RAAF units. While the navalized Avon Sabre differed outwardly only little from its land-based brethren, many details were changed and locally developed. Therefore, there was also, beyond the general outlines, little in common with the North American FJ-2 an -3 Fury.

Externally, a completely new wing with a folding mechanism was fitted. It was based on the F-86's so-called "6-3" wing, with a leading edge that was extended 6 inches at the root and 3 inches at the tip. This modification enhanced maneuverability at the expense of a small increase in landing speed due to deletion of the leading edge slats, a detail that was later introduced on the Sabre Mk 31, too. As a side benefit, the new wing leading edges without the slat mechanisms held extra fuel. However, the Mk 40's wing was different as camber was applied to the underside of the leading edge to improve low-speed handling for carrier operations. The wings were provided with four stations outboard of the landing gear wells for up to 1000 lb external loads on the inboard stations and 500 lb on the outboard stations.

 

Slightly larger stabilizers were fitted and the landing gear was strengthened, including a longer front wheel strut. The latter necessitated an enlarged front wheel well, so that the front leg’s attachment point had to be moved forward. A ventral launch cable hook was added under the wing roots and an external massive arrester hook under the rear fuselage.

Internally, systems were protected against salt and humidity and a Rolls-Royce Avon 211 turbojet was fitted, a downrated variant of the already navalized Avon 208 from the British DH Sea Vixen, but adapted to the different CAC 27 airframe and delivering 8.000 lbf (35.5 kN) thrust – slightly more than the engines of the land-based CAC Sabres, but also without an afterburner.

 

A single Mk 40 prototype was built from a new CAC 27 airframe taken directly from the production line in early 1955 and made its maiden flight on August 20th of the same year. In order to reflect its naval nature and its ancestry, this new CAC 27 variant was officially christened “Sea Sabre”.

Even though the modified machine handled well, and the new, cambered wing proved to be effective, many minor technical flaws were discovered and delayed the aircraft's development until 1957. These included the wing folding mechanism and the respective fuel plumbing connections, the landing gear, which had to be beefed up even more for hard carrier landings and the airframe’s structural strength for catapult launches, esp. around the ventral launch hook.

 

In the meantime, work on the land-based CAC 27 progressed in parallel, too, and innovations that led to the Mk 31 and 32 were also incorporated into the naval Mk 40, leading to the Sea Sabre Mk 41, which became the effective production aircraft. These updates included, among others, a detachable (but fixed) refueling probe under the starboard wing, two more pylons for light loads located under the wing roots and the capability to carry and deploy IR-guided AIM-9 Sidewinder air-to-air missiles, what significantly increased the Mk 41's efficiency as day fighter. With all these constant changes it took until April 1958 that the Sabre Mk 41, after a second prototype had been directly built to the new standard, was finally approved and cleared for production. Upon delivery, the RAN Sea Sabres carried a standard NATO paint scheme with Extra Dark Sea Grey upper surfaces and Sky undersides.

 

In the meantime, the political enthusiasm concerning the Australian carrier fleet had waned, so that only twenty-two aircraft were ordered. The reason behind this decision was that Australia’s carrier fleet and its capacity had become severely reduced: Following the first decommissioning of HMAS Sydney in 1958, Melbourne became the only aircraft carrier in Australian service, and she was unavailable to provide air cover for the RAN for up to four months in every year; this time was required for refits, refueling, personnel leave, and non-carrier duties, such as the transportation of troops or aircraft. Although one of the largest ships to serve in the RAN, Melbourne was one of the smallest carriers to operate in the post-World War II period, so that its contribution to military actions was rather limited. To make matters worse, a decision was made in 1959 to restrict Melbourne's role to helicopter operations only, rendering any carrier-based aircraft in Australian service obsolete. However, this decision was reversed shortly before its planned 1963 implementation, but Australia’s fleet of carrier-borne fixed-wing aircraft would not grow to proportions envisioned 10 years ago.

 

Nevertheless, on 10 November 1964, an AU£212 million increase in defense spending included the purchase of new aircraft for Melbourne. The RAN planned to acquire 14 Grumman S-2E Tracker anti-submarine aircraft and to modernize Melbourne to operate these. The acquisition of 18 new fighter-bombers was suggested (either Sea Sabre Mk 41s or the American Douglas A-4 Skyhawk), too, but these were dropped from the initial plan. A separate proposal to order 10 A-4G Skyhawks, a variant of the Skyhawk designed specifically for the RAN and optimized for air defense, was approved in 1965, but the new aircraft did not fly from Melbourne until the conclusion of her refit in 1969. This move, however, precluded the production of any new and further Sea Sabre.

 

At that time, the RAN Sea Sabres received a new livery in US Navy style, with upper surfaces in Light Gull Gray with white undersides. The CAC Sea Sabres remained the main day fighter and attack aircraft for the RAN, after the vintage Sea Furies had been retired in 1962. The other contemporary RAN fighter type in service, the Sea Venom FAW.53 all-weather fighter that had replaced the Furies, already showed its obsolescence.

In 1969, the RAN purchased another ten A-4G Skyhawks, primarily in order to replace the Sea Venoms on the carriers, instead of the proposed seventh and eighth Oberon-class submarines. These were operated together with the Sea Sabres in mixed units on board of Melbourne and from land bases, e.g. from NAS Nowra in New South Wales, where a number of Sea Sabres were also allocated to 724 Squadron for operational training.

 

Around 1970, Melbourne operated a standard air group of four jet aircraft, six Trackers, and ten Wessex helicopters until 1972, when the Wessexes were replaced with ten Westland Sea King anti-submarine warfare helicopters and the number of jet fighters doubled. Even though the A-4G’s more and more took over the operational duties on board of Melbourne, the Sea Sabres were still frequently deployed on the carrier, too, until the early Eighties, when both the Skyhawks and the Sea Sabres received once more a new camouflage, this time a wraparound scheme in two shades of grey, reflecting their primary airspace defense mission.

 

The CAC 27 Mk 41s’ last carrier operations took place in 1981 in the course of Melbourne’s involvements in two major exercises, Sea Hawk and Kangaroo 81, the ship’s final missions at sea. After Melbourne was decommissioned in 1984, the Fleet Air Arm ceased fixed-wing combat aircraft operation. This was the operational end of the Sabre Mk 41, which had reached the end of their airframe lifetime, and the Sea Sabre fleet had, during its career, severely suffered from accidents and losses: upon retirement, only eight of the original twenty-two aircraft still existed in flightworthy condition, so that the aircraft were all scrapped. The younger RAN A-4Gs were eventually sold to New Zealand, where they were kept in service until 2002.

  

General characteristics:

Crew: 1

Length: 37 ft 6 in (11.43 m)

Wingspan: 37 ft 1 in (11.3 m)

Height: 14 ft 5 in (4.39 m)

Wing area: 302.3 sq ft (28.1 m²)

Empty weight: 12,000 lb (5,443 kg)

Loaded weight: 16,000 lb (7,256 kg)

Max. takeoff weight: 21,210 lb (9,621 kg)

 

Powerplant:

1× Rolls-Royce Avon 208A turbojet engine with 8,200 lbf (36.44 kN)

 

Performance:

Maximum speed: 700 mph (1,100 km/h) (605 knots)

Range: 1,153 mi, (1,000 NM, 1,850 km)

Service ceiling: 52,000 ft (15,850 m)

Rate of climb: 12,000 ft/min at sea level (61 m/s)

 

Armament:

2× 30 mm ADEN cannons with 150 rounds per gun

5,300 lb (2,400 kg) of payload on six external hardpoints;

Bombs were usually mounted on outer two pylons as the mid pair were wet-plumbed pylons for

2× 200 gallons drop tanks, while the inner pair was usually occupied by a pair of AIM-9 Sidewinder

AAMs

A wide variety of bombs could be carried with maximum standard loadout being 2x 1,000 lb bombs

or 2x Matra pods with unguided SURA missiles plus 2 drop tanks for ground attacks, or 2x AIM-9 plus

two drop tanks as day fighter

  

The kit and its assembly:

This project was initially inspired by a set of decals from an ESCI A-4G which I had bought in a lot – I wondered if I could use it for a submission to the “In the navy” group build at whatifmodelers.com in early 2020. I considered an FJ-3M in Australian colors on this basis and had stashed away a Sword kit of that aircraft for this purpose. However, I had already built an FJ variant for the GB (a kitbashed mix of an F-86D and an FJ-4B in USMC colors), and was reluctant to add another Fury.

 

This spontaneously changed after (thanks to Corona virus quarantine…) I cleaned up one of my kit hoards and found a conversion set for a 1:72 CAC 27 from JAYS Model Kits which I had bought eons ago without a concrete plan. That was the eventual trigger to spin the RAN Fury idea further – why not a navalized version of the Avon Sabre for HMAS Melbourne?

 

The result is either another kitbash or a highly modified FJ-3M from Sword. The JAYS Model Kits set comes with a THICK sprue that carries two fuselage halves and an air intake, and it also offers a vacu canopy as a thin fallback option because the set is actually intended to be used together with a Hobby Craft F-86F.

 

While the parts, molded in a somewhat waxy and brittle styrene, look crude on the massive sprue, the fuselage halves come with very fine recessed engravings. And once you have cleaned the parts (NOTHING for people faint at heart, a mini drill with a saw blade is highly recommended), their fit is surprisingly good. The air intake was so exact that no putty was needed to blend it with the rest of the fuselage.

 

The rest came from the Sword kit and integrating the parts into the CAC 27 fuselage went more smoothly than expected. For instance, the FJ-3M comes with a nice cockpit tub that also holds a full air intake duct. Thanks to the slightly wider fuselage of the CAC 27, it could be mounted into the new fuselage halves without problems and the intake duct almost perfectly matches the intake frame from the conversion set. The tailpipe could be easily integrated without any mods, too. The fins had to be glued directly to the fuselage – but this is the way how the Sword kit is actually constructed! Even the FJ-3M’s wings match the different fuselage perfectly. The only modifications I had to make is a slight enlargement of the ventral wing opening at the front and at the read in order to take the deeper wing element from the Sword kit, but that was an easy task. Once in place, the parts blend almost perfectly into each other, just minor PSR was necessary to hide the seams!

 

Other mods include an extended front wheel well for the longer leg from the FJ-3M and a scratched arrester hook installation, made from wire, which is on purpose different from the Y-shaped hook of the Furies.

 

For the canopy I relied on the vacu piece that came with the JAYS set. Fitting it was not easy, though, it took some PSR to blend the windscreen into the rest of the fuselage. Not perfect, but O.K. for such a solution from a conversion set.

 

The underwing pylons were taken from the Sword kit, including the early Sidewinders. I just replaced the drop tanks – the OOB tanks are very wide, and even though they might be authentic for the FJ-3, I was skeptical if they fit at all under the wings with the landing gear extended? In order to avoid trouble and for a more modern look, I replaced them outright with more slender tanks, which were to mimic A-4 tanks (USN FJ-4s frequently carried Skyhawk tanks). They actually come from a Revell F-16 kit, with modified fins. The refueling probe comes from the Sword kit.

 

A last word about the Sword kit: much light, but also much shadow. While I appreciate the fine surface engravings, the recognizably cambered wings, a detailed cockpit with a two-piece resin seat and a pretty landing gear as well as the long air intake, I wonder why the creators totally failed to provide ANY detail of the arrester hook (there is literally nothing, as if this was a land-based Sabre variant!?) or went for doubtful solutions like a front landing gear that consists of five(!) single, tiny parts? Sadism? The resin seat was also broken (despite being packed in a seperate bag), and it did not fit into the cockpit tub at all. Meh!

  

Painting and markings:

From the start I planned to give the model the late RAN A-4Gs’ unique air superiority paint scheme, which was AFAIK introduced in the late Seventies: a two-tone wraparound scheme consisting of “Light Admiralty Grey” (BS381C 697) and “Aircraft Grey” (BS 381C 693). Quite simple, but finding suitable paints was not an easy task, and I based my choice on pictures of the real aircraft (esp. from "buzz" number 880 at the Fleet Air Arm Museum, you find pics of it with very good light condition) rather than rely on (pretty doubtful if not contradictive) recommendations in various painting instructions from models or decal sets.

 

I wanted to keep things simple and settled upon Dark Gull Grey (FS 36231) and Light Blue (FS 35414), both enamel colors from Modelmaster, since both are rather dull interpretations of these tones. Esp. the Light Blue comes quite close to Light Admiralty Grey, even though it should be lighter for more contrast to the darker grey tone. But it has that subtle greenish touch of the original BS tone, and I did not want to mix the colors.

 

The pattern was adapted from the late A-4Gs’ scheme, and the colors were dulled down even more through a light black ink wash. Some post-shading with lighter tones emphasized the contrast between the two colors again. And while it is not an exact representation of the unique RAN air superiority scheme, I think that the overall impression is there.

 

The cockpit interior was painted in very dark grey, while the landing gear, its wells and the inside of the air intake became white. A red rim was painted around the front opening, and the landing gear covers received a red outline, too. The white drop tanks are a detail I took from real world RAN A-4Gs - in the early days of the air superiority scheme, the tanks were frequently still finished in the old USN style livery, hence the white body but fins and tail section already in the updated colors.

 

The decals became a fight, though. As mentioned above, the came from an ESCI kit – and, as expected, the were brittle. All decals with a clear carrier film disintegrated while soaking in water, only those with a fully printed carrier film were more or less usable. One roundel broke and had to be repaired, and the checkered fin flash was a very delicate affair that broke several times, even though I tried to save and repair it with paint. But you can unfortunately see the damage.

 

Most stencils and some replacements (e. g. the “Navy” tag) come from the Sword FJ-3. While these decals are crisply printed, their carrier film is utterly thin, so thin that applying esp. the larger decals turned out to be hazardous and complicated. Another point that did not really convince me about the Sword kit.

 

Finally, the kit was sealed with matt acrylic varnish (Italeri) and some soot stains were added around the exhaust and the gun ports with graphite.

  

In the end, this build looks, despite the troubles and the rather exotic ingredients like a relatively simple Sabre with Australian markings, just with a different Navy livery. You neither immediately recognize the FJ-3 behind it, nor the Avon Sabre’s bigger fuselage, unless you take a close and probably educated look. Very subtle, though.

The RAN air superiority scheme from the late Skyhawks suits the Sabre/Fury-thing well – I like the fact that it is a modern fighter scheme, but, thanks to the tones and the colorful other markings, not as dull and boring like many others, e. g. the contemporary USN "Ghost" scheme. Made me wonder about an early RAAF F-18 in this livery - should look very pretty, too?

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!

  

Some background:

The CAC Sabre, sometimes known as the Avon Sabre or CA-27, was an Australian variant of the North American Aviation F-86F Sabre fighter aircraft. In 1951, Commonwealth Aircraft Corporation obtained a license agreement to build the F-86F Sabre. In a major departure from the North American blueprint, it was decided that the CA-27 would be powered by a license-built version of the Rolls-Royce Avon R.A.7, rather than the General Electric J47. In theory, the Avon was capable of more than double the maximum thrust and double the thrust-to-weight ratio of the US engine. This necessitated a re-design of the fuselage, as the Avon was shorter, wider and lighter than the J47.

 

To accommodate the Avon, over 60 percent of the fuselage was altered and there was a 25 percent increase in the size of the air intake. Another major revision was in replacing the F-86F's six machine guns with two 30mm ADEN cannon, while other changes were also made to the cockpit and to provide an increased fuel capacity.

 

The prototype aircraft first flew on 3 August 1953. The production aircrafts' first deliveries to the Royal Australian Air Force began in 1954. The first batch of aircraft were powered by the Avon 20 engine and were designated the Sabre Mk 30. Between 1957 and 1958 this batch had the wing slats removed and were re-designated Sabre Mk 31. These Sabres were supplemented by 20 new-built aircraft. The last batch of aircraft were designated Sabre Mk 32 and used the Avon 26 engine, of which 69 were built up to 1961.

 

Beyond these land-based versions, an indigenous version for carrier operations had been developed and built in small numbers, too, the Sea Sabre Mk 40 and 41. The roots of this aircraft, which was rather a prestigious idea than a sensible project, could be traced back to the immediate post WWII era. A review by the Australian Government's Defence Committee recommended that the post-war forces of the RAN be structured around a Task Force incorporating multiple aircraft carriers. Initial plans were for three carriers, with two active and a third in reserve, although funding cuts led to the purchase of only two carriers in June 1947: Majestic and sister ship HMS Terrible, for the combined cost of AU£2.75 million, plus stores, fuel, and ammunition. As Terrible was the closer of the two ships to completion, she was finished without modification, and was commissioned into the RAN on 16 December 1948 as HMAS Sydney. Work progressed on Majestic at a slower rate, as she was upgraded with the latest technology and equipment. To cover Majestic's absence, the Colossus-class carrier HMS Vengeance was loaned to the RAN from 13 November 1952 until 12 August 1955.

 

Labour difficulties, late delivery of equipment, additional requirements for Australian operations, and the prioritization of merchant ships over naval construction delayed the completion of Majestic. Incorporation of new systems and enhancements caused the cost of the RAN carrier acquisition program to increase to AU£8.3 million. Construction and fitting out did not finish until October 1955. As the carrier neared completion, a commissioning crew was formed in Australia and first used to return Vengeance to the United Kingdom.

The completed carrier was commissioned into the RAN as HMAS Majestic on 26 October 1955, but only two days later, the ship was renamed Melbourne and recommissioned.

 

In the meantime, the rather political decision had been made to equip Melbourne with an indigenous jet-powered aircraft, replacing the piston-driven Hawker Fury that had been successfully operated from HMAS Sydney and HMAS Vengeance, so that the "new jet age" was even more recognizable. The choice fell on the CAC Sabre, certainly inspired by North American's successful contemporary development of the navalized FJ-2 Fury from the land-based F-86 Sabre. The CAC 27 was already a proven design, and with its more powerful Avon engine it even offered a better suitability for carrier operations than the FJ-2 with its rather weak J47 engine.

 

Work on this project, which was initially simply designated Sabre Mk 40, started in 1954, just when the first CAC 27's were delivered to operative RAAF units. While the navalized Avon Sabre differed outwardly only little from its land-based brethren, many details were changed and locally developed. Therefore, there was also, beyond the general outlines, little in common with the North American FJ-2 an -3 Fury.

Externally, a completely new wing with a folding mechanism was fitted. It was based on the F-86's so-called "6-3" wing, with a leading edge that was extended 6 inches at the root and 3 inches at the tip. This modification enhanced maneuverability at the expense of a small increase in landing speed due to deletion of the leading edge slats, a detail that was later introduced on the Sabre Mk 31, too. As a side benefit, the new wing leading edges without the slat mechanisms held extra fuel. However, the Mk 40's wing was different as camber was applied to the underside of the leading edge to improve low-speed handling for carrier operations. The wings were provided with four stations outboard of the landing gear wells for up to 1000 lb external loads on the inboard stations and 500 lb on the outboard stations.

 

Slightly larger stabilizers were fitted and the landing gear was strengthened, including a longer front wheel strut. The latter necessitated an enlarged front wheel well, so that the front leg’s attachment point had to be moved forward. A ventral launch cable hook was added under the wing roots and an external massive arrester hook under the rear fuselage.

Internally, systems were protected against salt and humidity and a Rolls-Royce Avon 211 turbojet was fitted, a downrated variant of the already navalized Avon 208 from the British DH Sea Vixen, but adapted to the different CAC 27 airframe and delivering 8.000 lbf (35.5 kN) thrust – slightly more than the engines of the land-based CAC Sabres, but also without an afterburner.

 

A single Mk 40 prototype was built from a new CAC 27 airframe taken directly from the production line in early 1955 and made its maiden flight on August 20th of the same year. In order to reflect its naval nature and its ancestry, this new CAC 27 variant was officially christened “Sea Sabre”.

Even though the modified machine handled well, and the new, cambered wing proved to be effective, many minor technical flaws were discovered and delayed the aircraft's development until 1957. These included the wing folding mechanism and the respective fuel plumbing connections, the landing gear, which had to be beefed up even more for hard carrier landings and the airframe’s structural strength for catapult launches, esp. around the ventral launch hook.

 

In the meantime, work on the land-based CAC 27 progressed in parallel, too, and innovations that led to the Mk 31 and 32 were also incorporated into the naval Mk 40, leading to the Sea Sabre Mk 41, which became the effective production aircraft. These updates included, among others, a detachable (but fixed) refueling probe under the starboard wing, two more pylons for light loads located under the wing roots and the capability to carry and deploy IR-guided AIM-9 Sidewinder air-to-air missiles, what significantly increased the Mk 41's efficiency as day fighter. With all these constant changes it took until April 1958 that the Sabre Mk 41, after a second prototype had been directly built to the new standard, was finally approved and cleared for production. Upon delivery, the RAN Sea Sabres carried a standard NATO paint scheme with Extra Dark Sea Grey upper surfaces and Sky undersides.

 

In the meantime, the political enthusiasm concerning the Australian carrier fleet had waned, so that only twenty-two aircraft were ordered. The reason behind this decision was that Australia’s carrier fleet and its capacity had become severely reduced: Following the first decommissioning of HMAS Sydney in 1958, Melbourne became the only aircraft carrier in Australian service, and she was unavailable to provide air cover for the RAN for up to four months in every year; this time was required for refits, refueling, personnel leave, and non-carrier duties, such as the transportation of troops or aircraft. Although one of the largest ships to serve in the RAN, Melbourne was one of the smallest carriers to operate in the post-World War II period, so that its contribution to military actions was rather limited. To make matters worse, a decision was made in 1959 to restrict Melbourne's role to helicopter operations only, rendering any carrier-based aircraft in Australian service obsolete. However, this decision was reversed shortly before its planned 1963 implementation, but Australia’s fleet of carrier-borne fixed-wing aircraft would not grow to proportions envisioned 10 years ago.

 

Nevertheless, on 10 November 1964, an AU£212 million increase in defense spending included the purchase of new aircraft for Melbourne. The RAN planned to acquire 14 Grumman S-2E Tracker anti-submarine aircraft and to modernize Melbourne to operate these. The acquisition of 18 new fighter-bombers was suggested (either Sea Sabre Mk 41s or the American Douglas A-4 Skyhawk), too, but these were dropped from the initial plan. A separate proposal to order 10 A-4G Skyhawks, a variant of the Skyhawk designed specifically for the RAN and optimized for air defense, was approved in 1965, but the new aircraft did not fly from Melbourne until the conclusion of her refit in 1969. This move, however, precluded the production of any new and further Sea Sabre.

 

At that time, the RAN Sea Sabres received a new livery in US Navy style, with upper surfaces in Light Gull Gray with white undersides. The CAC Sea Sabres remained the main day fighter and attack aircraft for the RAN, after the vintage Sea Furies had been retired in 1962. The other contemporary RAN fighter type in service, the Sea Venom FAW.53 all-weather fighter that had replaced the Furies, already showed its obsolescence.

In 1969, the RAN purchased another ten A-4G Skyhawks, primarily in order to replace the Sea Venoms on the carriers, instead of the proposed seventh and eighth Oberon-class submarines. These were operated together with the Sea Sabres in mixed units on board of Melbourne and from land bases, e.g. from NAS Nowra in New South Wales, where a number of Sea Sabres were also allocated to 724 Squadron for operational training.

 

Around 1970, Melbourne operated a standard air group of four jet aircraft, six Trackers, and ten Wessex helicopters until 1972, when the Wessexes were replaced with ten Westland Sea King anti-submarine warfare helicopters and the number of jet fighters doubled. Even though the A-4G’s more and more took over the operational duties on board of Melbourne, the Sea Sabres were still frequently deployed on the carrier, too, until the early Eighties, when both the Skyhawks and the Sea Sabres received once more a new camouflage, this time a wraparound scheme in two shades of grey, reflecting their primary airspace defense mission.

 

The CAC 27 Mk 41s’ last carrier operations took place in 1981 in the course of Melbourne’s involvements in two major exercises, Sea Hawk and Kangaroo 81, the ship’s final missions at sea. After Melbourne was decommissioned in 1984, the Fleet Air Arm ceased fixed-wing combat aircraft operation. This was the operational end of the Sabre Mk 41, which had reached the end of their airframe lifetime, and the Sea Sabre fleet had, during its career, severely suffered from accidents and losses: upon retirement, only eight of the original twenty-two aircraft still existed in flightworthy condition, so that the aircraft were all scrapped. The younger RAN A-4Gs were eventually sold to New Zealand, where they were kept in service until 2002.

  

General characteristics:

Crew: 1

Length: 37 ft 6 in (11.43 m)

Wingspan: 37 ft 1 in (11.3 m)

Height: 14 ft 5 in (4.39 m)

Wing area: 302.3 sq ft (28.1 m²)

Empty weight: 12,000 lb (5,443 kg)

Loaded weight: 16,000 lb (7,256 kg)

Max. takeoff weight: 21,210 lb (9,621 kg)

 

Powerplant:

1× Rolls-Royce Avon 208A turbojet engine with 8,200 lbf (36.44 kN)

 

Performance:

Maximum speed: 700 mph (1,100 km/h) (605 knots)

Range: 1,153 mi, (1,000 NM, 1,850 km)

Service ceiling: 52,000 ft (15,850 m)

Rate of climb: 12,000 ft/min at sea level (61 m/s)

 

Armament:

2× 30 mm ADEN cannons with 150 rounds per gun

5,300 lb (2,400 kg) of payload on six external hardpoints;

Bombs were usually mounted on outer two pylons as the mid pair were wet-plumbed pylons for

2× 200 gallons drop tanks, while the inner pair was usually occupied by a pair of AIM-9 Sidewinder

AAMs

A wide variety of bombs could be carried with maximum standard loadout being 2x 1,000 lb bombs

or 2x Matra pods with unguided SURA missiles plus 2 drop tanks for ground attacks, or 2x AIM-9 plus

two drop tanks as day fighter

  

The kit and its assembly:

This project was initially inspired by a set of decals from an ESCI A-4G which I had bought in a lot – I wondered if I could use it for a submission to the “In the navy” group build at whatifmodelers.com in early 2020. I considered an FJ-3M in Australian colors on this basis and had stashed away a Sword kit of that aircraft for this purpose. However, I had already built an FJ variant for the GB (a kitbashed mix of an F-86D and an FJ-4B in USMC colors), and was reluctant to add another Fury.

 

This spontaneously changed after (thanks to Corona virus quarantine…) I cleaned up one of my kit hoards and found a conversion set for a 1:72 CAC 27 from JAYS Model Kits which I had bought eons ago without a concrete plan. That was the eventual trigger to spin the RAN Fury idea further – why not a navalized version of the Avon Sabre for HMAS Melbourne?

 

The result is either another kitbash or a highly modified FJ-3M from Sword. The JAYS Model Kits set comes with a THICK sprue that carries two fuselage halves and an air intake, and it also offers a vacu canopy as a thin fallback option because the set is actually intended to be used together with a Hobby Craft F-86F.

 

While the parts, molded in a somewhat waxy and brittle styrene, look crude on the massive sprue, the fuselage halves come with very fine recessed engravings. And once you have cleaned the parts (NOTHING for people faint at heart, a mini drill with a saw blade is highly recommended), their fit is surprisingly good. The air intake was so exact that no putty was needed to blend it with the rest of the fuselage.

 

The rest came from the Sword kit and integrating the parts into the CAC 27 fuselage went more smoothly than expected. For instance, the FJ-3M comes with a nice cockpit tub that also holds a full air intake duct. Thanks to the slightly wider fuselage of the CAC 27, it could be mounted into the new fuselage halves without problems and the intake duct almost perfectly matches the intake frame from the conversion set. The tailpipe could be easily integrated without any mods, too. The fins had to be glued directly to the fuselage – but this is the way how the Sword kit is actually constructed! Even the FJ-3M’s wings match the different fuselage perfectly. The only modifications I had to make is a slight enlargement of the ventral wing opening at the front and at the read in order to take the deeper wing element from the Sword kit, but that was an easy task. Once in place, the parts blend almost perfectly into each other, just minor PSR was necessary to hide the seams!

 

Other mods include an extended front wheel well for the longer leg from the FJ-3M and a scratched arrester hook installation, made from wire, which is on purpose different from the Y-shaped hook of the Furies.

 

For the canopy I relied on the vacu piece that came with the JAYS set. Fitting it was not easy, though, it took some PSR to blend the windscreen into the rest of the fuselage. Not perfect, but O.K. for such a solution from a conversion set.

 

The underwing pylons were taken from the Sword kit, including the early Sidewinders. I just replaced the drop tanks – the OOB tanks are very wide, and even though they might be authentic for the FJ-3, I was skeptical if they fit at all under the wings with the landing gear extended? In order to avoid trouble and for a more modern look, I replaced them outright with more slender tanks, which were to mimic A-4 tanks (USN FJ-4s frequently carried Skyhawk tanks). They actually come from a Revell F-16 kit, with modified fins. The refueling probe comes from the Sword kit.

 

A last word about the Sword kit: much light, but also much shadow. While I appreciate the fine surface engravings, the recognizably cambered wings, a detailed cockpit with a two-piece resin seat and a pretty landing gear as well as the long air intake, I wonder why the creators totally failed to provide ANY detail of the arrester hook (there is literally nothing, as if this was a land-based Sabre variant!?) or went for doubtful solutions like a front landing gear that consists of five(!) single, tiny parts? Sadism? The resin seat was also broken (despite being packed in a seperate bag), and it did not fit into the cockpit tub at all. Meh!

  

Painting and markings:

From the start I planned to give the model the late RAN A-4Gs’ unique air superiority paint scheme, which was AFAIK introduced in the late Seventies: a two-tone wraparound scheme consisting of “Light Admiralty Grey” (BS381C 697) and “Aircraft Grey” (BS 381C 693). Quite simple, but finding suitable paints was not an easy task, and I based my choice on pictures of the real aircraft (esp. from "buzz" number 880 at the Fleet Air Arm Museum, you find pics of it with very good light condition) rather than rely on (pretty doubtful if not contradictive) recommendations in various painting instructions from models or decal sets.

 

I wanted to keep things simple and settled upon Dark Gull Grey (FS 36231) and Light Blue (FS 35414), both enamel colors from Modelmaster, since both are rather dull interpretations of these tones. Esp. the Light Blue comes quite close to Light Admiralty Grey, even though it should be lighter for more contrast to the darker grey tone. But it has that subtle greenish touch of the original BS tone, and I did not want to mix the colors.

 

The pattern was adapted from the late A-4Gs’ scheme, and the colors were dulled down even more through a light black ink wash. Some post-shading with lighter tones emphasized the contrast between the two colors again. And while it is not an exact representation of the unique RAN air superiority scheme, I think that the overall impression is there.

 

The cockpit interior was painted in very dark grey, while the landing gear, its wells and the inside of the air intake became white. A red rim was painted around the front opening, and the landing gear covers received a red outline, too. The white drop tanks are a detail I took from real world RAN A-4Gs - in the early days of the air superiority scheme, the tanks were frequently still finished in the old USN style livery, hence the white body but fins and tail section already in the updated colors.

 

The decals became a fight, though. As mentioned above, the came from an ESCI kit – and, as expected, the were brittle. All decals with a clear carrier film disintegrated while soaking in water, only those with a fully printed carrier film were more or less usable. One roundel broke and had to be repaired, and the checkered fin flash was a very delicate affair that broke several times, even though I tried to save and repair it with paint. But you can unfortunately see the damage.

 

Most stencils and some replacements (e. g. the “Navy” tag) come from the Sword FJ-3. While these decals are crisply printed, their carrier film is utterly thin, so thin that applying esp. the larger decals turned out to be hazardous and complicated. Another point that did not really convince me about the Sword kit.

 

Finally, the kit was sealed with matt acrylic varnish (Italeri) and some soot stains were added around the exhaust and the gun ports with graphite.

  

In the end, this build looks, despite the troubles and the rather exotic ingredients like a relatively simple Sabre with Australian markings, just with a different Navy livery. You neither immediately recognize the FJ-3 behind it, nor the Avon Sabre’s bigger fuselage, unless you take a close and probably educated look. Very subtle, though.

The RAN air superiority scheme from the late Skyhawks suits the Sabre/Fury-thing well – I like the fact that it is a modern fighter scheme, but, thanks to the tones and the colorful other markings, not as dull and boring like many others, e. g. the contemporary USN "Ghost" scheme. Made me wonder about an early RAAF F-18 in this livery - should look very pretty, too?

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!

  

Some background:

The CAC Sabre, sometimes known as the Avon Sabre or CA-27, was an Australian variant of the North American Aviation F-86F Sabre fighter aircraft. In 1951, Commonwealth Aircraft Corporation obtained a license agreement to build the F-86F Sabre. In a major departure from the North American blueprint, it was decided that the CA-27 would be powered by a license-built version of the Rolls-Royce Avon R.A.7, rather than the General Electric J47. In theory, the Avon was capable of more than double the maximum thrust and double the thrust-to-weight ratio of the US engine. This necessitated a re-design of the fuselage, as the Avon was shorter, wider and lighter than the J47.

 

To accommodate the Avon, over 60 percent of the fuselage was altered and there was a 25 percent increase in the size of the air intake. Another major revision was in replacing the F-86F's six machine guns with two 30mm ADEN cannon, while other changes were also made to the cockpit and to provide an increased fuel capacity.

 

The prototype aircraft first flew on 3 August 1953. The production aircrafts' first deliveries to the Royal Australian Air Force began in 1954. The first batch of aircraft were powered by the Avon 20 engine and were designated the Sabre Mk 30. Between 1957 and 1958 this batch had the wing slats removed and were re-designated Sabre Mk 31. These Sabres were supplemented by 20 new-built aircraft. The last batch of aircraft were designated Sabre Mk 32 and used the Avon 26 engine, of which 69 were built up to 1961.

 

Beyond these land-based versions, an indigenous version for carrier operations had been developed and built in small numbers, too, the Sea Sabre Mk 40 and 41. The roots of this aircraft, which was rather a prestigious idea than a sensible project, could be traced back to the immediate post WWII era. A review by the Australian Government's Defence Committee recommended that the post-war forces of the RAN be structured around a Task Force incorporating multiple aircraft carriers. Initial plans were for three carriers, with two active and a third in reserve, although funding cuts led to the purchase of only two carriers in June 1947: Majestic and sister ship HMS Terrible, for the combined cost of AU£2.75 million, plus stores, fuel, and ammunition. As Terrible was the closer of the two ships to completion, she was finished without modification, and was commissioned into the RAN on 16 December 1948 as HMAS Sydney. Work progressed on Majestic at a slower rate, as she was upgraded with the latest technology and equipment. To cover Majestic's absence, the Colossus-class carrier HMS Vengeance was loaned to the RAN from 13 November 1952 until 12 August 1955.

 

Labour difficulties, late delivery of equipment, additional requirements for Australian operations, and the prioritization of merchant ships over naval construction delayed the completion of Majestic. Incorporation of new systems and enhancements caused the cost of the RAN carrier acquisition program to increase to AU£8.3 million. Construction and fitting out did not finish until October 1955. As the carrier neared completion, a commissioning crew was formed in Australia and first used to return Vengeance to the United Kingdom.

The completed carrier was commissioned into the RAN as HMAS Majestic on 26 October 1955, but only two days later, the ship was renamed Melbourne and recommissioned.

 

In the meantime, the rather political decision had been made to equip Melbourne with an indigenous jet-powered aircraft, replacing the piston-driven Hawker Fury that had been successfully operated from HMAS Sydney and HMAS Vengeance, so that the "new jet age" was even more recognizable. The choice fell on the CAC Sabre, certainly inspired by North American's successful contemporary development of the navalized FJ-2 Fury from the land-based F-86 Sabre. The CAC 27 was already a proven design, and with its more powerful Avon engine it even offered a better suitability for carrier operations than the FJ-2 with its rather weak J47 engine.

 

Work on this project, which was initially simply designated Sabre Mk 40, started in 1954, just when the first CAC 27's were delivered to operative RAAF units. While the navalized Avon Sabre differed outwardly only little from its land-based brethren, many details were changed and locally developed. Therefore, there was also, beyond the general outlines, little in common with the North American FJ-2 an -3 Fury.

Externally, a completely new wing with a folding mechanism was fitted. It was based on the F-86's so-called "6-3" wing, with a leading edge that was extended 6 inches at the root and 3 inches at the tip. This modification enhanced maneuverability at the expense of a small increase in landing speed due to deletion of the leading edge slats, a detail that was later introduced on the Sabre Mk 31, too. As a side benefit, the new wing leading edges without the slat mechanisms held extra fuel. However, the Mk 40's wing was different as camber was applied to the underside of the leading edge to improve low-speed handling for carrier operations. The wings were provided with four stations outboard of the landing gear wells for up to 1000 lb external loads on the inboard stations and 500 lb on the outboard stations.

 

Slightly larger stabilizers were fitted and the landing gear was strengthened, including a longer front wheel strut. The latter necessitated an enlarged front wheel well, so that the front leg’s attachment point had to be moved forward. A ventral launch cable hook was added under the wing roots and an external massive arrester hook under the rear fuselage.

Internally, systems were protected against salt and humidity and a Rolls-Royce Avon 211 turbojet was fitted, a downrated variant of the already navalized Avon 208 from the British DH Sea Vixen, but adapted to the different CAC 27 airframe and delivering 8.000 lbf (35.5 kN) thrust – slightly more than the engines of the land-based CAC Sabres, but also without an afterburner.

 

A single Mk 40 prototype was built from a new CAC 27 airframe taken directly from the production line in early 1955 and made its maiden flight on August 20th of the same year. In order to reflect its naval nature and its ancestry, this new CAC 27 variant was officially christened “Sea Sabre”.

Even though the modified machine handled well, and the new, cambered wing proved to be effective, many minor technical flaws were discovered and delayed the aircraft's development until 1957. These included the wing folding mechanism and the respective fuel plumbing connections, the landing gear, which had to be beefed up even more for hard carrier landings and the airframe’s structural strength for catapult launches, esp. around the ventral launch hook.

 

In the meantime, work on the land-based CAC 27 progressed in parallel, too, and innovations that led to the Mk 31 and 32 were also incorporated into the naval Mk 40, leading to the Sea Sabre Mk 41, which became the effective production aircraft. These updates included, among others, a detachable (but fixed) refueling probe under the starboard wing, two more pylons for light loads located under the wing roots and the capability to carry and deploy IR-guided AIM-9 Sidewinder air-to-air missiles, what significantly increased the Mk 41's efficiency as day fighter. With all these constant changes it took until April 1958 that the Sabre Mk 41, after a second prototype had been directly built to the new standard, was finally approved and cleared for production. Upon delivery, the RAN Sea Sabres carried a standard NATO paint scheme with Extra Dark Sea Grey upper surfaces and Sky undersides.

 

In the meantime, the political enthusiasm concerning the Australian carrier fleet had waned, so that only twenty-two aircraft were ordered. The reason behind this decision was that Australia’s carrier fleet and its capacity had become severely reduced: Following the first decommissioning of HMAS Sydney in 1958, Melbourne became the only aircraft carrier in Australian service, and she was unavailable to provide air cover for the RAN for up to four months in every year; this time was required for refits, refueling, personnel leave, and non-carrier duties, such as the transportation of troops or aircraft. Although one of the largest ships to serve in the RAN, Melbourne was one of the smallest carriers to operate in the post-World War II period, so that its contribution to military actions was rather limited. To make matters worse, a decision was made in 1959 to restrict Melbourne's role to helicopter operations only, rendering any carrier-based aircraft in Australian service obsolete. However, this decision was reversed shortly before its planned 1963 implementation, but Australia’s fleet of carrier-borne fixed-wing aircraft would not grow to proportions envisioned 10 years ago.

 

Nevertheless, on 10 November 1964, an AU£212 million increase in defense spending included the purchase of new aircraft for Melbourne. The RAN planned to acquire 14 Grumman S-2E Tracker anti-submarine aircraft and to modernize Melbourne to operate these. The acquisition of 18 new fighter-bombers was suggested (either Sea Sabre Mk 41s or the American Douglas A-4 Skyhawk), too, but these were dropped from the initial plan. A separate proposal to order 10 A-4G Skyhawks, a variant of the Skyhawk designed specifically for the RAN and optimized for air defense, was approved in 1965, but the new aircraft did not fly from Melbourne until the conclusion of her refit in 1969. This move, however, precluded the production of any new and further Sea Sabre.

 

At that time, the RAN Sea Sabres received a new livery in US Navy style, with upper surfaces in Light Gull Gray with white undersides. The CAC Sea Sabres remained the main day fighter and attack aircraft for the RAN, after the vintage Sea Furies had been retired in 1962. The other contemporary RAN fighter type in service, the Sea Venom FAW.53 all-weather fighter that had replaced the Furies, already showed its obsolescence.

In 1969, the RAN purchased another ten A-4G Skyhawks, primarily in order to replace the Sea Venoms on the carriers, instead of the proposed seventh and eighth Oberon-class submarines. These were operated together with the Sea Sabres in mixed units on board of Melbourne and from land bases, e.g. from NAS Nowra in New South Wales, where a number of Sea Sabres were also allocated to 724 Squadron for operational training.

 

Around 1970, Melbourne operated a standard air group of four jet aircraft, six Trackers, and ten Wessex helicopters until 1972, when the Wessexes were replaced with ten Westland Sea King anti-submarine warfare helicopters and the number of jet fighters doubled. Even though the A-4G’s more and more took over the operational duties on board of Melbourne, the Sea Sabres were still frequently deployed on the carrier, too, until the early Eighties, when both the Skyhawks and the Sea Sabres received once more a new camouflage, this time a wraparound scheme in two shades of grey, reflecting their primary airspace defense mission.

 

The CAC 27 Mk 41s’ last carrier operations took place in 1981 in the course of Melbourne’s involvements in two major exercises, Sea Hawk and Kangaroo 81, the ship’s final missions at sea. After Melbourne was decommissioned in 1984, the Fleet Air Arm ceased fixed-wing combat aircraft operation. This was the operational end of the Sabre Mk 41, which had reached the end of their airframe lifetime, and the Sea Sabre fleet had, during its career, severely suffered from accidents and losses: upon retirement, only eight of the original twenty-two aircraft still existed in flightworthy condition, so that the aircraft were all scrapped. The younger RAN A-4Gs were eventually sold to New Zealand, where they were kept in service until 2002.

  

General characteristics:

Crew: 1

Length: 37 ft 6 in (11.43 m)

Wingspan: 37 ft 1 in (11.3 m)

Height: 14 ft 5 in (4.39 m)

Wing area: 302.3 sq ft (28.1 m²)

Empty weight: 12,000 lb (5,443 kg)

Loaded weight: 16,000 lb (7,256 kg)

Max. takeoff weight: 21,210 lb (9,621 kg)

 

Powerplant:

1× Rolls-Royce Avon 208A turbojet engine with 8,200 lbf (36.44 kN)

 

Performance:

Maximum speed: 700 mph (1,100 km/h) (605 knots)

Range: 1,153 mi, (1,000 NM, 1,850 km)

Service ceiling: 52,000 ft (15,850 m)

Rate of climb: 12,000 ft/min at sea level (61 m/s)

 

Armament:

2× 30 mm ADEN cannons with 150 rounds per gun

5,300 lb (2,400 kg) of payload on six external hardpoints;

Bombs were usually mounted on outer two pylons as the mid pair were wet-plumbed pylons for

2× 200 gallons drop tanks, while the inner pair was usually occupied by a pair of AIM-9 Sidewinder

AAMs

A wide variety of bombs could be carried with maximum standard loadout being 2x 1,000 lb bombs

or 2x Matra pods with unguided SURA missiles plus 2 drop tanks for ground attacks, or 2x AIM-9 plus

two drop tanks as day fighter

  

The kit and its assembly:

This project was initially inspired by a set of decals from an ESCI A-4G which I had bought in a lot – I wondered if I could use it for a submission to the “In the navy” group build at whatifmodelers.com in early 2020. I considered an FJ-3M in Australian colors on this basis and had stashed away a Sword kit of that aircraft for this purpose. However, I had already built an FJ variant for the GB (a kitbashed mix of an F-86D and an FJ-4B in USMC colors), and was reluctant to add another Fury.

 

This spontaneously changed after (thanks to Corona virus quarantine…) I cleaned up one of my kit hoards and found a conversion set for a 1:72 CAC 27 from JAYS Model Kits which I had bought eons ago without a concrete plan. That was the eventual trigger to spin the RAN Fury idea further – why not a navalized version of the Avon Sabre for HMAS Melbourne?

 

The result is either another kitbash or a highly modified FJ-3M from Sword. The JAYS Model Kits set comes with a THICK sprue that carries two fuselage halves and an air intake, and it also offers a vacu canopy as a thin fallback option because the set is actually intended to be used together with a Hobby Craft F-86F.

 

While the parts, molded in a somewhat waxy and brittle styrene, look crude on the massive sprue, the fuselage halves come with very fine recessed engravings. And once you have cleaned the parts (NOTHING for people faint at heart, a mini drill with a saw blade is highly recommended), their fit is surprisingly good. The air intake was so exact that no putty was needed to blend it with the rest of the fuselage.

 

The rest came from the Sword kit and integrating the parts into the CAC 27 fuselage went more smoothly than expected. For instance, the FJ-3M comes with a nice cockpit tub that also holds a full air intake duct. Thanks to the slightly wider fuselage of the CAC 27, it could be mounted into the new fuselage halves without problems and the intake duct almost perfectly matches the intake frame from the conversion set. The tailpipe could be easily integrated without any mods, too. The fins had to be glued directly to the fuselage – but this is the way how the Sword kit is actually constructed! Even the FJ-3M’s wings match the different fuselage perfectly. The only modifications I had to make is a slight enlargement of the ventral wing opening at the front and at the read in order to take the deeper wing element from the Sword kit, but that was an easy task. Once in place, the parts blend almost perfectly into each other, just minor PSR was necessary to hide the seams!

 

Other mods include an extended front wheel well for the longer leg from the FJ-3M and a scratched arrester hook installation, made from wire, which is on purpose different from the Y-shaped hook of the Furies.

 

For the canopy I relied on the vacu piece that came with the JAYS set. Fitting it was not easy, though, it took some PSR to blend the windscreen into the rest of the fuselage. Not perfect, but O.K. for such a solution from a conversion set.

 

The underwing pylons were taken from the Sword kit, including the early Sidewinders. I just replaced the drop tanks – the OOB tanks are very wide, and even though they might be authentic for the FJ-3, I was skeptical if they fit at all under the wings with the landing gear extended? In order to avoid trouble and for a more modern look, I replaced them outright with more slender tanks, which were to mimic A-4 tanks (USN FJ-4s frequently carried Skyhawk tanks). They actually come from a Revell F-16 kit, with modified fins. The refueling probe comes from the Sword kit.

 

A last word about the Sword kit: much light, but also much shadow. While I appreciate the fine surface engravings, the recognizably cambered wings, a detailed cockpit with a two-piece resin seat and a pretty landing gear as well as the long air intake, I wonder why the creators totally failed to provide ANY detail of the arrester hook (there is literally nothing, as if this was a land-based Sabre variant!?) or went for doubtful solutions like a front landing gear that consists of five(!) single, tiny parts? Sadism? The resin seat was also broken (despite being packed in a seperate bag), and it did not fit into the cockpit tub at all. Meh!

  

Painting and markings:

From the start I planned to give the model the late RAN A-4Gs’ unique air superiority paint scheme, which was AFAIK introduced in the late Seventies: a two-tone wraparound scheme consisting of “Light Admiralty Grey” (BS381C 697) and “Aircraft Grey” (BS 381C 693). Quite simple, but finding suitable paints was not an easy task, and I based my choice on pictures of the real aircraft (esp. from "buzz" number 880 at the Fleet Air Arm Museum, you find pics of it with very good light condition) rather than rely on (pretty doubtful if not contradictive) recommendations in various painting instructions from models or decal sets.

 

I wanted to keep things simple and settled upon Dark Gull Grey (FS 36231) and Light Blue (FS 35414), both enamel colors from Modelmaster, since both are rather dull interpretations of these tones. Esp. the Light Blue comes quite close to Light Admiralty Grey, even though it should be lighter for more contrast to the darker grey tone. But it has that subtle greenish touch of the original BS tone, and I did not want to mix the colors.

 

The pattern was adapted from the late A-4Gs’ scheme, and the colors were dulled down even more through a light black ink wash. Some post-shading with lighter tones emphasized the contrast between the two colors again. And while it is not an exact representation of the unique RAN air superiority scheme, I think that the overall impression is there.

 

The cockpit interior was painted in very dark grey, while the landing gear, its wells and the inside of the air intake became white. A red rim was painted around the front opening, and the landing gear covers received a red outline, too. The white drop tanks are a detail I took from real world RAN A-4Gs - in the early days of the air superiority scheme, the tanks were frequently still finished in the old USN style livery, hence the white body but fins and tail section already in the updated colors.

 

The decals became a fight, though. As mentioned above, the came from an ESCI kit – and, as expected, the were brittle. All decals with a clear carrier film disintegrated while soaking in water, only those with a fully printed carrier film were more or less usable. One roundel broke and had to be repaired, and the checkered fin flash was a very delicate affair that broke several times, even though I tried to save and repair it with paint. But you can unfortunately see the damage.

 

Most stencils and some replacements (e. g. the “Navy” tag) come from the Sword FJ-3. While these decals are crisply printed, their carrier film is utterly thin, so thin that applying esp. the larger decals turned out to be hazardous and complicated. Another point that did not really convince me about the Sword kit.

 

Finally, the kit was sealed with matt acrylic varnish (Italeri) and some soot stains were added around the exhaust and the gun ports with graphite.

  

In the end, this build looks, despite the troubles and the rather exotic ingredients like a relatively simple Sabre with Australian markings, just with a different Navy livery. You neither immediately recognize the FJ-3 behind it, nor the Avon Sabre’s bigger fuselage, unless you take a close and probably educated look. Very subtle, though.

The RAN air superiority scheme from the late Skyhawks suits the Sabre/Fury-thing well – I like the fact that it is a modern fighter scheme, but, thanks to the tones and the colorful other markings, not as dull and boring like many others, e. g. the contemporary USN "Ghost" scheme. Made me wonder about an early RAAF F-18 in this livery - should look very pretty, too?

Prove di Startrail

Giorni scorsi ero a Pont Breuil – Valsavaranche (AO) ed ho provato a fare uno startrail. Non ho esperienza in questo genere astrofotografico per cui il risultato non è certo eccezionale: non ho ripreso abbastanza panorama terrestre perché volevo dare priorità all’effetto circolare. In ogni modo voglio presentarlo ugualmente come prima esperienza.

Lo startrail è una tecnica fotografica che cattura il movimento apparente delle stelle causato dalla rotazione terrestre sul proprio asse, che fa sembrare che le stelle si muovano intorno ai poli celesti, creando spettacolari immagini in cui le stelle descrivono traiettorie circolari nel cielo notturno.

In pratica, si scatta una serie di foto con esposizioni lunghe che si combina un'unica foto per creare scie luminose che mostrano il percorso delle stelle nel cielo.

La traccia lasciata dal movimento apparente delle stelle cambia a seconda di dove si punta la fotocamera. Se la si punta a nord, inquadrando così la stella polare, si otterranno strie circolari come quelle che ho ripreso nelle mie foto, ma rivolgendo invece l’obiettivo verso est o ovest, la curvatura andrebbe pian piano attenuandosi fino al punto in cui diventa una retta. Puntando a sud, essendo ancora nell’emisfero boreale e sopra la linea dell’equatore si otterrebbero invece dei semicerchi molto molto ampi il cui centro resta sempre l’opposta stella polare.

Il bello di questo genere di astrofotografia è che può essere realizzata con una semplice macchina fotografica fissata su un buon cavalletto aiutandosi eventualmente con uno scatto remoto per fare pose sufficientemente lunghe di almeno 30 secondi. Importante è poi il cercare un luogo abbastanza buio, lontano da centri abitati e aree con luci artificiali.

 

Il mio setup

Io come setup ho usato la mia macchina foto con un obiettivo Nikon Z 24-70mm f/4

Ho ripreso foto da 45 sec con ISO 100, impostando l’obiettivo a 24mm f/4. per catturare centinaia di foto del cielo notturno, tutte puntando verso la Stella Polare. Poi le ho unite per ottenere quell'effetto a spirale che mostra visivamente la rotazione terrestre.

L’immagine dove il cielo è ancora blu è ottenuta da una quindicina di foto riprese dalle 22:34 alle 22:48 mentre quella più scura è realizzata con un centinaio di immagini riprese quando la notte si era fatta più scura, ho lasciato apposta le righe delle meteoriti passate davanti, che ovviamente non hanno subito la deformazione.

Per la post produzione mi sono avvalso di Adobe Lightroom per ridurre il rumore di tutti i fotogrammi sincronizzati e poi di StarStaX, un programma gratuito che mi ha permesso di sovrapporli ed ottenere l’immagine finale.

  

Startrail Trials

A few days ago, I was in Pont Breuil – Valsavaranche (Aosta) and attempted a startrail. I have no experience with this astrophotography genre, so the result wasn't exactly exceptional: I didn't capture enough panoramic views of the Earth because I wanted to prioritize the circular effect. However, I'd like to share it with you as a first experience.

Startrail is a photographic technique that captures the apparent motion of stars caused by the Earth's rotation on its axis, making the stars appear to move around the celestial poles, creating spectacular images of stars tracing circular paths across the night sky.

Essentially, you take a series of long-exposure photos that are combined into a single image to create light trails that show the path of the stars across the sky.

The trail left by the apparent motion of the stars changes depending on where you point the camera. If you point it north, framing the Pole Star, you'll get circular streaks like the ones I captured in my photos. However, if you instead point the lens east or west, the curvature will gradually fade until it becomes a straight line. Pointing south, still in the Northern Hemisphere and above the equator, you'll instead get very, very wide semicircles whose center remains the opposite Pole Star.

The beauty of this type of astrophotography is that it can be achieved with a simple camera mounted on a good tripod, possibly using a remote shutter release to take sufficiently long exposures of at least 30 seconds. It's also important to find a fairly dark location, away from residential areas and areas with artificial light.

I used my camera with a Nikon Z 24-70mm f/4 lens as my setup.

I took 45-second photos at ISO 100, setting the lens to 24mm f/4. To capture hundreds of photos of the night sky, all pointing toward the North Star. I then stitched them together to achieve the spiral effect that visually demonstrates the Earth's rotation.

The image where the sky is still blue is made from about fifteen photos taken from 10:34 PM to 10:48 PM, while the darker one is made from about a hundred images taken when the night had gotten darker. I purposely left the streaks of meteorites that passed in front, which obviously were not deformed.

For post-production, I used Adobe Lightroom to reduce the noise of all the synchronized frames and then StarStaX, a free program that allowed me to overlay them and obtain the final image.

 

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!

  

Some background:

The CAC Sabre, sometimes known as the Avon Sabre or CA-27, was an Australian variant of the North American Aviation F-86F Sabre fighter aircraft. In 1951, Commonwealth Aircraft Corporation obtained a license agreement to build the F-86F Sabre. In a major departure from the North American blueprint, it was decided that the CA-27 would be powered by a license-built version of the Rolls-Royce Avon R.A.7, rather than the General Electric J47. In theory, the Avon was capable of more than double the maximum thrust and double the thrust-to-weight ratio of the US engine. This necessitated a re-design of the fuselage, as the Avon was shorter, wider and lighter than the J47.

 

To accommodate the Avon, over 60 percent of the fuselage was altered and there was a 25 percent increase in the size of the air intake. Another major revision was in replacing the F-86F's six machine guns with two 30mm ADEN cannon, while other changes were also made to the cockpit and to provide an increased fuel capacity.

 

The prototype aircraft first flew on 3 August 1953. The production aircrafts' first deliveries to the Royal Australian Air Force began in 1954. The first batch of aircraft were powered by the Avon 20 engine and were designated the Sabre Mk 30. Between 1957 and 1958 this batch had the wing slats removed and were re-designated Sabre Mk 31. These Sabres were supplemented by 20 new-built aircraft. The last batch of aircraft were designated Sabre Mk 32 and used the Avon 26 engine, of which 69 were built up to 1961.

 

Beyond these land-based versions, an indigenous version for carrier operations had been developed and built in small numbers, too, the Sea Sabre Mk 40 and 41. The roots of this aircraft, which was rather a prestigious idea than a sensible project, could be traced back to the immediate post WWII era. A review by the Australian Government's Defence Committee recommended that the post-war forces of the RAN be structured around a Task Force incorporating multiple aircraft carriers. Initial plans were for three carriers, with two active and a third in reserve, although funding cuts led to the purchase of only two carriers in June 1947: Majestic and sister ship HMS Terrible, for the combined cost of AU£2.75 million, plus stores, fuel, and ammunition. As Terrible was the closer of the two ships to completion, she was finished without modification, and was commissioned into the RAN on 16 December 1948 as HMAS Sydney. Work progressed on Majestic at a slower rate, as she was upgraded with the latest technology and equipment. To cover Majestic's absence, the Colossus-class carrier HMS Vengeance was loaned to the RAN from 13 November 1952 until 12 August 1955.

 

Labour difficulties, late delivery of equipment, additional requirements for Australian operations, and the prioritization of merchant ships over naval construction delayed the completion of Majestic. Incorporation of new systems and enhancements caused the cost of the RAN carrier acquisition program to increase to AU£8.3 million. Construction and fitting out did not finish until October 1955. As the carrier neared completion, a commissioning crew was formed in Australia and first used to return Vengeance to the United Kingdom.

The completed carrier was commissioned into the RAN as HMAS Majestic on 26 October 1955, but only two days later, the ship was renamed Melbourne and recommissioned.

 

In the meantime, the rather political decision had been made to equip Melbourne with an indigenous jet-powered aircraft, replacing the piston-driven Hawker Fury that had been successfully operated from HMAS Sydney and HMAS Vengeance, so that the "new jet age" was even more recognizable. The choice fell on the CAC Sabre, certainly inspired by North American's successful contemporary development of the navalized FJ-2 Fury from the land-based F-86 Sabre. The CAC 27 was already a proven design, and with its more powerful Avon engine it even offered a better suitability for carrier operations than the FJ-2 with its rather weak J47 engine.

 

Work on this project, which was initially simply designated Sabre Mk 40, started in 1954, just when the first CAC 27's were delivered to operative RAAF units. While the navalized Avon Sabre differed outwardly only little from its land-based brethren, many details were changed and locally developed. Therefore, there was also, beyond the general outlines, little in common with the North American FJ-2 an -3 Fury.

Externally, a completely new wing with a folding mechanism was fitted. It was based on the F-86's so-called "6-3" wing, with a leading edge that was extended 6 inches at the root and 3 inches at the tip. This modification enhanced maneuverability at the expense of a small increase in landing speed due to deletion of the leading edge slats, a detail that was later introduced on the Sabre Mk 31, too. As a side benefit, the new wing leading edges without the slat mechanisms held extra fuel. However, the Mk 40's wing was different as camber was applied to the underside of the leading edge to improve low-speed handling for carrier operations. The wings were provided with four stations outboard of the landing gear wells for up to 1000 lb external loads on the inboard stations and 500 lb on the outboard stations.

 

Slightly larger stabilizers were fitted and the landing gear was strengthened, including a longer front wheel strut. The latter necessitated an enlarged front wheel well, so that the front leg’s attachment point had to be moved forward. A ventral launch cable hook was added under the wing roots and an external massive arrester hook under the rear fuselage.

Internally, systems were protected against salt and humidity and a Rolls-Royce Avon 211 turbojet was fitted, a downrated variant of the already navalized Avon 208 from the British DH Sea Vixen, but adapted to the different CAC 27 airframe and delivering 8.000 lbf (35.5 kN) thrust – slightly more than the engines of the land-based CAC Sabres, but also without an afterburner.

 

A single Mk 40 prototype was built from a new CAC 27 airframe taken directly from the production line in early 1955 and made its maiden flight on August 20th of the same year. In order to reflect its naval nature and its ancestry, this new CAC 27 variant was officially christened “Sea Sabre”.

Even though the modified machine handled well, and the new, cambered wing proved to be effective, many minor technical flaws were discovered and delayed the aircraft's development until 1957. These included the wing folding mechanism and the respective fuel plumbing connections, the landing gear, which had to be beefed up even more for hard carrier landings and the airframe’s structural strength for catapult launches, esp. around the ventral launch hook.

 

In the meantime, work on the land-based CAC 27 progressed in parallel, too, and innovations that led to the Mk 31 and 32 were also incorporated into the naval Mk 40, leading to the Sea Sabre Mk 41, which became the effective production aircraft. These updates included, among others, a detachable (but fixed) refueling probe under the starboard wing, two more pylons for light loads located under the wing roots and the capability to carry and deploy IR-guided AIM-9 Sidewinder air-to-air missiles, what significantly increased the Mk 41's efficiency as day fighter. With all these constant changes it took until April 1958 that the Sabre Mk 41, after a second prototype had been directly built to the new standard, was finally approved and cleared for production. Upon delivery, the RAN Sea Sabres carried a standard NATO paint scheme with Extra Dark Sea Grey upper surfaces and Sky undersides.

 

In the meantime, the political enthusiasm concerning the Australian carrier fleet had waned, so that only twenty-two aircraft were ordered. The reason behind this decision was that Australia’s carrier fleet and its capacity had become severely reduced: Following the first decommissioning of HMAS Sydney in 1958, Melbourne became the only aircraft carrier in Australian service, and she was unavailable to provide air cover for the RAN for up to four months in every year; this time was required for refits, refueling, personnel leave, and non-carrier duties, such as the transportation of troops or aircraft. Although one of the largest ships to serve in the RAN, Melbourne was one of the smallest carriers to operate in the post-World War II period, so that its contribution to military actions was rather limited. To make matters worse, a decision was made in 1959 to restrict Melbourne's role to helicopter operations only, rendering any carrier-based aircraft in Australian service obsolete. However, this decision was reversed shortly before its planned 1963 implementation, but Australia’s fleet of carrier-borne fixed-wing aircraft would not grow to proportions envisioned 10 years ago.

 

Nevertheless, on 10 November 1964, an AU£212 million increase in defense spending included the purchase of new aircraft for Melbourne. The RAN planned to acquire 14 Grumman S-2E Tracker anti-submarine aircraft and to modernize Melbourne to operate these. The acquisition of 18 new fighter-bombers was suggested (either Sea Sabre Mk 41s or the American Douglas A-4 Skyhawk), too, but these were dropped from the initial plan. A separate proposal to order 10 A-4G Skyhawks, a variant of the Skyhawk designed specifically for the RAN and optimized for air defense, was approved in 1965, but the new aircraft did not fly from Melbourne until the conclusion of her refit in 1969. This move, however, precluded the production of any new and further Sea Sabre.

 

At that time, the RAN Sea Sabres received a new livery in US Navy style, with upper surfaces in Light Gull Gray with white undersides. The CAC Sea Sabres remained the main day fighter and attack aircraft for the RAN, after the vintage Sea Furies had been retired in 1962. The other contemporary RAN fighter type in service, the Sea Venom FAW.53 all-weather fighter that had replaced the Furies, already showed its obsolescence.

In 1969, the RAN purchased another ten A-4G Skyhawks, primarily in order to replace the Sea Venoms on the carriers, instead of the proposed seventh and eighth Oberon-class submarines. These were operated together with the Sea Sabres in mixed units on board of Melbourne and from land bases, e.g. from NAS Nowra in New South Wales, where a number of Sea Sabres were also allocated to 724 Squadron for operational training.

 

Around 1970, Melbourne operated a standard air group of four jet aircraft, six Trackers, and ten Wessex helicopters until 1972, when the Wessexes were replaced with ten Westland Sea King anti-submarine warfare helicopters and the number of jet fighters doubled. Even though the A-4G’s more and more took over the operational duties on board of Melbourne, the Sea Sabres were still frequently deployed on the carrier, too, until the early Eighties, when both the Skyhawks and the Sea Sabres received once more a new camouflage, this time a wraparound scheme in two shades of grey, reflecting their primary airspace defense mission.

 

The CAC 27 Mk 41s’ last carrier operations took place in 1981 in the course of Melbourne’s involvements in two major exercises, Sea Hawk and Kangaroo 81, the ship’s final missions at sea. After Melbourne was decommissioned in 1984, the Fleet Air Arm ceased fixed-wing combat aircraft operation. This was the operational end of the Sabre Mk 41, which had reached the end of their airframe lifetime, and the Sea Sabre fleet had, during its career, severely suffered from accidents and losses: upon retirement, only eight of the original twenty-two aircraft still existed in flightworthy condition, so that the aircraft were all scrapped. The younger RAN A-4Gs were eventually sold to New Zealand, where they were kept in service until 2002.

  

General characteristics:

Crew: 1

Length: 37 ft 6 in (11.43 m)

Wingspan: 37 ft 1 in (11.3 m)

Height: 14 ft 5 in (4.39 m)

Wing area: 302.3 sq ft (28.1 m²)

Empty weight: 12,000 lb (5,443 kg)

Loaded weight: 16,000 lb (7,256 kg)

Max. takeoff weight: 21,210 lb (9,621 kg)

 

Powerplant:

1× Rolls-Royce Avon 208A turbojet engine with 8,200 lbf (36.44 kN)

 

Performance:

Maximum speed: 700 mph (1,100 km/h) (605 knots)

Range: 1,153 mi, (1,000 NM, 1,850 km)

Service ceiling: 52,000 ft (15,850 m)

Rate of climb: 12,000 ft/min at sea level (61 m/s)

 

Armament:

2× 30 mm ADEN cannons with 150 rounds per gun

5,300 lb (2,400 kg) of payload on six external hardpoints;

Bombs were usually mounted on outer two pylons as the mid pair were wet-plumbed pylons for

2× 200 gallons drop tanks, while the inner pair was usually occupied by a pair of AIM-9 Sidewinder

AAMs

A wide variety of bombs could be carried with maximum standard loadout being 2x 1,000 lb bombs

or 2x Matra pods with unguided SURA missiles plus 2 drop tanks for ground attacks, or 2x AIM-9 plus

two drop tanks as day fighter

  

The kit and its assembly:

This project was initially inspired by a set of decals from an ESCI A-4G which I had bought in a lot – I wondered if I could use it for a submission to the “In the navy” group build at whatifmodelers.com in early 2020. I considered an FJ-3M in Australian colors on this basis and had stashed away a Sword kit of that aircraft for this purpose. However, I had already built an FJ variant for the GB (a kitbashed mix of an F-86D and an FJ-4B in USMC colors), and was reluctant to add another Fury.

 

This spontaneously changed after (thanks to Corona virus quarantine…) I cleaned up one of my kit hoards and found a conversion set for a 1:72 CAC 27 from JAYS Model Kits which I had bought eons ago without a concrete plan. That was the eventual trigger to spin the RAN Fury idea further – why not a navalized version of the Avon Sabre for HMAS Melbourne?

 

The result is either another kitbash or a highly modified FJ-3M from Sword. The JAYS Model Kits set comes with a THICK sprue that carries two fuselage halves and an air intake, and it also offers a vacu canopy as a thin fallback option because the set is actually intended to be used together with a Hobby Craft F-86F.

 

While the parts, molded in a somewhat waxy and brittle styrene, look crude on the massive sprue, the fuselage halves come with very fine recessed engravings. And once you have cleaned the parts (NOTHING for people faint at heart, a mini drill with a saw blade is highly recommended), their fit is surprisingly good. The air intake was so exact that no putty was needed to blend it with the rest of the fuselage.

 

The rest came from the Sword kit and integrating the parts into the CAC 27 fuselage went more smoothly than expected. For instance, the FJ-3M comes with a nice cockpit tub that also holds a full air intake duct. Thanks to the slightly wider fuselage of the CAC 27, it could be mounted into the new fuselage halves without problems and the intake duct almost perfectly matches the intake frame from the conversion set. The tailpipe could be easily integrated without any mods, too. The fins had to be glued directly to the fuselage – but this is the way how the Sword kit is actually constructed! Even the FJ-3M’s wings match the different fuselage perfectly. The only modifications I had to make is a slight enlargement of the ventral wing opening at the front and at the read in order to take the deeper wing element from the Sword kit, but that was an easy task. Once in place, the parts blend almost perfectly into each other, just minor PSR was necessary to hide the seams!

 

Other mods include an extended front wheel well for the longer leg from the FJ-3M and a scratched arrester hook installation, made from wire, which is on purpose different from the Y-shaped hook of the Furies.

 

For the canopy I relied on the vacu piece that came with the JAYS set. Fitting it was not easy, though, it took some PSR to blend the windscreen into the rest of the fuselage. Not perfect, but O.K. for such a solution from a conversion set.

 

The underwing pylons were taken from the Sword kit, including the early Sidewinders. I just replaced the drop tanks – the OOB tanks are very wide, and even though they might be authentic for the FJ-3, I was skeptical if they fit at all under the wings with the landing gear extended? In order to avoid trouble and for a more modern look, I replaced them outright with more slender tanks, which were to mimic A-4 tanks (USN FJ-4s frequently carried Skyhawk tanks). They actually come from a Revell F-16 kit, with modified fins. The refueling probe comes from the Sword kit.

 

A last word about the Sword kit: much light, but also much shadow. While I appreciate the fine surface engravings, the recognizably cambered wings, a detailed cockpit with a two-piece resin seat and a pretty landing gear as well as the long air intake, I wonder why the creators totally failed to provide ANY detail of the arrester hook (there is literally nothing, as if this was a land-based Sabre variant!?) or went for doubtful solutions like a front landing gear that consists of five(!) single, tiny parts? Sadism? The resin seat was also broken (despite being packed in a seperate bag), and it did not fit into the cockpit tub at all. Meh!

  

Painting and markings:

From the start I planned to give the model the late RAN A-4Gs’ unique air superiority paint scheme, which was AFAIK introduced in the late Seventies: a two-tone wraparound scheme consisting of “Light Admiralty Grey” (BS381C 697) and “Aircraft Grey” (BS 381C 693). Quite simple, but finding suitable paints was not an easy task, and I based my choice on pictures of the real aircraft (esp. from "buzz" number 880 at the Fleet Air Arm Museum, you find pics of it with very good light condition) rather than rely on (pretty doubtful if not contradictive) recommendations in various painting instructions from models or decal sets.

 

I wanted to keep things simple and settled upon Dark Gull Grey (FS 36231) and Light Blue (FS 35414), both enamel colors from Modelmaster, since both are rather dull interpretations of these tones. Esp. the Light Blue comes quite close to Light Admiralty Grey, even though it should be lighter for more contrast to the darker grey tone. But it has that subtle greenish touch of the original BS tone, and I did not want to mix the colors.

 

The pattern was adapted from the late A-4Gs’ scheme, and the colors were dulled down even more through a light black ink wash. Some post-shading with lighter tones emphasized the contrast between the two colors again. And while it is not an exact representation of the unique RAN air superiority scheme, I think that the overall impression is there.

 

The cockpit interior was painted in very dark grey, while the landing gear, its wells and the inside of the air intake became white. A red rim was painted around the front opening, and the landing gear covers received a red outline, too. The white drop tanks are a detail I took from real world RAN A-4Gs - in the early days of the air superiority scheme, the tanks were frequently still finished in the old USN style livery, hence the white body but fins and tail section already in the updated colors.

 

The decals became a fight, though. As mentioned above, the came from an ESCI kit – and, as expected, the were brittle. All decals with a clear carrier film disintegrated while soaking in water, only those with a fully printed carrier film were more or less usable. One roundel broke and had to be repaired, and the checkered fin flash was a very delicate affair that broke several times, even though I tried to save and repair it with paint. But you can unfortunately see the damage.

 

Most stencils and some replacements (e. g. the “Navy” tag) come from the Sword FJ-3. While these decals are crisply printed, their carrier film is utterly thin, so thin that applying esp. the larger decals turned out to be hazardous and complicated. Another point that did not really convince me about the Sword kit.

 

Finally, the kit was sealed with matt acrylic varnish (Italeri) and some soot stains were added around the exhaust and the gun ports with graphite.

  

In the end, this build looks, despite the troubles and the rather exotic ingredients like a relatively simple Sabre with Australian markings, just with a different Navy livery. You neither immediately recognize the FJ-3 behind it, nor the Avon Sabre’s bigger fuselage, unless you take a close and probably educated look. Very subtle, though.

The RAN air superiority scheme from the late Skyhawks suits the Sabre/Fury-thing well – I like the fact that it is a modern fighter scheme, but, thanks to the tones and the colorful other markings, not as dull and boring like many others, e. g. the contemporary USN "Ghost" scheme. Made me wonder about an early RAAF F-18 in this livery - should look very pretty, too?

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

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

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!

  

Some background:

The CAC Sabre, sometimes known as the Avon Sabre or CA-27, was an Australian variant of the North American Aviation F-86F Sabre fighter aircraft. In 1951, Commonwealth Aircraft Corporation obtained a license agreement to build the F-86F Sabre. In a major departure from the North American blueprint, it was decided that the CA-27 would be powered by a license-built version of the Rolls-Royce Avon R.A.7, rather than the General Electric J47. In theory, the Avon was capable of more than double the maximum thrust and double the thrust-to-weight ratio of the US engine. This necessitated a re-design of the fuselage, as the Avon was shorter, wider and lighter than the J47.

 

To accommodate the Avon, over 60 percent of the fuselage was altered and there was a 25 percent increase in the size of the air intake. Another major revision was in replacing the F-86F's six machine guns with two 30mm ADEN cannon, while other changes were also made to the cockpit and to provide an increased fuel capacity.

 

The prototype aircraft first flew on 3 August 1953. The production aircrafts' first deliveries to the Royal Australian Air Force began in 1954. The first batch of aircraft were powered by the Avon 20 engine and were designated the Sabre Mk 30. Between 1957 and 1958 this batch had the wing slats removed and were re-designated Sabre Mk 31. These Sabres were supplemented by 20 new-built aircraft. The last batch of aircraft were designated Sabre Mk 32 and used the Avon 26 engine, of which 69 were built up to 1961.

 

Beyond these land-based versions, an indigenous version for carrier operations had been developed and built in small numbers, too, the Sea Sabre Mk 40 and 41. The roots of this aircraft, which was rather a prestigious idea than a sensible project, could be traced back to the immediate post WWII era. A review by the Australian Government's Defence Committee recommended that the post-war forces of the RAN be structured around a Task Force incorporating multiple aircraft carriers. Initial plans were for three carriers, with two active and a third in reserve, although funding cuts led to the purchase of only two carriers in June 1947: Majestic and sister ship HMS Terrible, for the combined cost of AU£2.75 million, plus stores, fuel, and ammunition. As Terrible was the closer of the two ships to completion, she was finished without modification, and was commissioned into the RAN on 16 December 1948 as HMAS Sydney. Work progressed on Majestic at a slower rate, as she was upgraded with the latest technology and equipment. To cover Majestic's absence, the Colossus-class carrier HMS Vengeance was loaned to the RAN from 13 November 1952 until 12 August 1955.

 

Labour difficulties, late delivery of equipment, additional requirements for Australian operations, and the prioritization of merchant ships over naval construction delayed the completion of Majestic. Incorporation of new systems and enhancements caused the cost of the RAN carrier acquisition program to increase to AU£8.3 million. Construction and fitting out did not finish until October 1955. As the carrier neared completion, a commissioning crew was formed in Australia and first used to return Vengeance to the United Kingdom.

The completed carrier was commissioned into the RAN as HMAS Majestic on 26 October 1955, but only two days later, the ship was renamed Melbourne and recommissioned.

 

In the meantime, the rather political decision had been made to equip Melbourne with an indigenous jet-powered aircraft, replacing the piston-driven Hawker Fury that had been successfully operated from HMAS Sydney and HMAS Vengeance, so that the "new jet age" was even more recognizable. The choice fell on the CAC Sabre, certainly inspired by North American's successful contemporary development of the navalized FJ-2 Fury from the land-based F-86 Sabre. The CAC 27 was already a proven design, and with its more powerful Avon engine it even offered a better suitability for carrier operations than the FJ-2 with its rather weak J47 engine.

 

Work on this project, which was initially simply designated Sabre Mk 40, started in 1954, just when the first CAC 27's were delivered to operative RAAF units. While the navalized Avon Sabre differed outwardly only little from its land-based brethren, many details were changed and locally developed. Therefore, there was also, beyond the general outlines, little in common with the North American FJ-2 an -3 Fury.

Externally, a completely new wing with a folding mechanism was fitted. It was based on the F-86's so-called "6-3" wing, with a leading edge that was extended 6 inches at the root and 3 inches at the tip. This modification enhanced maneuverability at the expense of a small increase in landing speed due to deletion of the leading edge slats, a detail that was later introduced on the Sabre Mk 31, too. As a side benefit, the new wing leading edges without the slat mechanisms held extra fuel. However, the Mk 40's wing was different as camber was applied to the underside of the leading edge to improve low-speed handling for carrier operations. The wings were provided with four stations outboard of the landing gear wells for up to 1000 lb external loads on the inboard stations and 500 lb on the outboard stations.

 

Slightly larger stabilizers were fitted and the landing gear was strengthened, including a longer front wheel strut. The latter necessitated an enlarged front wheel well, so that the front leg’s attachment point had to be moved forward. A ventral launch cable hook was added under the wing roots and an external massive arrester hook under the rear fuselage.

Internally, systems were protected against salt and humidity and a Rolls-Royce Avon 211 turbojet was fitted, a downrated variant of the already navalized Avon 208 from the British DH Sea Vixen, but adapted to the different CAC 27 airframe and delivering 8.000 lbf (35.5 kN) thrust – slightly more than the engines of the land-based CAC Sabres, but also without an afterburner.

 

A single Mk 40 prototype was built from a new CAC 27 airframe taken directly from the production line in early 1955 and made its maiden flight on August 20th of the same year. In order to reflect its naval nature and its ancestry, this new CAC 27 variant was officially christened “Sea Sabre”.

Even though the modified machine handled well, and the new, cambered wing proved to be effective, many minor technical flaws were discovered and delayed the aircraft's development until 1957. These included the wing folding mechanism and the respective fuel plumbing connections, the landing gear, which had to be beefed up even more for hard carrier landings and the airframe’s structural strength for catapult launches, esp. around the ventral launch hook.

 

In the meantime, work on the land-based CAC 27 progressed in parallel, too, and innovations that led to the Mk 31 and 32 were also incorporated into the naval Mk 40, leading to the Sea Sabre Mk 41, which became the effective production aircraft. These updates included, among others, a detachable (but fixed) refueling probe under the starboard wing, two more pylons for light loads located under the wing roots and the capability to carry and deploy IR-guided AIM-9 Sidewinder air-to-air missiles, what significantly increased the Mk 41's efficiency as day fighter. With all these constant changes it took until April 1958 that the Sabre Mk 41, after a second prototype had been directly built to the new standard, was finally approved and cleared for production. Upon delivery, the RAN Sea Sabres carried a standard NATO paint scheme with Extra Dark Sea Grey upper surfaces and Sky undersides.

 

In the meantime, the political enthusiasm concerning the Australian carrier fleet had waned, so that only twenty-two aircraft were ordered. The reason behind this decision was that Australia’s carrier fleet and its capacity had become severely reduced: Following the first decommissioning of HMAS Sydney in 1958, Melbourne became the only aircraft carrier in Australian service, and she was unavailable to provide air cover for the RAN for up to four months in every year; this time was required for refits, refueling, personnel leave, and non-carrier duties, such as the transportation of troops or aircraft. Although one of the largest ships to serve in the RAN, Melbourne was one of the smallest carriers to operate in the post-World War II period, so that its contribution to military actions was rather limited. To make matters worse, a decision was made in 1959 to restrict Melbourne's role to helicopter operations only, rendering any carrier-based aircraft in Australian service obsolete. However, this decision was reversed shortly before its planned 1963 implementation, but Australia’s fleet of carrier-borne fixed-wing aircraft would not grow to proportions envisioned 10 years ago.

 

Nevertheless, on 10 November 1964, an AU£212 million increase in defense spending included the purchase of new aircraft for Melbourne. The RAN planned to acquire 14 Grumman S-2E Tracker anti-submarine aircraft and to modernize Melbourne to operate these. The acquisition of 18 new fighter-bombers was suggested (either Sea Sabre Mk 41s or the American Douglas A-4 Skyhawk), too, but these were dropped from the initial plan. A separate proposal to order 10 A-4G Skyhawks, a variant of the Skyhawk designed specifically for the RAN and optimized for air defense, was approved in 1965, but the new aircraft did not fly from Melbourne until the conclusion of her refit in 1969. This move, however, precluded the production of any new and further Sea Sabre.

 

At that time, the RAN Sea Sabres received a new livery in US Navy style, with upper surfaces in Light Gull Gray with white undersides. The CAC Sea Sabres remained the main day fighter and attack aircraft for the RAN, after the vintage Sea Furies had been retired in 1962. The other contemporary RAN fighter type in service, the Sea Venom FAW.53 all-weather fighter that had replaced the Furies, already showed its obsolescence.

In 1969, the RAN purchased another ten A-4G Skyhawks, primarily in order to replace the Sea Venoms on the carriers, instead of the proposed seventh and eighth Oberon-class submarines. These were operated together with the Sea Sabres in mixed units on board of Melbourne and from land bases, e.g. from NAS Nowra in New South Wales, where a number of Sea Sabres were also allocated to 724 Squadron for operational training.

 

Around 1970, Melbourne operated a standard air group of four jet aircraft, six Trackers, and ten Wessex helicopters until 1972, when the Wessexes were replaced with ten Westland Sea King anti-submarine warfare helicopters and the number of jet fighters doubled. Even though the A-4G’s more and more took over the operational duties on board of Melbourne, the Sea Sabres were still frequently deployed on the carrier, too, until the early Eighties, when both the Skyhawks and the Sea Sabres received once more a new camouflage, this time a wraparound scheme in two shades of grey, reflecting their primary airspace defense mission.

 

The CAC 27 Mk 41s’ last carrier operations took place in 1981 in the course of Melbourne’s involvements in two major exercises, Sea Hawk and Kangaroo 81, the ship’s final missions at sea. After Melbourne was decommissioned in 1984, the Fleet Air Arm ceased fixed-wing combat aircraft operation. This was the operational end of the Sabre Mk 41, which had reached the end of their airframe lifetime, and the Sea Sabre fleet had, during its career, severely suffered from accidents and losses: upon retirement, only eight of the original twenty-two aircraft still existed in flightworthy condition, so that the aircraft were all scrapped. The younger RAN A-4Gs were eventually sold to New Zealand, where they were kept in service until 2002.

  

General characteristics:

Crew: 1

Length: 37 ft 6 in (11.43 m)

Wingspan: 37 ft 1 in (11.3 m)

Height: 14 ft 5 in (4.39 m)

Wing area: 302.3 sq ft (28.1 m²)

Empty weight: 12,000 lb (5,443 kg)

Loaded weight: 16,000 lb (7,256 kg)

Max. takeoff weight: 21,210 lb (9,621 kg)

 

Powerplant:

1× Rolls-Royce Avon 208A turbojet engine with 8,200 lbf (36.44 kN)

 

Performance:

Maximum speed: 700 mph (1,100 km/h) (605 knots)

Range: 1,153 mi, (1,000 NM, 1,850 km)

Service ceiling: 52,000 ft (15,850 m)

Rate of climb: 12,000 ft/min at sea level (61 m/s)

 

Armament:

2× 30 mm ADEN cannons with 150 rounds per gun

5,300 lb (2,400 kg) of payload on six external hardpoints;

Bombs were usually mounted on outer two pylons as the mid pair were wet-plumbed pylons for

2× 200 gallons drop tanks, while the inner pair was usually occupied by a pair of AIM-9 Sidewinder

AAMs

A wide variety of bombs could be carried with maximum standard loadout being 2x 1,000 lb bombs

or 2x Matra pods with unguided SURA missiles plus 2 drop tanks for ground attacks, or 2x AIM-9 plus

two drop tanks as day fighter

  

The kit and its assembly:

This project was initially inspired by a set of decals from an ESCI A-4G which I had bought in a lot – I wondered if I could use it for a submission to the “In the navy” group build at whatifmodelers.com in early 2020. I considered an FJ-3M in Australian colors on this basis and had stashed away a Sword kit of that aircraft for this purpose. However, I had already built an FJ variant for the GB (a kitbashed mix of an F-86D and an FJ-4B in USMC colors), and was reluctant to add another Fury.

 

This spontaneously changed after (thanks to Corona virus quarantine…) I cleaned up one of my kit hoards and found a conversion set for a 1:72 CAC 27 from JAYS Model Kits which I had bought eons ago without a concrete plan. That was the eventual trigger to spin the RAN Fury idea further – why not a navalized version of the Avon Sabre for HMAS Melbourne?

 

The result is either another kitbash or a highly modified FJ-3M from Sword. The JAYS Model Kits set comes with a THICK sprue that carries two fuselage halves and an air intake, and it also offers a vacu canopy as a thin fallback option because the set is actually intended to be used together with a Hobby Craft F-86F.

 

While the parts, molded in a somewhat waxy and brittle styrene, look crude on the massive sprue, the fuselage halves come with very fine recessed engravings. And once you have cleaned the parts (NOTHING for people faint at heart, a mini drill with a saw blade is highly recommended), their fit is surprisingly good. The air intake was so exact that no putty was needed to blend it with the rest of the fuselage.

 

The rest came from the Sword kit and integrating the parts into the CAC 27 fuselage went more smoothly than expected. For instance, the FJ-3M comes with a nice cockpit tub that also holds a full air intake duct. Thanks to the slightly wider fuselage of the CAC 27, it could be mounted into the new fuselage halves without problems and the intake duct almost perfectly matches the intake frame from the conversion set. The tailpipe could be easily integrated without any mods, too. The fins had to be glued directly to the fuselage – but this is the way how the Sword kit is actually constructed! Even the FJ-3M’s wings match the different fuselage perfectly. The only modifications I had to make is a slight enlargement of the ventral wing opening at the front and at the read in order to take the deeper wing element from the Sword kit, but that was an easy task. Once in place, the parts blend almost perfectly into each other, just minor PSR was necessary to hide the seams!

 

Other mods include an extended front wheel well for the longer leg from the FJ-3M and a scratched arrester hook installation, made from wire, which is on purpose different from the Y-shaped hook of the Furies.

 

For the canopy I relied on the vacu piece that came with the JAYS set. Fitting it was not easy, though, it took some PSR to blend the windscreen into the rest of the fuselage. Not perfect, but O.K. for such a solution from a conversion set.

 

The underwing pylons were taken from the Sword kit, including the early Sidewinders. I just replaced the drop tanks – the OOB tanks are very wide, and even though they might be authentic for the FJ-3, I was skeptical if they fit at all under the wings with the landing gear extended? In order to avoid trouble and for a more modern look, I replaced them outright with more slender tanks, which were to mimic A-4 tanks (USN FJ-4s frequently carried Skyhawk tanks). They actually come from a Revell F-16 kit, with modified fins. The refueling probe comes from the Sword kit.

 

A last word about the Sword kit: much light, but also much shadow. While I appreciate the fine surface engravings, the recognizably cambered wings, a detailed cockpit with a two-piece resin seat and a pretty landing gear as well as the long air intake, I wonder why the creators totally failed to provide ANY detail of the arrester hook (there is literally nothing, as if this was a land-based Sabre variant!?) or went for doubtful solutions like a front landing gear that consists of five(!) single, tiny parts? Sadism? The resin seat was also broken (despite being packed in a seperate bag), and it did not fit into the cockpit tub at all. Meh!

  

Painting and markings:

From the start I planned to give the model the late RAN A-4Gs’ unique air superiority paint scheme, which was AFAIK introduced in the late Seventies: a two-tone wraparound scheme consisting of “Light Admiralty Grey” (BS381C 697) and “Aircraft Grey” (BS 381C 693). Quite simple, but finding suitable paints was not an easy task, and I based my choice on pictures of the real aircraft (esp. from "buzz" number 880 at the Fleet Air Arm Museum, you find pics of it with very good light condition) rather than rely on (pretty doubtful if not contradictive) recommendations in various painting instructions from models or decal sets.

 

I wanted to keep things simple and settled upon Dark Gull Grey (FS 36231) and Light Blue (FS 35414), both enamel colors from Modelmaster, since both are rather dull interpretations of these tones. Esp. the Light Blue comes quite close to Light Admiralty Grey, even though it should be lighter for more contrast to the darker grey tone. But it has that subtle greenish touch of the original BS tone, and I did not want to mix the colors.

 

The pattern was adapted from the late A-4Gs’ scheme, and the colors were dulled down even more through a light black ink wash. Some post-shading with lighter tones emphasized the contrast between the two colors again. And while it is not an exact representation of the unique RAN air superiority scheme, I think that the overall impression is there.

 

The cockpit interior was painted in very dark grey, while the landing gear, its wells and the inside of the air intake became white. A red rim was painted around the front opening, and the landing gear covers received a red outline, too. The white drop tanks are a detail I took from real world RAN A-4Gs - in the early days of the air superiority scheme, the tanks were frequently still finished in the old USN style livery, hence the white body but fins and tail section already in the updated colors.

 

The decals became a fight, though. As mentioned above, the came from an ESCI kit – and, as expected, the were brittle. All decals with a clear carrier film disintegrated while soaking in water, only those with a fully printed carrier film were more or less usable. One roundel broke and had to be repaired, and the checkered fin flash was a very delicate affair that broke several times, even though I tried to save and repair it with paint. But you can unfortunately see the damage.

 

Most stencils and some replacements (e. g. the “Navy” tag) come from the Sword FJ-3. While these decals are crisply printed, their carrier film is utterly thin, so thin that applying esp. the larger decals turned out to be hazardous and complicated. Another point that did not really convince me about the Sword kit.

 

Finally, the kit was sealed with matt acrylic varnish (Italeri) and some soot stains were added around the exhaust and the gun ports with graphite.

  

In the end, this build looks, despite the troubles and the rather exotic ingredients like a relatively simple Sabre with Australian markings, just with a different Navy livery. You neither immediately recognize the FJ-3 behind it, nor the Avon Sabre’s bigger fuselage, unless you take a close and probably educated look. Very subtle, though.

The RAN air superiority scheme from the late Skyhawks suits the Sabre/Fury-thing well – I like the fact that it is a modern fighter scheme, but, thanks to the tones and the colorful other markings, not as dull and boring like many others, e. g. the contemporary USN "Ghost" scheme. Made me wonder about an early RAAF F-18 in this livery - should look very pretty, too?

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

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

Monday, June 13, 2011

 

Arsht Center for the Performing Arts

Knight Concert Hall

1300 Biscayne Boulevard

Miami, Florida

 

Remarks by the President at a DNC Event

 

Adrienne Arsht Center, Miami, Florida

 

7:50 P.M. EDT

  

THE PRESIDENT: Hello, Miami! (Applause.) It's good to see you. (Applause.) It is good to be back in Miami. (Applause.) Thank you, thank you, everybody. Thank you. Everybody have a seat. Have a seat.

 

What do you guys think of our new DNC chair? (Applause.) Debbie Wasserman Schultz. We are so thrilled to have her. You want Debbie on your side. (Applause.) She's a mom, she's got that cute smile and all that, but she is tough. Don't mess with Debbie. (Laughter.) We are so glad of her leadership.

 

I know that a lot of folks have already been acknowledged. I want to make sure to mention resident commissioner Pedro Pierluisi of Puerto Rico. Where is he? Pedro, are you still here? There he is right there. (Applause.)

 

Adrienne Arsht, thank you so much for everything that you've done for the civic life in Miami. (Applause.) Our Florida finance chair, Kirk Wager, is here. (Applause.) Founding co-chair of Gen44, Andrew Korge, is here. (Applause.) Alonzo Mourning is in the house. (Applause.) And, look, he's not from Miami, but he's got 11 championships, so I've got to mention Bill Russell is in the house. (Applause.) Bill Russell -- greatest champion of all time in team sports in North America right here. (Applause.)

 

It is wonderful to be back. Many of you I've known for a very long time, some of you I'm getting a chance to see for the first time. And it got me thinking back to election night two and a half years ago, in Grant Park. It was a beautiful night in Chicago, and everybody was feeling pretty good who had supported me. And it was an incredibly hopeful time. And you will recall -- maybe you won't but I'm going to remind you -- (laughter) -- I said, this is not the end, this is the beginning. This is the beginning.

 

Because what I said to the American people that night was that for almost a decade too many Americans had felt as if the American Dream was slipping away. We had seen economic growth and corporate profits and a stock market that had gone up, but there were too many folks who were struggling each and every day, working as hard as they could, being responsible for their families, being responsible to their communities, but somehow they just couldn’t keep up. Wages and incomes had flat-lined, even though the cost of everything from health care to college tuitions to gas had all skyrocketed.

 

Around the world, the impression of America as a preeminent force for good had lost sway. We were in the midst of two wars. We didn’t seem to be able to tackle challenges that had confronted us for decades -- didn’t have an energy plan that was worthy of the greatness of America; didn’t have an immigration system that would allow us to be a nation of laws and a nation of immigrants; had a school system in which we had no longer -- we were no longer at the top and weren’t preparing our young people to meet the challenges and demands of the 21st century global interdependent economy.

 

And so when I started the race for President, what I said to all of you was, if you’re looking for easy answers, you’re looking in the wrong place. If you’re looking for just a bunch of partisan rhetoric, I’m probably not your guy. But if you want to join me on this journey,, to make sure that America is living up to its ideals, if you wanted to reclaim the that sense that in America anything is possible if we’re willing to work for it, and if you wanted to see if we could get beyond some of the politics of the past and point towards the future, then I wanted you to be a part of this process. And so all that culminated in Grant Park that night.

 

But then I said, you know what, this just gives us the opportunity to do what’s possible. This is not the end state. I didn't run for President just to be President. (Applause.) I ran for President to do things -- to do big things, to do hard things.

 

What we didn't know at the time -- I said this is going to be a steep climb to get to where we want to go, to achieve that summit. We didn't know how steep that climb was going to be because what we now know was we were already in the midst of what would turn out to be the worst recession since the Great Depression -- came this close to a financial meltdown that would have spun the global financial system out of control.

 

We lost 4 million jobs in the six months before I was sworn in, and we’d lose another 4 [million] before any of our economic initiatives had a chance to take effect. And all the challenges that ordinary families, working families, middle-class families had been feeling for years were suddenly compounded. Folks were losing their jobs, losing their homes, didn't know what the future held.

 

And so we’ve spent the last two and a half years trying to heal this country, trying to mend what was broken. And with the help of people like Debbie and Pedro, we’ve made enormous strides. With the help of you, we have made enormous strides. I mean, think about it. An economy that was contracting is now growing. An economy that was shedding millions of jobs, we’ve seen over 2 million jobs created in the last 15 months, in the private sector. (Applause.) The financial system stabilized. And some of the decisions that we made were not popular. Everybody acts now like, well, yeah, that was easy. (Laughter.) Think about it.

 

Just think for a moment about the U.S. auto industry. We were on the verge of the liquidation of two of the three big automakers in the United States -- Chrysler and GM. Now, there’s been some revisionist history that’s been offered lately about, well, they might have survived without our help -- except nobody at GM or Chrysler believes that. They were going to break that up and sell off the spare parts. And as a consequence, you would have seen a million people -- suppliers, dealerships -- all gone, in the midst of this incredible hardship that people were already experiencing. (Applause.) And we made tough decisions and we made the right decisions. And now we’ve got the big three automakers -- (applause) -- all profitable, all increasing market share, hiring back workers.

 

And we didn’t forget the promises that we had made during the campaign. We said we wanted to make sure that once again America would have the highest proportion of college graduates in the world. And so in pursuit of that goal, we said let’s stop subsidizing big banks as middlemen on the student loan program. (Applause.) Let’s take back billions of dollars and give it directly to young people so that millions of children -- a million of our kids are going to be able to go to college without $100,000 or $200,000 worth of debt.

 

We said we’re going to start building a genuine clean energy industry in this country, and made the largest investment in clean energy in our history. And we did that. We said that we’d begin the process of rebuilding our infrastructure in this country, and made the largest investment rebuilding our roads and our bridges and our ports since Eisenhower built the Interstate Highway System in the 1950s, putting hundreds of thousands of people to work all across America, doing the work that needs to be done.

 

We said we had to finally, after generations, deal with the travesty of the richest nation on Earth having people who went bankrupt because they went sick and couldn’t afford to provide health care to their families -- (applause) -- and we passed a historic health care law that is going to make sure that everybody in this country can get health care and is going to help drive prices down on health care in the bargain. (Applause.) We promised we’d do that, and we did it.

 

Oh, and along the way, we did a few other things, like pass equal pay for equal work legislation. (Applause.) And make sure that never again will you be barred from serving your country in uniform just because of the person that you love. (Applause.) And we appointed two women to the Supreme Court, one of them the first Latina in our history. (Applause.) And we expanded national service so that our young people would know what it means to give back to this country. (Applause.)

 

And we passed financial regulatory reform so that not only would we not see a reprise of the financial shenanigans that had gone on before, but we’d actually have a consumer bureau that would be able to look after folks when they take out credit cards and they take out mortgages, so that they wouldn’t be cheated. (Applause.)

 

And on the international front, we said we would end the war in Iraq -- and we have ended combat operations in Iraq and will be bringing our troops home this year. (Applause.) And we said that we would start refocusing our efforts in Afghanistan, and especially go after al Qaeda -- and we went after al Qaeda and we’re going after al Qaeda -- (applause) -- and beginning the transition process so that Afghans can take responsibility for their security.

 

And in the meantime, we dealt with a few other things -- like pirates. (Laughter.) And pandemic and oil spills. So there were a few other things that kept us occupied.

 

And I describe all this not for us to be complacent, but for all of us to remember that as hard as these battles have been, as much resistance as we’ve gotten, as much as the political debate has been distorted at times, that our basic premise -- the idea that when we put our minds to it, there’s nothing America can’t do -- that's been proven. (Applause.) That's been borne out. We have the evidence. We’ve brought about amazing change over the last two and a half years.

 

And we couldn’t have done it without you. We couldn’t -- we could not --

 

AUDIENCE MEMBER: Keep your promise, stop AIDS now!

 

THE PRESIDENT: That's all right. That's all right. We’re good. We’re good.

 

AUDIENCE MEMBERS: (Inaudible.)

 

THE PRESIDENT: Hold up. Hold up.

 

So -- now, here’s the thing. The reason we’re here today is because our work is not done. (Applause.) For all the progress we’ve made, our work is not complete. We’re not at the summit. We just -- we’re just partway up the mountain. There’s more to do. There is more to do.

 

We still don't have the kind of energy policy that America needs -- and all of you experience that at the pump each and every day. Our economy is still vulnerable to the spot oil market and us having to import billions of dollars, when we could be not only producing more energy right here at home, but we could be producing energy that's clean and renewable and what would ensure that we could pass on the kind of planet to the next generation that all of us long for. (Applause.)

 

We know that we’re not done when it comes to issues like immigration reform. I was down here at Miami Dade -- (applause) -- an amazing institution that embodies what America is all about. Young people who can trace their heritage to 181 different countries were represented. (Applause.) And some of you who may not be familiar with the ceremony, what they do is they bring out the flags of each country where somebody can trace their roots. And everybody cheers. The Cuban flag comes up and everybody goes crazy. (Applause.) The Jamaican flag comes up and everybody is hooting and hollering. (Applause.) See, sort of just like this.

 

But then there’s one flag that comes up, and that is the American flag, and everybody explodes -- (applause) -- because that’s the essence of who we are. Out of many, one. But we don’t have a system that reflects those values. It is still an issue that’s exploited, that’s used to divide instead of bringing people together. We’ve got more work to do.

 

We’ve got more work to do when it comes to rebuilding the infrastructure of this country. We’ve got a couple of trillion dollars worth of work that needs to be done. We were at a Jobs Council meeting up in North Carolina and the chairman of Southwest, the CEO of Southwest, he explained how because our air traffic control system is so archaic, we probably waste about 15 percent of fuel because planes are having to go this way and that. The whole system was designed back in the 1930s before you even had things like GPS. But think about -- what’s true for the airlines industry is true for our roads, it’s true for our ports, it’s true for our airports, it’s true for our power system. We’ve got more work to do.

 

We’ve made incredible progress on education, helping students to finance their college educations, but we still don’t have enough engineers. We still don’t have enough scientists. We still lag behind other countries when it comes to training our young people for the jobs, the high-skilled jobs that are going to provide high wages and allow them to support a family.

 

But we’ve made incredible progress K through 12 with something we call Race to the Top, which basically says -- (applause) -- to school districts and to states, you reform the system and we will show you the money, and so providing incentives. And 40 states across the country have made critical reforms as a consequence to this program. But we still have schools where half the kids drop out. We still consign too many of our young people to lives of desperation and despair. We’ve got more work to do.

 

And we’ve got so much work to do on our economy. We’ve got so much more work to do on our economy. Every night I get letters. We get about 40,000 pieces of mail at the White House every day, and I ask my team to select 10 letters for me to read that are representative of what people are feeling out there. And I will tell you these really are representative, because about half of them call me an idiot. (Laughter.) And -- but most of the stories are just some ordinary folks who have done the right thing, have worked hard all their lives. Some of them are small business owners who have poured their savings into a venture, and then when the recession hit they lost everything, and now they’re trying to get back on their feet.

 

You get letters from moms who are trying to figure out how to pay their bills at the end of the month, and they’re going back to school while they’re working to see if they can retrain for a better job. Sometimes you get folks who have sent out 100 resumes and haven’t gotten a response, and are trying to describe what it’s like to tell your child than nobody wants to hire you. Sometimes you get a letter from a kid who says, my parents are about to lose my home -- Mr. President, is there something you can do to help?

 

And in all those stories, what you see is incredible resilience and incredible stick-to-itiveness, and a sense on the part of people that no matter how down they are, they’re not out. And they don’t expect government to solve all their problems. All they’re looking for is that somebody cares and that we’re doing everything we can, trying every idea to make sure that this economy is moving. And they don’t understand how it is that good ideas get caught up in partisan politics, and why is it that people seem to be arguing all the time instead of trying to do the people’s business.

 

So we’ve got more work to do -- investing in our education system and making sure that -- (applause) -- making sure that our infrastructure is built and we’re putting people back to work, and helping the housing market recover, and dealing with our budget in a way that allows us to once again live within our means but doing so in a way that is consistent with our values.

 

You know, this budget debate that we’re having in Washington right now, it’s not just about numbers. It’s about values. It’s about what we believe and who we are as a people. The easiest thing to do to balance a budget is you just slash and burn and you cut and you don’t worry about the consequences. But that’s not who we are. We’re better than that. (Applause.)

 

I don’t want to live in a country where we’re no longer helping young people go to college, and so your fate is basically determined by where you were born and your circumstances. If that were the case, I wouldn’t be standing here today. I don't want to live in a country where we no longer believe that we can build the best airports or the best rail systems. I don't want to live in a country where we’re no longer investing in basic research and science so that we’re at the cutting edge of technology. I don't want to live in a country where we are abandoning our commitment to the most vulnerable among us -- the disabled, our seniors -- making sure that they’ve got a basic safety net so that they can live with dignity and respect in their golden years. (Applause.)

 

And so here’s the -- the good news is that we can bring down our deficit and we can work down our debt, and we can do so the same way families all across America do, by prioritizing and deciding what’s important to us. So we’re going to have to scrub the federal budget and get rid of every program that doesn't work, and get rid of every regulation that is outdated. And we’ve got to make sure that we build on all the tax cuts that we’ve provided to small businesses and to individuals over the last couple years so that they’re getting back on their feet.

 

But we’ve also got to make sure that whatever sacrifices we make, whatever burdens are borne are spread among all of us; that we’re not just doing it on the backs of the poor; that we’re not just doing it on the backs of our seniors; that we’re not just doing it on the backs of the most vulnerable. (Applause.)

 

And the other side say, well, you know what, we can just cut and cut and cut and cut -- and by the way, you, Mr. President, since you’ve been so lucky, we’re going to give you a $200,000 tax break. I’d love to have a tax break. I don’t like paying taxes -- I’m the President. (Laughter.) This notion somehow that I enjoy paying taxes or administering taxes, that makes no sense. Nothing is better for a politician than saying, you know what, forget about it, you will have everything you need and everything this country needs and you don’t have to pay for a thing.

 

But, you know what, I don’t want a $200,000 tax break if it means that 33 seniors are each going to have to pay $6,000 more a year for their Medicare. (Applause.) I don’t want that. I don’t want a tax break if it means hundreds of kids won’t be able to go to Head Start. (Applause.) That’s not a tradeoff I’m willing to make. That’s not a tradeoff most of Americans are willing to make. That’s not who we are. That’s not what we believe in.

 

And the reason I’m not willing to make a tradeoff, it’s not out of charity. It’s because my life is better when I know, as I’m driving by a school, you know what, those kids in there, they’ve got the best teachers, they’ve got the best equipment -- I know that they’re going to succeed. That makes me feel better about my life and about my country. (Applause.)

 

And if I’m seeing an elderly couple stroll by holding hands -- and I’m saying to myself, you know, that’s going to be Michelle and me in a few years -- and I know that whatever their circumstances, I know they’ve got Social Security and they’ve got Medicare that they can count on, that makes my life better. That makes my life richer. (Applause.)

 

So that's what this campaign is going to be about. It’s going to be about values. It’s the same thing that the 2008 campaign was about: What's important to you? Who are we? What is it about America that makes us so proud?

 

When I think about why our campaign drew so much excitement, it was because it tapped into those essential things that bind us together. I look out at this auditorium, and I see people from every walk of life, every age, every demographic -- but there’s something that binds us together, that says this is what makes our country so special.

 

And that's what’s at stake. That's the journey that we’re on. And the only way that we stay on track, the only way that we continue that journey is if all of you are involved. Because what also made the campaign special was it wasn’t about me -- it was never about me -- it was about us. It was about you. (Applause.) It was about you being willing to be involved, and you being willing to be engaged. Because that's also what makes America special -- ordinary people doing extraordinary things.

 

Now, two and a half years have passed since that night in Grant Park, and I’ve got a lot more gray hair. (Laughter.) And what seemed so fresh and new, now -- we’ve seen Obama so many times on TV, and we know all his quirks and all his tics and he’s been poked apart. And there’s some of you who probably have felt at times during the last two and a half years, gosh, why isn’t this happening faster? Why isn’t this easier? Why are we struggling? And why didn’t health care get done quicker? And why didn’t we get the public option? (Laughter and applause.) And what -- I know the conversation you guys are having. (Laughter.) "I’m not feeling as hopeful as I was." And I understand that. There have been frustrations, and I’ve got some dings to show for it over the last two and half years.

 

But I never said this was going to be easy. This is a democracy. It’s a big country and a diverse country. And our political process is messy. Yes, you don’t always get 100 percent of what you want, and you make compromises. That’s how the system was designed. But what I hope all of you still feel is that for all the frustrations, for all the setbacks, for all the occasional stumbles, that what motivates us, what we most deeply cherish, that that’s still within reach. That it’s still possible to bring about extraordinary change. That it’s still possible to make sure that the America we pass down to our kids and our grandkids is a better America than the one we inherited. (Applause.) I’m confident about that. I believe in that, because I believe in you.

 

And so I’m glad you guys came to the rally. But just like in 2008, if we want to bring about the change we believe in, we’re going to have to get to work. You’re going to have to make phone calls. (Applause.) You’re going to have to knock on doors. You’re going to have to talk to all your friends and all your neighbors, and you’re going to have to talk to the naysayers. And you’re going to have to go out there and say: We’ve got more work to do. And if they tell you, I don’t know, I’m not sure, I’m not convinced -- you just remind them of those three words that captured this campaign, captured the last campaign and will capture the 2012 campaign: Yes, we can.

 

Thank you, Miami. God bless you. (Applause.) God bless the United States of America.

 

END

8:20 P.M. EDT

 

Monday, June 13, 2011

 

Arsht Center for the Performing Arts

Knight Concert Hall

1300 Biscayne Boulevard

Miami, Florida

 

Remarks by the President at a DNC Event

 

Adrienne Arsht Center, Miami, Florida

 

7:50 P.M. EDT

  

THE PRESIDENT: Hello, Miami! (Applause.) It's good to see you. (Applause.) It is good to be back in Miami. (Applause.) Thank you, thank you, everybody. Thank you. Everybody have a seat. Have a seat.

 

What do you guys think of our new DNC chair? (Applause.) Debbie Wasserman Schultz. We are so thrilled to have her. You want Debbie on your side. (Applause.) She's a mom, she's got that cute smile and all that, but she is tough. Don't mess with Debbie. (Laughter.) We are so glad of her leadership.

 

I know that a lot of folks have already been acknowledged. I want to make sure to mention resident commissioner Pedro Pierluisi of Puerto Rico. Where is he? Pedro, are you still here? There he is right there. (Applause.)

 

Adrienne Arsht, thank you so much for everything that you've done for the civic life in Miami. (Applause.) Our Florida finance chair, Kirk Wager, is here. (Applause.) Founding co-chair of Gen44, Andrew Korge, is here. (Applause.) Alonzo Mourning is in the house. (Applause.) And, look, he's not from Miami, but he's got 11 championships, so I've got to mention Bill Russell is in the house. (Applause.) Bill Russell -- greatest champion of all time in team sports in North America right here. (Applause.)

 

It is wonderful to be back. Many of you I've known for a very long time, some of you I'm getting a chance to see for the first time. And it got me thinking back to election night two and a half years ago, in Grant Park. It was a beautiful night in Chicago, and everybody was feeling pretty good who had supported me. And it was an incredibly hopeful time. And you will recall -- maybe you won't but I'm going to remind you -- (laughter) -- I said, this is not the end, this is the beginning. This is the beginning.

 

Because what I said to the American people that night was that for almost a decade too many Americans had felt as if the American Dream was slipping away. We had seen economic growth and corporate profits and a stock market that had gone up, but there were too many folks who were struggling each and every day, working as hard as they could, being responsible for their families, being responsible to their communities, but somehow they just couldn’t keep up. Wages and incomes had flat-lined, even though the cost of everything from health care to college tuitions to gas had all skyrocketed.

 

Around the world, the impression of America as a preeminent force for good had lost sway. We were in the midst of two wars. We didn’t seem to be able to tackle challenges that had confronted us for decades -- didn’t have an energy plan that was worthy of the greatness of America; didn’t have an immigration system that would allow us to be a nation of laws and a nation of immigrants; had a school system in which we had no longer -- we were no longer at the top and weren’t preparing our young people to meet the challenges and demands of the 21st century global interdependent economy.

 

And so when I started the race for President, what I said to all of you was, if you’re looking for easy answers, you’re looking in the wrong place. If you’re looking for just a bunch of partisan rhetoric, I’m probably not your guy. But if you want to join me on this journey,, to make sure that America is living up to its ideals, if you wanted to reclaim the that sense that in America anything is possible if we’re willing to work for it, and if you wanted to see if we could get beyond some of the politics of the past and point towards the future, then I wanted you to be a part of this process. And so all that culminated in Grant Park that night.

 

But then I said, you know what, this just gives us the opportunity to do what’s possible. This is not the end state. I didn't run for President just to be President. (Applause.) I ran for President to do things -- to do big things, to do hard things.

 

What we didn't know at the time -- I said this is going to be a steep climb to get to where we want to go, to achieve that summit. We didn't know how steep that climb was going to be because what we now know was we were already in the midst of what would turn out to be the worst recession since the Great Depression -- came this close to a financial meltdown that would have spun the global financial system out of control.

 

We lost 4 million jobs in the six months before I was sworn in, and we’d lose another 4 [million] before any of our economic initiatives had a chance to take effect. And all the challenges that ordinary families, working families, middle-class families had been feeling for years were suddenly compounded. Folks were losing their jobs, losing their homes, didn't know what the future held.

 

And so we’ve spent the last two and a half years trying to heal this country, trying to mend what was broken. And with the help of people like Debbie and Pedro, we’ve made enormous strides. With the help of you, we have made enormous strides. I mean, think about it. An economy that was contracting is now growing. An economy that was shedding millions of jobs, we’ve seen over 2 million jobs created in the last 15 months, in the private sector. (Applause.) The financial system stabilized. And some of the decisions that we made were not popular. Everybody acts now like, well, yeah, that was easy. (Laughter.) Think about it.

 

Just think for a moment about the U.S. auto industry. We were on the verge of the liquidation of two of the three big automakers in the United States -- Chrysler and GM. Now, there’s been some revisionist history that’s been offered lately about, well, they might have survived without our help -- except nobody at GM or Chrysler believes that. They were going to break that up and sell off the spare parts. And as a consequence, you would have seen a million people -- suppliers, dealerships -- all gone, in the midst of this incredible hardship that people were already experiencing. (Applause.) And we made tough decisions and we made the right decisions. And now we’ve got the big three automakers -- (applause) -- all profitable, all increasing market share, hiring back workers.

 

And we didn’t forget the promises that we had made during the campaign. We said we wanted to make sure that once again America would have the highest proportion of college graduates in the world. And so in pursuit of that goal, we said let’s stop subsidizing big banks as middlemen on the student loan program. (Applause.) Let’s take back billions of dollars and give it directly to young people so that millions of children -- a million of our kids are going to be able to go to college without $100,000 or $200,000 worth of debt.

 

We said we’re going to start building a genuine clean energy industry in this country, and made the largest investment in clean energy in our history. And we did that. We said that we’d begin the process of rebuilding our infrastructure in this country, and made the largest investment rebuilding our roads and our bridges and our ports since Eisenhower built the Interstate Highway System in the 1950s, putting hundreds of thousands of people to work all across America, doing the work that needs to be done.

 

We said we had to finally, after generations, deal with the travesty of the richest nation on Earth having people who went bankrupt because they went sick and couldn’t afford to provide health care to their families -- (applause) -- and we passed a historic health care law that is going to make sure that everybody in this country can get health care and is going to help drive prices down on health care in the bargain. (Applause.) We promised we’d do that, and we did it.

 

Oh, and along the way, we did a few other things, like pass equal pay for equal work legislation. (Applause.) And make sure that never again will you be barred from serving your country in uniform just because of the person that you love. (Applause.) And we appointed two women to the Supreme Court, one of them the first Latina in our history. (Applause.) And we expanded national service so that our young people would know what it means to give back to this country. (Applause.)

 

And we passed financial regulatory reform so that not only would we not see a reprise of the financial shenanigans that had gone on before, but we’d actually have a consumer bureau that would be able to look after folks when they take out credit cards and they take out mortgages, so that they wouldn’t be cheated. (Applause.)

 

And on the international front, we said we would end the war in Iraq -- and we have ended combat operations in Iraq and will be bringing our troops home this year. (Applause.) And we said that we would start refocusing our efforts in Afghanistan, and especially go after al Qaeda -- and we went after al Qaeda and we’re going after al Qaeda -- (applause) -- and beginning the transition process so that Afghans can take responsibility for their security.

 

And in the meantime, we dealt with a few other things -- like pirates. (Laughter.) And pandemic and oil spills. So there were a few other things that kept us occupied.

 

And I describe all this not for us to be complacent, but for all of us to remember that as hard as these battles have been, as much resistance as we’ve gotten, as much as the political debate has been distorted at times, that our basic premise -- the idea that when we put our minds to it, there’s nothing America can’t do -- that's been proven. (Applause.) That's been borne out. We have the evidence. We’ve brought about amazing change over the last two and a half years.

 

And we couldn’t have done it without you. We couldn’t -- we could not --

 

AUDIENCE MEMBER: Keep your promise, stop AIDS now!

 

THE PRESIDENT: That's all right. That's all right. We’re good. We’re good.

 

AUDIENCE MEMBERS: (Inaudible.)

 

THE PRESIDENT: Hold up. Hold up.

 

So -- now, here’s the thing. The reason we’re here today is because our work is not done. (Applause.) For all the progress we’ve made, our work is not complete. We’re not at the summit. We just -- we’re just partway up the mountain. There’s more to do. There is more to do.

 

We still don't have the kind of energy policy that America needs -- and all of you experience that at the pump each and every day. Our economy is still vulnerable to the spot oil market and us having to import billions of dollars, when we could be not only producing more energy right here at home, but we could be producing energy that's clean and renewable and what would ensure that we could pass on the kind of planet to the next generation that all of us long for. (Applause.)

 

We know that we’re not done when it comes to issues like immigration reform. I was down here at Miami Dade -- (applause) -- an amazing institution that embodies what America is all about. Young people who can trace their heritage to 181 different countries were represented. (Applause.) And some of you who may not be familiar with the ceremony, what they do is they bring out the flags of each country where somebody can trace their roots. And everybody cheers. The Cuban flag comes up and everybody goes crazy. (Applause.) The Jamaican flag comes up and everybody is hooting and hollering. (Applause.) See, sort of just like this.

 

But then there’s one flag that comes up, and that is the American flag, and everybody explodes -- (applause) -- because that’s the essence of who we are. Out of many, one. But we don’t have a system that reflects those values. It is still an issue that’s exploited, that’s used to divide instead of bringing people together. We’ve got more work to do.

 

We’ve got more work to do when it comes to rebuilding the infrastructure of this country. We’ve got a couple of trillion dollars worth of work that needs to be done. We were at a Jobs Council meeting up in North Carolina and the chairman of Southwest, the CEO of Southwest, he explained how because our air traffic control system is so archaic, we probably waste about 15 percent of fuel because planes are having to go this way and that. The whole system was designed back in the 1930s before you even had things like GPS. But think about -- what’s true for the airlines industry is true for our roads, it’s true for our ports, it’s true for our airports, it’s true for our power system. We’ve got more work to do.

 

We’ve made incredible progress on education, helping students to finance their college educations, but we still don’t have enough engineers. We still don’t have enough scientists. We still lag behind other countries when it comes to training our young people for the jobs, the high-skilled jobs that are going to provide high wages and allow them to support a family.

 

But we’ve made incredible progress K through 12 with something we call Race to the Top, which basically says -- (applause) -- to school districts and to states, you reform the system and we will show you the money, and so providing incentives. And 40 states across the country have made critical reforms as a consequence to this program. But we still have schools where half the kids drop out. We still consign too many of our young people to lives of desperation and despair. We’ve got more work to do.

 

And we’ve got so much work to do on our economy. We’ve got so much more work to do on our economy. Every night I get letters. We get about 40,000 pieces of mail at the White House every day, and I ask my team to select 10 letters for me to read that are representative of what people are feeling out there. And I will tell you these really are representative, because about half of them call me an idiot. (Laughter.) And -- but most of the stories are just some ordinary folks who have done the right thing, have worked hard all their lives. Some of them are small business owners who have poured their savings into a venture, and then when the recession hit they lost everything, and now they’re trying to get back on their feet.

 

You get letters from moms who are trying to figure out how to pay their bills at the end of the month, and they’re going back to school while they’re working to see if they can retrain for a better job. Sometimes you get folks who have sent out 100 resumes and haven’t gotten a response, and are trying to describe what it’s like to tell your child than nobody wants to hire you. Sometimes you get a letter from a kid who says, my parents are about to lose my home -- Mr. President, is there something you can do to help?

 

And in all those stories, what you see is incredible resilience and incredible stick-to-itiveness, and a sense on the part of people that no matter how down they are, they’re not out. And they don’t expect government to solve all their problems. All they’re looking for is that somebody cares and that we’re doing everything we can, trying every idea to make sure that this economy is moving. And they don’t understand how it is that good ideas get caught up in partisan politics, and why is it that people seem to be arguing all the time instead of trying to do the people’s business.

 

So we’ve got more work to do -- investing in our education system and making sure that -- (applause) -- making sure that our infrastructure is built and we’re putting people back to work, and helping the housing market recover, and dealing with our budget in a way that allows us to once again live within our means but doing so in a way that is consistent with our values.

 

You know, this budget debate that we’re having in Washington right now, it’s not just about numbers. It’s about values. It’s about what we believe and who we are as a people. The easiest thing to do to balance a budget is you just slash and burn and you cut and you don’t worry about the consequences. But that’s not who we are. We’re better than that. (Applause.)

 

I don’t want to live in a country where we’re no longer helping young people go to college, and so your fate is basically determined by where you were born and your circumstances. If that were the case, I wouldn’t be standing here today. I don't want to live in a country where we no longer believe that we can build the best airports or the best rail systems. I don't want to live in a country where we’re no longer investing in basic research and science so that we’re at the cutting edge of technology. I don't want to live in a country where we are abandoning our commitment to the most vulnerable among us -- the disabled, our seniors -- making sure that they’ve got a basic safety net so that they can live with dignity and respect in their golden years. (Applause.)

 

And so here’s the -- the good news is that we can bring down our deficit and we can work down our debt, and we can do so the same way families all across America do, by prioritizing and deciding what’s important to us. So we’re going to have to scrub the federal budget and get rid of every program that doesn't work, and get rid of every regulation that is outdated. And we’ve got to make sure that we build on all the tax cuts that we’ve provided to small businesses and to individuals over the last couple years so that they’re getting back on their feet.

 

But we’ve also got to make sure that whatever sacrifices we make, whatever burdens are borne are spread among all of us; that we’re not just doing it on the backs of the poor; that we’re not just doing it on the backs of our seniors; that we’re not just doing it on the backs of the most vulnerable. (Applause.)

 

And the other side say, well, you know what, we can just cut and cut and cut and cut -- and by the way, you, Mr. President, since you’ve been so lucky, we’re going to give you a $200,000 tax break. I’d love to have a tax break. I don’t like paying taxes -- I’m the President. (Laughter.) This notion somehow that I enjoy paying taxes or administering taxes, that makes no sense. Nothing is better for a politician than saying, you know what, forget about it, you will have everything you need and everything this country needs and you don’t have to pay for a thing.

 

But, you know what, I don’t want a $200,000 tax break if it means that 33 seniors are each going to have to pay $6,000 more a year for their Medicare. (Applause.) I don’t want that. I don’t want a tax break if it means hundreds of kids won’t be able to go to Head Start. (Applause.) That’s not a tradeoff I’m willing to make. That’s not a tradeoff most of Americans are willing to make. That’s not who we are. That’s not what we believe in.

 

And the reason I’m not willing to make a tradeoff, it’s not out of charity. It’s because my life is better when I know, as I’m driving by a school, you know what, those kids in there, they’ve got the best teachers, they’ve got the best equipment -- I know that they’re going to succeed. That makes me feel better about my life and about my country. (Applause.)

 

And if I’m seeing an elderly couple stroll by holding hands -- and I’m saying to myself, you know, that’s going to be Michelle and me in a few years -- and I know that whatever their circumstances, I know they’ve got Social Security and they’ve got Medicare that they can count on, that makes my life better. That makes my life richer. (Applause.)

 

So that's what this campaign is going to be about. It’s going to be about values. It’s the same thing that the 2008 campaign was about: What's important to you? Who are we? What is it about America that makes us so proud?

 

When I think about why our campaign drew so much excitement, it was because it tapped into those essential things that bind us together. I look out at this auditorium, and I see people from every walk of life, every age, every demographic -- but there’s something that binds us together, that says this is what makes our country so special.

 

And that's what’s at stake. That's the journey that we’re on. And the only way that we stay on track, the only way that we continue that journey is if all of you are involved. Because what also made the campaign special was it wasn’t about me -- it was never about me -- it was about us. It was about you. (Applause.) It was about you being willing to be involved, and you being willing to be engaged. Because that's also what makes America special -- ordinary people doing extraordinary things.

 

Now, two and a half years have passed since that night in Grant Park, and I’ve got a lot more gray hair. (Laughter.) And what seemed so fresh and new, now -- we’ve seen Obama so many times on TV, and we know all his quirks and all his tics and he’s been poked apart. And there’s some of you who probably have felt at times during the last two and a half years, gosh, why isn’t this happening faster? Why isn’t this easier? Why are we struggling? And why didn’t health care get done quicker? And why didn’t we get the public option? (Laughter and applause.) And what -- I know the conversation you guys are having. (Laughter.) "I’m not feeling as hopeful as I was." And I understand that. There have been frustrations, and I’ve got some dings to show for it over the last two and half years.

 

But I never said this was going to be easy. This is a democracy. It’s a big country and a diverse country. And our political process is messy. Yes, you don’t always get 100 percent of what you want, and you make compromises. That’s how the system was designed. But what I hope all of you still feel is that for all the frustrations, for all the setbacks, for all the occasional stumbles, that what motivates us, what we most deeply cherish, that that’s still within reach. That it’s still possible to bring about extraordinary change. That it’s still possible to make sure that the America we pass down to our kids and our grandkids is a better America than the one we inherited. (Applause.) I’m confident about that. I believe in that, because I believe in you.

 

And so I’m glad you guys came to the rally. But just like in 2008, if we want to bring about the change we believe in, we’re going to have to get to work. You’re going to have to make phone calls. (Applause.) You’re going to have to knock on doors. You’re going to have to talk to all your friends and all your neighbors, and you’re going to have to talk to the naysayers. And you’re going to have to go out there and say: We’ve got more work to do. And if they tell you, I don’t know, I’m not sure, I’m not convinced -- you just remind them of those three words that captured this campaign, captured the last campaign and will capture the 2012 campaign: Yes, we can.

 

Thank you, Miami. God bless you. (Applause.) God bless the United States of America.

 

END

8:20 P.M. EDT

 

Purpose

Since 2001, the Master Plan has guided the collection and analysis of technical data to prioritize and implement projects, programs, and regulatory solutions.

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.

 

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

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

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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

 

--------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

As the land around the City of Gretna is annexed, many farmers are battled to keep their farmland taxed under a greenbelt status. LB 580, introduced and prioritized by Sen. Holdcroft was signed into law in 2023 allowing farmers to keep their greenbelt status.

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

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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Monday, June 13, 2011

 

Arsht Center for the Performing Arts

Knight Concert Hall

1300 Biscayne Boulevard

Miami, Florida

 

Remarks by the President at a DNC Event

 

Adrienne Arsht Center, Miami, Florida

 

7:50 P.M. EDT

  

THE PRESIDENT: Hello, Miami! (Applause.) It's good to see you. (Applause.) It is good to be back in Miami. (Applause.) Thank you, thank you, everybody. Thank you. Everybody have a seat. Have a seat.

 

What do you guys think of our new DNC chair? (Applause.) Debbie Wasserman Schultz. We are so thrilled to have her. You want Debbie on your side. (Applause.) She's a mom, she's got that cute smile and all that, but she is tough. Don't mess with Debbie. (Laughter.) We are so glad of her leadership.

 

I know that a lot of folks have already been acknowledged. I want to make sure to mention resident commissioner Pedro Pierluisi of Puerto Rico. Where is he? Pedro, are you still here? There he is right there. (Applause.)

 

Adrienne Arsht, thank you so much for everything that you've done for the civic life in Miami. (Applause.) Our Florida finance chair, Kirk Wager, is here. (Applause.) Founding co-chair of Gen44, Andrew Korge, is here. (Applause.) Alonzo Mourning is in the house. (Applause.) And, look, he's not from Miami, but he's got 11 championships, so I've got to mention Bill Russell is in the house. (Applause.) Bill Russell -- greatest champion of all time in team sports in North America right here. (Applause.)

 

It is wonderful to be back. Many of you I've known for a very long time, some of you I'm getting a chance to see for the first time. And it got me thinking back to election night two and a half years ago, in Grant Park. It was a beautiful night in Chicago, and everybody was feeling pretty good who had supported me. And it was an incredibly hopeful time. And you will recall -- maybe you won't but I'm going to remind you -- (laughter) -- I said, this is not the end, this is the beginning. This is the beginning.

 

Because what I said to the American people that night was that for almost a decade too many Americans had felt as if the American Dream was slipping away. We had seen economic growth and corporate profits and a stock market that had gone up, but there were too many folks who were struggling each and every day, working as hard as they could, being responsible for their families, being responsible to their communities, but somehow they just couldn’t keep up. Wages and incomes had flat-lined, even though the cost of everything from health care to college tuitions to gas had all skyrocketed.

 

Around the world, the impression of America as a preeminent force for good had lost sway. We were in the midst of two wars. We didn’t seem to be able to tackle challenges that had confronted us for decades -- didn’t have an energy plan that was worthy of the greatness of America; didn’t have an immigration system that would allow us to be a nation of laws and a nation of immigrants; had a school system in which we had no longer -- we were no longer at the top and weren’t preparing our young people to meet the challenges and demands of the 21st century global interdependent economy.

 

And so when I started the race for President, what I said to all of you was, if you’re looking for easy answers, you’re looking in the wrong place. If you’re looking for just a bunch of partisan rhetoric, I’m probably not your guy. But if you want to join me on this journey,, to make sure that America is living up to its ideals, if you wanted to reclaim the that sense that in America anything is possible if we’re willing to work for it, and if you wanted to see if we could get beyond some of the politics of the past and point towards the future, then I wanted you to be a part of this process. And so all that culminated in Grant Park that night.

 

But then I said, you know what, this just gives us the opportunity to do what’s possible. This is not the end state. I didn't run for President just to be President. (Applause.) I ran for President to do things -- to do big things, to do hard things.

 

What we didn't know at the time -- I said this is going to be a steep climb to get to where we want to go, to achieve that summit. We didn't know how steep that climb was going to be because what we now know was we were already in the midst of what would turn out to be the worst recession since the Great Depression -- came this close to a financial meltdown that would have spun the global financial system out of control.

 

We lost 4 million jobs in the six months before I was sworn in, and we’d lose another 4 [million] before any of our economic initiatives had a chance to take effect. And all the challenges that ordinary families, working families, middle-class families had been feeling for years were suddenly compounded. Folks were losing their jobs, losing their homes, didn't know what the future held.

 

And so we’ve spent the last two and a half years trying to heal this country, trying to mend what was broken. And with the help of people like Debbie and Pedro, we’ve made enormous strides. With the help of you, we have made enormous strides. I mean, think about it. An economy that was contracting is now growing. An economy that was shedding millions of jobs, we’ve seen over 2 million jobs created in the last 15 months, in the private sector. (Applause.) The financial system stabilized. And some of the decisions that we made were not popular. Everybody acts now like, well, yeah, that was easy. (Laughter.) Think about it.

 

Just think for a moment about the U.S. auto industry. We were on the verge of the liquidation of two of the three big automakers in the United States -- Chrysler and GM. Now, there’s been some revisionist history that’s been offered lately about, well, they might have survived without our help -- except nobody at GM or Chrysler believes that. They were going to break that up and sell off the spare parts. And as a consequence, you would have seen a million people -- suppliers, dealerships -- all gone, in the midst of this incredible hardship that people were already experiencing. (Applause.) And we made tough decisions and we made the right decisions. And now we’ve got the big three automakers -- (applause) -- all profitable, all increasing market share, hiring back workers.

 

And we didn’t forget the promises that we had made during the campaign. We said we wanted to make sure that once again America would have the highest proportion of college graduates in the world. And so in pursuit of that goal, we said let’s stop subsidizing big banks as middlemen on the student loan program. (Applause.) Let’s take back billions of dollars and give it directly to young people so that millions of children -- a million of our kids are going to be able to go to college without $100,000 or $200,000 worth of debt.

 

We said we’re going to start building a genuine clean energy industry in this country, and made the largest investment in clean energy in our history. And we did that. We said that we’d begin the process of rebuilding our infrastructure in this country, and made the largest investment rebuilding our roads and our bridges and our ports since Eisenhower built the Interstate Highway System in the 1950s, putting hundreds of thousands of people to work all across America, doing the work that needs to be done.

 

We said we had to finally, after generations, deal with the travesty of the richest nation on Earth having people who went bankrupt because they went sick and couldn’t afford to provide health care to their families -- (applause) -- and we passed a historic health care law that is going to make sure that everybody in this country can get health care and is going to help drive prices down on health care in the bargain. (Applause.) We promised we’d do that, and we did it.

 

Oh, and along the way, we did a few other things, like pass equal pay for equal work legislation. (Applause.) And make sure that never again will you be barred from serving your country in uniform just because of the person that you love. (Applause.) And we appointed two women to the Supreme Court, one of them the first Latina in our history. (Applause.) And we expanded national service so that our young people would know what it means to give back to this country. (Applause.)

 

And we passed financial regulatory reform so that not only would we not see a reprise of the financial shenanigans that had gone on before, but we’d actually have a consumer bureau that would be able to look after folks when they take out credit cards and they take out mortgages, so that they wouldn’t be cheated. (Applause.)

 

And on the international front, we said we would end the war in Iraq -- and we have ended combat operations in Iraq and will be bringing our troops home this year. (Applause.) And we said that we would start refocusing our efforts in Afghanistan, and especially go after al Qaeda -- and we went after al Qaeda and we’re going after al Qaeda -- (applause) -- and beginning the transition process so that Afghans can take responsibility for their security.

 

And in the meantime, we dealt with a few other things -- like pirates. (Laughter.) And pandemic and oil spills. So there were a few other things that kept us occupied.

 

And I describe all this not for us to be complacent, but for all of us to remember that as hard as these battles have been, as much resistance as we’ve gotten, as much as the political debate has been distorted at times, that our basic premise -- the idea that when we put our minds to it, there’s nothing America can’t do -- that's been proven. (Applause.) That's been borne out. We have the evidence. We’ve brought about amazing change over the last two and a half years.

 

And we couldn’t have done it without you. We couldn’t -- we could not --

 

AUDIENCE MEMBER: Keep your promise, stop AIDS now!

 

THE PRESIDENT: That's all right. That's all right. We’re good. We’re good.

 

AUDIENCE MEMBERS: (Inaudible.)

 

THE PRESIDENT: Hold up. Hold up.

 

So -- now, here’s the thing. The reason we’re here today is because our work is not done. (Applause.) For all the progress we’ve made, our work is not complete. We’re not at the summit. We just -- we’re just partway up the mountain. There’s more to do. There is more to do.

 

We still don't have the kind of energy policy that America needs -- and all of you experience that at the pump each and every day. Our economy is still vulnerable to the spot oil market and us having to import billions of dollars, when we could be not only producing more energy right here at home, but we could be producing energy that's clean and renewable and what would ensure that we could pass on the kind of planet to the next generation that all of us long for. (Applause.)

 

We know that we’re not done when it comes to issues like immigration reform. I was down here at Miami Dade -- (applause) -- an amazing institution that embodies what America is all about. Young people who can trace their heritage to 181 different countries were represented. (Applause.) And some of you who may not be familiar with the ceremony, what they do is they bring out the flags of each country where somebody can trace their roots. And everybody cheers. The Cuban flag comes up and everybody goes crazy. (Applause.) The Jamaican flag comes up and everybody is hooting and hollering. (Applause.) See, sort of just like this.

 

But then there’s one flag that comes up, and that is the American flag, and everybody explodes -- (applause) -- because that’s the essence of who we are. Out of many, one. But we don’t have a system that reflects those values. It is still an issue that’s exploited, that’s used to divide instead of bringing people together. We’ve got more work to do.

 

We’ve got more work to do when it comes to rebuilding the infrastructure of this country. We’ve got a couple of trillion dollars worth of work that needs to be done. We were at a Jobs Council meeting up in North Carolina and the chairman of Southwest, the CEO of Southwest, he explained how because our air traffic control system is so archaic, we probably waste about 15 percent of fuel because planes are having to go this way and that. The whole system was designed back in the 1930s before you even had things like GPS. But think about -- what’s true for the airlines industry is true for our roads, it’s true for our ports, it’s true for our airports, it’s true for our power system. We’ve got more work to do.

 

We’ve made incredible progress on education, helping students to finance their college educations, but we still don’t have enough engineers. We still don’t have enough scientists. We still lag behind other countries when it comes to training our young people for the jobs, the high-skilled jobs that are going to provide high wages and allow them to support a family.

 

But we’ve made incredible progress K through 12 with something we call Race to the Top, which basically says -- (applause) -- to school districts and to states, you reform the system and we will show you the money, and so providing incentives. And 40 states across the country have made critical reforms as a consequence to this program. But we still have schools where half the kids drop out. We still consign too many of our young people to lives of desperation and despair. We’ve got more work to do.

 

And we’ve got so much work to do on our economy. We’ve got so much more work to do on our economy. Every night I get letters. We get about 40,000 pieces of mail at the White House every day, and I ask my team to select 10 letters for me to read that are representative of what people are feeling out there. And I will tell you these really are representative, because about half of them call me an idiot. (Laughter.) And -- but most of the stories are just some ordinary folks who have done the right thing, have worked hard all their lives. Some of them are small business owners who have poured their savings into a venture, and then when the recession hit they lost everything, and now they’re trying to get back on their feet.

 

You get letters from moms who are trying to figure out how to pay their bills at the end of the month, and they’re going back to school while they’re working to see if they can retrain for a better job. Sometimes you get folks who have sent out 100 resumes and haven’t gotten a response, and are trying to describe what it’s like to tell your child than nobody wants to hire you. Sometimes you get a letter from a kid who says, my parents are about to lose my home -- Mr. President, is there something you can do to help?

 

And in all those stories, what you see is incredible resilience and incredible stick-to-itiveness, and a sense on the part of people that no matter how down they are, they’re not out. And they don’t expect government to solve all their problems. All they’re looking for is that somebody cares and that we’re doing everything we can, trying every idea to make sure that this economy is moving. And they don’t understand how it is that good ideas get caught up in partisan politics, and why is it that people seem to be arguing all the time instead of trying to do the people’s business.

 

So we’ve got more work to do -- investing in our education system and making sure that -- (applause) -- making sure that our infrastructure is built and we’re putting people back to work, and helping the housing market recover, and dealing with our budget in a way that allows us to once again live within our means but doing so in a way that is consistent with our values.

 

You know, this budget debate that we’re having in Washington right now, it’s not just about numbers. It’s about values. It’s about what we believe and who we are as a people. The easiest thing to do to balance a budget is you just slash and burn and you cut and you don’t worry about the consequences. But that’s not who we are. We’re better than that. (Applause.)

 

I don’t want to live in a country where we’re no longer helping young people go to college, and so your fate is basically determined by where you were born and your circumstances. If that were the case, I wouldn’t be standing here today. I don't want to live in a country where we no longer believe that we can build the best airports or the best rail systems. I don't want to live in a country where we’re no longer investing in basic research and science so that we’re at the cutting edge of technology. I don't want to live in a country where we are abandoning our commitment to the most vulnerable among us -- the disabled, our seniors -- making sure that they’ve got a basic safety net so that they can live with dignity and respect in their golden years. (Applause.)

 

And so here’s the -- the good news is that we can bring down our deficit and we can work down our debt, and we can do so the same way families all across America do, by prioritizing and deciding what’s important to us. So we’re going to have to scrub the federal budget and get rid of every program that doesn't work, and get rid of every regulation that is outdated. And we’ve got to make sure that we build on all the tax cuts that we’ve provided to small businesses and to individuals over the last couple years so that they’re getting back on their feet.

 

But we’ve also got to make sure that whatever sacrifices we make, whatever burdens are borne are spread among all of us; that we’re not just doing it on the backs of the poor; that we’re not just doing it on the backs of our seniors; that we’re not just doing it on the backs of the most vulnerable. (Applause.)

 

And the other side say, well, you know what, we can just cut and cut and cut and cut -- and by the way, you, Mr. President, since you’ve been so lucky, we’re going to give you a $200,000 tax break. I’d love to have a tax break. I don’t like paying taxes -- I’m the President. (Laughter.) This notion somehow that I enjoy paying taxes or administering taxes, that makes no sense. Nothing is better for a politician than saying, you know what, forget about it, you will have everything you need and everything this country needs and you don’t have to pay for a thing.

 

But, you know what, I don’t want a $200,000 tax break if it means that 33 seniors are each going to have to pay $6,000 more a year for their Medicare. (Applause.) I don’t want that. I don’t want a tax break if it means hundreds of kids won’t be able to go to Head Start. (Applause.) That’s not a tradeoff I’m willing to make. That’s not a tradeoff most of Americans are willing to make. That’s not who we are. That’s not what we believe in.

 

And the reason I’m not willing to make a tradeoff, it’s not out of charity. It’s because my life is better when I know, as I’m driving by a school, you know what, those kids in there, they’ve got the best teachers, they’ve got the best equipment -- I know that they’re going to succeed. That makes me feel better about my life and about my country. (Applause.)

 

And if I’m seeing an elderly couple stroll by holding hands -- and I’m saying to myself, you know, that’s going to be Michelle and me in a few years -- and I know that whatever their circumstances, I know they’ve got Social Security and they’ve got Medicare that they can count on, that makes my life better. That makes my life richer. (Applause.)

 

So that's what this campaign is going to be about. It’s going to be about values. It’s the same thing that the 2008 campaign was about: What's important to you? Who are we? What is it about America that makes us so proud?

 

When I think about why our campaign drew so much excitement, it was because it tapped into those essential things that bind us together. I look out at this auditorium, and I see people from every walk of life, every age, every demographic -- but there’s something that binds us together, that says this is what makes our country so special.

 

And that's what’s at stake. That's the journey that we’re on. And the only way that we stay on track, the only way that we continue that journey is if all of you are involved. Because what also made the campaign special was it wasn’t about me -- it was never about me -- it was about us. It was about you. (Applause.) It was about you being willing to be involved, and you being willing to be engaged. Because that's also what makes America special -- ordinary people doing extraordinary things.

 

Now, two and a half years have passed since that night in Grant Park, and I’ve got a lot more gray hair. (Laughter.) And what seemed so fresh and new, now -- we’ve seen Obama so many times on TV, and we know all his quirks and all his tics and he’s been poked apart. And there’s some of you who probably have felt at times during the last two and a half years, gosh, why isn’t this happening faster? Why isn’t this easier? Why are we struggling? And why didn’t health care get done quicker? And why didn’t we get the public option? (Laughter and applause.) And what -- I know the conversation you guys are having. (Laughter.) "I’m not feeling as hopeful as I was." And I understand that. There have been frustrations, and I’ve got some dings to show for it over the last two and half years.

 

But I never said this was going to be easy. This is a democracy. It’s a big country and a diverse country. And our political process is messy. Yes, you don’t always get 100 percent of what you want, and you make compromises. That’s how the system was designed. But what I hope all of you still feel is that for all the frustrations, for all the setbacks, for all the occasional stumbles, that what motivates us, what we most deeply cherish, that that’s still within reach. That it’s still possible to bring about extraordinary change. That it’s still possible to make sure that the America we pass down to our kids and our grandkids is a better America than the one we inherited. (Applause.) I’m confident about that. I believe in that, because I believe in you.

 

And so I’m glad you guys came to the rally. But just like in 2008, if we want to bring about the change we believe in, we’re going to have to get to work. You’re going to have to make phone calls. (Applause.) You’re going to have to knock on doors. You’re going to have to talk to all your friends and all your neighbors, and you’re going to have to talk to the naysayers. And you’re going to have to go out there and say: We’ve got more work to do. And if they tell you, I don’t know, I’m not sure, I’m not convinced -- you just remind them of those three words that captured this campaign, captured the last campaign and will capture the 2012 campaign: Yes, we can.

 

Thank you, Miami. God bless you. (Applause.) God bless the United States of America.

 

END

8:20 P.M. EDT

 

Coachwork by Graber

 

Gabriel B. Voisin was an aviation pioneer and manufacturer who in1919 starting producing cars using Knight-type sleeve valve engines at Issy-les-Moulineaux, an industrial suburb to the southwest of Paris. Former student of the Fine Arts School of Lyon and enthusiast for all things mechanical since his childhood. Voisin's uncompromisingly individual designs made extensive use of light alloy, especially aluminum.

 

One of the company's most striking early designs was the Laboratoire Grand Prix car of 1923 : one of the first cars ever to use monocoque chassis construction, and utilizing small radiator-mounted propeller to drive the cooling pump. The characteristic Voisin style of 'rational' coachwork he developed in conjunction with his collaborator André Noel. Noel prioritized lightness, central weight distribution, capacious luggage boxes and distinctively angular lines. The 1930s models with underslung chassis were strikingly low.

 

This C23 was found in Montpellier, France, in 2015 by its current owner. The car was in an incredible original condition, has been technically and mechanically restored but no cosmetically restoration was carried out. It was presented last year at the Concours d'elegance at Schloss Dyck in the class 'Masterpieces & Style' and received several prices : Best in Class, Fiva Trophy - Preservation award, and world most pristine Masterpiece.

 

Zoute Concours d'Elegance

The Royal Zoute Golf Club

 

Zoute Grand Prix 2016

Knokke - Belgium

Oktober 2016

030819 - WASHINGTON DC., Managing Director and Chairwoman of the IMF Christine Lagarde and Interim WBG President Kristalina Georgieva engage in a conversation on their pioneering leadership and challenges they and other women have faced, the economic issues they’re dealing with and how they prioritize gender both through operations and in walking the talk within the IMF and WBG.

Photo: World Bank / Simone D. McCourtie

Police move south on 14th Street N.W. at U Street in Washington June 24, 1968 as they begin sweeping the predominantly African American area of Washington after disturbances broke out.

 

Washington, D.C. mayor Walter E. Washington imposed a curfew following the clearing of the Resurrection City camp near the Reflecting Pool.

 

Confronted with a deadline to vacate the makeshift city where the Poor People’s Campaign had encamped for five weeks, Rev. Ralph Abernathy of the Southern Christian Leadership Conference (SCLC) led about 300 demonstrators to the foot of the U.S. Capitol where they were arrested.

 

Following the arrests, disturbances began to break out along the 14th Street NW corridor.

 

At the height of the disturbances in the early evening, bands of young people hurled rocks and bottles at police and broke windows.

 

City officials fearing the widespread virtual insurrection that occurred earlier in the year following the death of Rev. Dr. Martin Luther King Jr. mobilized the National Guard. Regular army troops were put on standby.

 

The Washington Post reported that, “The tear gas on 14th Street was so heavy at the peak of the disturbance that it looked as though the thoroughfare was covered by a fog bank.”

 

By 10 p.m. the outbreak was quelled as 2,000 city police and 1,200 National Guard troops patrolled the city.

 

The Poor People’s Campaign for economic justice and against the Vietnam War drew upwards of 100,000 people at its peak in addition to the 3,000 encamped on the national mall.

 

Originally conceived by Rev. Dr. Martin Luther King, Jr. as a massive civil disobedience exercise to demand re-prioritizing U.S. policy away from Vietnam and toward domestic economic equality, it devolved into a permitted series of demonstrations and lobby visits following King’s death in April.

 

The protest ended in defeat as no economic bill of rights passed Congress and many existing programs were limited or dismantled in the coming decades. Some historians mark the end of the national civil rights movement that began with the Prayer Pilgrimage for Freedom in 1957 with this demonstration.

 

For more information and related images, see flic.kr/s/aHskrqbSDg

 

Photo by Jackson. The image was a Washington Daily News photograph that is part of the D.C. Public Library Washington Star Collection © Washington Post.

Monday, June 13, 2011

 

Arsht Center for the Performing Arts

Knight Concert Hall

1300 Biscayne Boulevard

Miami, Florida

 

Remarks by the President at a DNC Event

 

Adrienne Arsht Center, Miami, Florida

 

7:50 P.M. EDT

  

THE PRESIDENT: Hello, Miami! (Applause.) It's good to see you. (Applause.) It is good to be back in Miami. (Applause.) Thank you, thank you, everybody. Thank you. Everybody have a seat. Have a seat.

 

What do you guys think of our new DNC chair? (Applause.) Debbie Wasserman Schultz. We are so thrilled to have her. You want Debbie on your side. (Applause.) She's a mom, she's got that cute smile and all that, but she is tough. Don't mess with Debbie. (Laughter.) We are so glad of her leadership.

 

I know that a lot of folks have already been acknowledged. I want to make sure to mention resident commissioner Pedro Pierluisi of Puerto Rico. Where is he? Pedro, are you still here? There he is right there. (Applause.)

 

Adrienne Arsht, thank you so much for everything that you've done for the civic life in Miami. (Applause.) Our Florida finance chair, Kirk Wager, is here. (Applause.) Founding co-chair of Gen44, Andrew Korge, is here. (Applause.) Alonzo Mourning is in the house. (Applause.) And, look, he's not from Miami, but he's got 11 championships, so I've got to mention Bill Russell is in the house. (Applause.) Bill Russell -- greatest champion of all time in team sports in North America right here. (Applause.)

 

It is wonderful to be back. Many of you I've known for a very long time, some of you I'm getting a chance to see for the first time. And it got me thinking back to election night two and a half years ago, in Grant Park. It was a beautiful night in Chicago, and everybody was feeling pretty good who had supported me. And it was an incredibly hopeful time. And you will recall -- maybe you won't but I'm going to remind you -- (laughter) -- I said, this is not the end, this is the beginning. This is the beginning.

 

Because what I said to the American people that night was that for almost a decade too many Americans had felt as if the American Dream was slipping away. We had seen economic growth and corporate profits and a stock market that had gone up, but there were too many folks who were struggling each and every day, working as hard as they could, being responsible for their families, being responsible to their communities, but somehow they just couldn’t keep up. Wages and incomes had flat-lined, even though the cost of everything from health care to college tuitions to gas had all skyrocketed.

 

Around the world, the impression of America as a preeminent force for good had lost sway. We were in the midst of two wars. We didn’t seem to be able to tackle challenges that had confronted us for decades -- didn’t have an energy plan that was worthy of the greatness of America; didn’t have an immigration system that would allow us to be a nation of laws and a nation of immigrants; had a school system in which we had no longer -- we were no longer at the top and weren’t preparing our young people to meet the challenges and demands of the 21st century global interdependent economy.

 

And so when I started the race for President, what I said to all of you was, if you’re looking for easy answers, you’re looking in the wrong place. If you’re looking for just a bunch of partisan rhetoric, I’m probably not your guy. But if you want to join me on this journey,, to make sure that America is living up to its ideals, if you wanted to reclaim the that sense that in America anything is possible if we’re willing to work for it, and if you wanted to see if we could get beyond some of the politics of the past and point towards the future, then I wanted you to be a part of this process. And so all that culminated in Grant Park that night.

 

But then I said, you know what, this just gives us the opportunity to do what’s possible. This is not the end state. I didn't run for President just to be President. (Applause.) I ran for President to do things -- to do big things, to do hard things.

 

What we didn't know at the time -- I said this is going to be a steep climb to get to where we want to go, to achieve that summit. We didn't know how steep that climb was going to be because what we now know was we were already in the midst of what would turn out to be the worst recession since the Great Depression -- came this close to a financial meltdown that would have spun the global financial system out of control.

 

We lost 4 million jobs in the six months before I was sworn in, and we’d lose another 4 [million] before any of our economic initiatives had a chance to take effect. And all the challenges that ordinary families, working families, middle-class families had been feeling for years were suddenly compounded. Folks were losing their jobs, losing their homes, didn't know what the future held.

 

And so we’ve spent the last two and a half years trying to heal this country, trying to mend what was broken. And with the help of people like Debbie and Pedro, we’ve made enormous strides. With the help of you, we have made enormous strides. I mean, think about it. An economy that was contracting is now growing. An economy that was shedding millions of jobs, we’ve seen over 2 million jobs created in the last 15 months, in the private sector. (Applause.) The financial system stabilized. And some of the decisions that we made were not popular. Everybody acts now like, well, yeah, that was easy. (Laughter.) Think about it.

 

Just think for a moment about the U.S. auto industry. We were on the verge of the liquidation of two of the three big automakers in the United States -- Chrysler and GM. Now, there’s been some revisionist history that’s been offered lately about, well, they might have survived without our help -- except nobody at GM or Chrysler believes that. They were going to break that up and sell off the spare parts. And as a consequence, you would have seen a million people -- suppliers, dealerships -- all gone, in the midst of this incredible hardship that people were already experiencing. (Applause.) And we made tough decisions and we made the right decisions. And now we’ve got the big three automakers -- (applause) -- all profitable, all increasing market share, hiring back workers.

 

And we didn’t forget the promises that we had made during the campaign. We said we wanted to make sure that once again America would have the highest proportion of college graduates in the world. And so in pursuit of that goal, we said let’s stop subsidizing big banks as middlemen on the student loan program. (Applause.) Let’s take back billions of dollars and give it directly to young people so that millions of children -- a million of our kids are going to be able to go to college without $100,000 or $200,000 worth of debt.

 

We said we’re going to start building a genuine clean energy industry in this country, and made the largest investment in clean energy in our history. And we did that. We said that we’d begin the process of rebuilding our infrastructure in this country, and made the largest investment rebuilding our roads and our bridges and our ports since Eisenhower built the Interstate Highway System in the 1950s, putting hundreds of thousands of people to work all across America, doing the work that needs to be done.

 

We said we had to finally, after generations, deal with the travesty of the richest nation on Earth having people who went bankrupt because they went sick and couldn’t afford to provide health care to their families -- (applause) -- and we passed a historic health care law that is going to make sure that everybody in this country can get health care and is going to help drive prices down on health care in the bargain. (Applause.) We promised we’d do that, and we did it.

 

Oh, and along the way, we did a few other things, like pass equal pay for equal work legislation. (Applause.) And make sure that never again will you be barred from serving your country in uniform just because of the person that you love. (Applause.) And we appointed two women to the Supreme Court, one of them the first Latina in our history. (Applause.) And we expanded national service so that our young people would know what it means to give back to this country. (Applause.)

 

And we passed financial regulatory reform so that not only would we not see a reprise of the financial shenanigans that had gone on before, but we’d actually have a consumer bureau that would be able to look after folks when they take out credit cards and they take out mortgages, so that they wouldn’t be cheated. (Applause.)

 

And on the international front, we said we would end the war in Iraq -- and we have ended combat operations in Iraq and will be bringing our troops home this year. (Applause.) And we said that we would start refocusing our efforts in Afghanistan, and especially go after al Qaeda -- and we went after al Qaeda and we’re going after al Qaeda -- (applause) -- and beginning the transition process so that Afghans can take responsibility for their security.

 

And in the meantime, we dealt with a few other things -- like pirates. (Laughter.) And pandemic and oil spills. So there were a few other things that kept us occupied.

 

And I describe all this not for us to be complacent, but for all of us to remember that as hard as these battles have been, as much resistance as we’ve gotten, as much as the political debate has been distorted at times, that our basic premise -- the idea that when we put our minds to it, there’s nothing America can’t do -- that's been proven. (Applause.) That's been borne out. We have the evidence. We’ve brought about amazing change over the last two and a half years.

 

And we couldn’t have done it without you. We couldn’t -- we could not --

 

AUDIENCE MEMBER: Keep your promise, stop AIDS now!

 

THE PRESIDENT: That's all right. That's all right. We’re good. We’re good.

 

AUDIENCE MEMBERS: (Inaudible.)

 

THE PRESIDENT: Hold up. Hold up.

 

So -- now, here’s the thing. The reason we’re here today is because our work is not done. (Applause.) For all the progress we’ve made, our work is not complete. We’re not at the summit. We just -- we’re just partway up the mountain. There’s more to do. There is more to do.

 

We still don't have the kind of energy policy that America needs -- and all of you experience that at the pump each and every day. Our economy is still vulnerable to the spot oil market and us having to import billions of dollars, when we could be not only producing more energy right here at home, but we could be producing energy that's clean and renewable and what would ensure that we could pass on the kind of planet to the next generation that all of us long for. (Applause.)

 

We know that we’re not done when it comes to issues like immigration reform. I was down here at Miami Dade -- (applause) -- an amazing institution that embodies what America is all about. Young people who can trace their heritage to 181 different countries were represented. (Applause.) And some of you who may not be familiar with the ceremony, what they do is they bring out the flags of each country where somebody can trace their roots. And everybody cheers. The Cuban flag comes up and everybody goes crazy. (Applause.) The Jamaican flag comes up and everybody is hooting and hollering. (Applause.) See, sort of just like this.

 

But then there’s one flag that comes up, and that is the American flag, and everybody explodes -- (applause) -- because that’s the essence of who we are. Out of many, one. But we don’t have a system that reflects those values. It is still an issue that’s exploited, that’s used to divide instead of bringing people together. We’ve got more work to do.

 

We’ve got more work to do when it comes to rebuilding the infrastructure of this country. We’ve got a couple of trillion dollars worth of work that needs to be done. We were at a Jobs Council meeting up in North Carolina and the chairman of Southwest, the CEO of Southwest, he explained how because our air traffic control system is so archaic, we probably waste about 15 percent of fuel because planes are having to go this way and that. The whole system was designed back in the 1930s before you even had things like GPS. But think about -- what’s true for the airlines industry is true for our roads, it’s true for our ports, it’s true for our airports, it’s true for our power system. We’ve got more work to do.

 

We’ve made incredible progress on education, helping students to finance their college educations, but we still don’t have enough engineers. We still don’t have enough scientists. We still lag behind other countries when it comes to training our young people for the jobs, the high-skilled jobs that are going to provide high wages and allow them to support a family.

 

But we’ve made incredible progress K through 12 with something we call Race to the Top, which basically says -- (applause) -- to school districts and to states, you reform the system and we will show you the money, and so providing incentives. And 40 states across the country have made critical reforms as a consequence to this program. But we still have schools where half the kids drop out. We still consign too many of our young people to lives of desperation and despair. We’ve got more work to do.

 

And we’ve got so much work to do on our economy. We’ve got so much more work to do on our economy. Every night I get letters. We get about 40,000 pieces of mail at the White House every day, and I ask my team to select 10 letters for me to read that are representative of what people are feeling out there. And I will tell you these really are representative, because about half of them call me an idiot. (Laughter.) And -- but most of the stories are just some ordinary folks who have done the right thing, have worked hard all their lives. Some of them are small business owners who have poured their savings into a venture, and then when the recession hit they lost everything, and now they’re trying to get back on their feet.

 

You get letters from moms who are trying to figure out how to pay their bills at the end of the month, and they’re going back to school while they’re working to see if they can retrain for a better job. Sometimes you get folks who have sent out 100 resumes and haven’t gotten a response, and are trying to describe what it’s like to tell your child than nobody wants to hire you. Sometimes you get a letter from a kid who says, my parents are about to lose my home -- Mr. President, is there something you can do to help?

 

And in all those stories, what you see is incredible resilience and incredible stick-to-itiveness, and a sense on the part of people that no matter how down they are, they’re not out. And they don’t expect government to solve all their problems. All they’re looking for is that somebody cares and that we’re doing everything we can, trying every idea to make sure that this economy is moving. And they don’t understand how it is that good ideas get caught up in partisan politics, and why is it that people seem to be arguing all the time instead of trying to do the people’s business.

 

So we’ve got more work to do -- investing in our education system and making sure that -- (applause) -- making sure that our infrastructure is built and we’re putting people back to work, and helping the housing market recover, and dealing with our budget in a way that allows us to once again live within our means but doing so in a way that is consistent with our values.

 

You know, this budget debate that we’re having in Washington right now, it’s not just about numbers. It’s about values. It’s about what we believe and who we are as a people. The easiest thing to do to balance a budget is you just slash and burn and you cut and you don’t worry about the consequences. But that’s not who we are. We’re better than that. (Applause.)

 

I don’t want to live in a country where we’re no longer helping young people go to college, and so your fate is basically determined by where you were born and your circumstances. If that were the case, I wouldn’t be standing here today. I don't want to live in a country where we no longer believe that we can build the best airports or the best rail systems. I don't want to live in a country where we’re no longer investing in basic research and science so that we’re at the cutting edge of technology. I don't want to live in a country where we are abandoning our commitment to the most vulnerable among us -- the disabled, our seniors -- making sure that they’ve got a basic safety net so that they can live with dignity and respect in their golden years. (Applause.)

 

And so here’s the -- the good news is that we can bring down our deficit and we can work down our debt, and we can do so the same way families all across America do, by prioritizing and deciding what’s important to us. So we’re going to have to scrub the federal budget and get rid of every program that doesn't work, and get rid of every regulation that is outdated. And we’ve got to make sure that we build on all the tax cuts that we’ve provided to small businesses and to individuals over the last couple years so that they’re getting back on their feet.

 

But we’ve also got to make sure that whatever sacrifices we make, whatever burdens are borne are spread among all of us; that we’re not just doing it on the backs of the poor; that we’re not just doing it on the backs of our seniors; that we’re not just doing it on the backs of the most vulnerable. (Applause.)

 

And the other side say, well, you know what, we can just cut and cut and cut and cut -- and by the way, you, Mr. President, since you’ve been so lucky, we’re going to give you a $200,000 tax break. I’d love to have a tax break. I don’t like paying taxes -- I’m the President. (Laughter.) This notion somehow that I enjoy paying taxes or administering taxes, that makes no sense. Nothing is better for a politician than saying, you know what, forget about it, you will have everything you need and everything this country needs and you don’t have to pay for a thing.

 

But, you know what, I don’t want a $200,000 tax break if it means that 33 seniors are each going to have to pay $6,000 more a year for their Medicare. (Applause.) I don’t want that. I don’t want a tax break if it means hundreds of kids won’t be able to go to Head Start. (Applause.) That’s not a tradeoff I’m willing to make. That’s not a tradeoff most of Americans are willing to make. That’s not who we are. That’s not what we believe in.

 

And the reason I’m not willing to make a tradeoff, it’s not out of charity. It’s because my life is better when I know, as I’m driving by a school, you know what, those kids in there, they’ve got the best teachers, they’ve got the best equipment -- I know that they’re going to succeed. That makes me feel better about my life and about my country. (Applause.)

 

And if I’m seeing an elderly couple stroll by holding hands -- and I’m saying to myself, you know, that’s going to be Michelle and me in a few years -- and I know that whatever their circumstances, I know they’ve got Social Security and they’ve got Medicare that they can count on, that makes my life better. That makes my life richer. (Applause.)

 

So that's what this campaign is going to be about. It’s going to be about values. It’s the same thing that the 2008 campaign was about: What's important to you? Who are we? What is it about America that makes us so proud?

 

When I think about why our campaign drew so much excitement, it was because it tapped into those essential things that bind us together. I look out at this auditorium, and I see people from every walk of life, every age, every demographic -- but there’s something that binds us together, that says this is what makes our country so special.

 

And that's what’s at stake. That's the journey that we’re on. And the only way that we stay on track, the only way that we continue that journey is if all of you are involved. Because what also made the campaign special was it wasn’t about me -- it was never about me -- it was about us. It was about you. (Applause.) It was about you being willing to be involved, and you being willing to be engaged. Because that's also what makes America special -- ordinary people doing extraordinary things.

 

Now, two and a half years have passed since that night in Grant Park, and I’ve got a lot more gray hair. (Laughter.) And what seemed so fresh and new, now -- we’ve seen Obama so many times on TV, and we know all his quirks and all his tics and he’s been poked apart. And there’s some of you who probably have felt at times during the last two and a half years, gosh, why isn’t this happening faster? Why isn’t this easier? Why are we struggling? And why didn’t health care get done quicker? And why didn’t we get the public option? (Laughter and applause.) And what -- I know the conversation you guys are having. (Laughter.) "I’m not feeling as hopeful as I was." And I understand that. There have been frustrations, and I’ve got some dings to show for it over the last two and half years.

 

But I never said this was going to be easy. This is a democracy. It’s a big country and a diverse country. And our political process is messy. Yes, you don’t always get 100 percent of what you want, and you make compromises. That’s how the system was designed. But what I hope all of you still feel is that for all the frustrations, for all the setbacks, for all the occasional stumbles, that what motivates us, what we most deeply cherish, that that’s still within reach. That it’s still possible to bring about extraordinary change. That it’s still possible to make sure that the America we pass down to our kids and our grandkids is a better America than the one we inherited. (Applause.) I’m confident about that. I believe in that, because I believe in you.

 

And so I’m glad you guys came to the rally. But just like in 2008, if we want to bring about the change we believe in, we’re going to have to get to work. You’re going to have to make phone calls. (Applause.) You’re going to have to knock on doors. You’re going to have to talk to all your friends and all your neighbors, and you’re going to have to talk to the naysayers. And you’re going to have to go out there and say: We’ve got more work to do. And if they tell you, I don’t know, I’m not sure, I’m not convinced -- you just remind them of those three words that captured this campaign, captured the last campaign and will capture the 2012 campaign: Yes, we can.

 

Thank you, Miami. God bless you. (Applause.) God bless the United States of America.

 

END

8:20 P.M. EDT

 

Epson R-D1s / Voigtländer Nokton 40/f1.4 MC / iso1600

日本、神奈川県、川崎

2008/02/08

 

Since about a year or a bit more cell phones in japan startet the service called OneSec and its nothing than TV on your cell.

Recently all providers have this service included in about 90% of their phones.

Some time ago people just played games, mailed or browsed the web, nowadays you see more and more people actually watching TV on the train.

And why have a conversation, when you can watch together TV :)

 

See where this picture was taken. [?]

ADB President Takehiko Nakao spoke at the 28th Pacific Developing Member Countries Governors and ADB Management Meeting, which was held on 2 May 2018 at the ADB Headquarters in Manila, Philippines. In his welcome remarks, he said that ADB will prioritize support for small island developing states (SIDS) and countries in fragile and conflict-affected situations (FCAS).

Kirovskii raion, Leningrad, 1977

 

At this time, most Russians did not seem to prioritize beer drinking much. For one thing, the beer on offer was (let's say) "an acquired taste" - that is, most would say it didn't taste good. The number of such kiosks selling beer, where they would fill a container for you or give you a mug to drink on the spot (then return the mug) was very small. Still we can see this one had some customers.

 

And at least in this setting, all the consumers seem to be men.

  

Tree prioritized over garage access

EXPRESATE A TI MISMA DE FORMA CREATIVA CADA DIA porque es realmente muy bonito

Ten tu propia experiencia de vida, vive tus sueños propios y anhelos, realmente todo es posible, y los sueños si se hacen realidad.

 

Es mi intención, que las imágenes, les den mucha alegría y felicidad, compartirlas siempre ha sido importante p/ mi, espero que les sean utiles en la planeacion de sus viajes o en su vida cotidiana.

 

“Lo q nos hace humanos es la humanidad que nosotros mostramos por otros. Es acerca de dar, preocuparnos por los demas, respetar y tener compasion.”

 

“What makes us human is the humanity we show each other. It’s about giving back, caring, respecting and having compassion for others.”

 

“Solo hay una vida para cada uno de nosotros, la nuestra. / There is just one life for each of us our own” Euripides

 

“ Cuida de tu alma, prioritiza la belleza, la contemplación, las Experiencias que se sientan de forma profunda, las relaciones interpersonales, conocimiento, sentido de un hogar, arte, paz Espiritual, comunidad, relajación y confort” / Take care of your soul prioritize: Beauty, Contemplation, Deeply felt experiences, Meaningful relationships, Knowledge, Sense of home, Art, Spiritual peace, Community, Relaxation and confort” Thomas Moore

 

“Your imagination is able to do all that you ask in proportion to the degree of your attention” Neville

 

“ I love, I accept you, I appreciate you, I forgive you” / “I am grateful” John Gabriel

 

“Live independent of the good opinion of others” Wayne Dyer

 

“There is only one corner of the universe you can be certain of improving and that’s your ownself” Bob Proctor

 

No te quedes con un sólo momento, porque la vida esta llena de muchisisisimos momentos

 

“To win you have to believe it will happen” Megan Rapinoe

 

"We are all in the same quest to feel the peace inside us and live a fulfill life /Todos estamos en la misma búsqueda para sentir paz interior y vivir una vida plena”Prew Rawat

 

Antes, iba por la vida en busca de vivir experiencias únicas e increíbles. Ahora me doy cuenta que cada instante de la vida es realmente único e irrepetible

 

“We must reflect that when we reach the end of our days our life experience will equal what we paid attention to, whether by choice or default”William James

 

“Develop the habit of feeding your mind with positive mental food, remember, you are very sensitive to the influences in your environment, whether they are radio, television, newspapers, magazines, billboards or conversations with other people. Your mind is your most important and precious asset, you must protected and keep it clean, clear and focus on what you want rather that allowed it to be polluted by the negative influences around you…Keep your mind clean, clear, positive and free, not only you become what you think about it, but you also become what you feed in your mind on a regular basis.” Brian Tracy, Million Dollar Habits

 

“Get around the right people, make the habit to associate ONLY with the kind of people you admire, respect and want to be like, don’t just drink coffee with whoever happens to be sitting in the break room, do not go out for lunch with the person next door, do not socialize after work with anyone who invites you, be thoughtful and clear about the kind of people you allowed to influence your thinking and feelings with their conversations and opinions.” Bryan Tracy

 

“You can't fly with the eagles if you continue to scratch with the turkeys" - Zig Ziglar

 

“Make things happen” Bryan Tracy

 

“A musician must make music, an artist must paint, a poet must write if it be peace with itself, what a man can be it must be“ Maslow

 

“Universal principles:

The law of control: you feel happy to the degree you feel you are in control of your own life, you feel happy to the degree you feel you are not in control of your own life

The law of believe: Whatever you believe with conviction, becomes your reality, your believes then become your realities, your are not what you think you are as they said but what you think you are.

The Law of expectations: Whatever you expect with confidence becomes your own self fulfilling prophecy, in other words, you do not necessary get what you want but rather what you expect

The law of attraction: you are a living magnet, you invariably attract into your life the people, ideas and circumstances that harmonize with your dominate thoughts, specially your dominate thoughts emotionalized

The law of correspondence: your outer world is a reflection of your inner world,

You become what you think about most of the time, what you think about you bring about, you always move in the direction of your dominate thoughts ” Brian Tracy

 

"My life, my message" Ghandi

 

"You can never bath in the same river twice, the river is always flowing“

 

El universo es único

 

"I made my existence meaningful, at the least we will have no regrets " Dalai Lama

 

La confianza se gana, y es muy frágil

 

“Your most import goal in life is ensure your own happiness, if you don’t place your own happiness as the central organizing principal of your life no-one else will do it for you, each person is intensivly focus on doing the things that him her or her happy.” Bryan Tracy

 

“You can only give away something that you already have, often unhappy people said they are sacrificing their own happiness so they can make others happy. You cannot give away what you don’t have, you cannot make other people happy, if you are unhappy yourself.”Bryan Tracy

 

“If you want to improve anyone else quality of life begin by improving the quality of your own inner life,“Bryan Tracy

 

“Real change lies within all of us its in the choices we make everyday,” Megan Rapinoe

 

No seas sin darte cuenta, una repetidora, ten SIEMPRE, TU OPINION propia

 

Decide your environment wisely

 

Cultivate a vibrant o social life

 

Que puedas,

No necesariamente quiere decir que debas

 

"Kids need sleep and phisycal activity and family time and time to use their imaginations, those things cannot happen when they are lost in screen worlds" Adam Alter

 

"Tv and other entertainment media should be avoided for children and infants under age 2. A child's brain dévelops rapidly during these years. And young children learn best by interacting with people not screens" AAP

 

I am enough

 

Evita siempre que puedas a los "intermediarios"

 

Mas conciertos, más reuniones, más conexión humana verdadera cara a cara

 

Peaceful coexistence / Coexistencia pacifica

  

"Always embrace the common humanity that lies at the heart of all us, always affirm the oneness of our human family, let your hear be soften by the balm of compassion reflecting deeply upon the needs and aspirations of yourself and others..." Dalai Lama

 

Compassion

 

"May peace and happiness prevails everywhere/ Que la Paz y la Felicidad prevalezcan en todos lados " Dalai Lama

 

"Despite doctrinal differences we are all simply humans/ A pesar de todas las diferencias doctrinales todos somos simplemente humanos” Dalai Lama

 

Harmony

 

Basic human quality: empathy and good heart/ Cualidades humanas básicas: empatía

y buen corazón” Dalai Lama

 

¿Qué llevar contigo a cualquier viaje?

-Una actitud de respeto hacia los usos y costumbres locales, los habitantes de la region. la naturaleza, los minerales, y los seres vivos.

 

“La verdadera marca de la grandeza no está sólo en lo que una persona logra en su propia vida, sino en su capacidad de ayudar a otros a ayudarse a sí mismos y darse cuenta de que ellos también pueden llegar a ser grandes”

J. Earl Shoaff

 

La confianza es cómo el papel China / que al romperse, imposible que quede igual

 

Answer the call for compassion, included self-compassion

 

Stop outsourcing decision making about your life to devices and computers

 

“Trata de forma deliberada mantener tu atencion plena en el momento presente “

 

Las bibliotecas publicas son una de las mejores ideas del universo, ya que cualquiera puede acceder a un numero casi infinito de libros, audiolibros, revistas, material e información reelevante que pueden tener un super mega impacto positivo en nuestras vidas.

 

“Anything is possible” / Cualquier cosa es posible

Tu siempre tienes el poder de elegir como reaccionar y que hacer en el ahora “

Cada momento es unico

 

La naturaleza es hermosa, respetemosla, y cuidemosla todos los dias, usemos jabones y detergentes biodegradables, y tratemos lo mas posible usar envases reusables

 

"Your voice is the most important voice that you need to hear , & it needs to be positive and strong " Ian Smith

 

Respira y disfruta de hoy y cada instante de la vida, ya que es muy bonita!

 

Recuerda, hoy y siempre TODOS somos seres humanos Y SERES vivientes, las plantas, la naturaleza, todo. Es nuestra humanidad lo q nos hace humanos y nos hace sentir la alegria o el dolor de otros. Aprendamos a ver a los demas, no desde un punto de juzgarlos x sus decisiones, ni condenarlos constantemente x sus acciones, xq en realidad nos proyectamos nosotros mismos c/ vez q juzgamos a otros, sino mas bien, como alguien q al igual que nosotros esta en un proceso de vida. Toda la energia extra mejor usemosla para aprender como amarnos a nosotros mismos, hacer nuestros anhelos y sueños realidad y alcanzar La Paz interior.

 

Haz un esfuerzo deliberado por terminar con las actitudes y actos que fomentan la separacion entre seres humanos y el medio ambiente / “Work to end separation in your own life” Deepak Chopra

 

“Humans learn Empathy and understanding by watching how their actions affect other people.

Empathy cannot flourish without immediate feedback and is a very slow developing skill “ Adam Alter

 

“We all are in this together” Deepak Chopra

 

Todo depende la la situación actual en el momento presente

 

La ´UNICA forma de APRENDER es VIVIR

 

Nada es complicado

 

“Treasure your greatest gift, your imagination” Wayne Dyer

“Never let your attention, be directed by anything or anyone other than your own highest self” Wayne Dyer

 

Verdad, amor, luz

 

“Haz una practica diaria de meditar por La Paz - por tu paz interior y por La Paz en el mundo” / Make it a daily practice to meditate for peace - yours and the world’s. “Wayne Dyer

 

“Expresarnos a nosotras mismas, es algo que la verdad es que nunca termina y nunca debería terminar. Cada uno de nosotros, tiene algo único que traer al mundo. / Self expression is something that does not and should not ever stop. Each of us is creative. Each of us has something unique to bring to the world”. Julia Cameron

 

“1.- Creativity is the natural order of life. Life is energy, pure creative energy

2.- There is a underling in dueling creative force infusing all of life including ourselfs

3.-When we open ourself to creativity we open ourselves to the creators creativity, within us and ours lifes.

4.- We are ourselfs creations, and we in turn are meant to continue creativity by being creators ourselves

5.- Creativity is God given gift to us, using our creativity is our gift back to God.

6.- The refusal to be creative is self will and is counter our true nature.

7.- When we open ourselves to exploring our creativity we open ourselves to God orderly direction.

8.- As we open our creative channel to the Creator many gentle but powerful changes are to be expected

9.- It is safe to open ourselves up to greater and greater creativity.

10.- Our creatives dreams and yearnings come from a divine Source, as we move to our Dreams, we move towards Divinity ”. Julia Cameron

 

"If you are depressed, your are living in the past. If you are anxious, you are living in the future. If you are at peace, you are living in the present /

“Si tu estas deprimido, estas viviendo en el pasado. Si sientes ansiedad, estas viviendo en el futuro. Si estas en paz, estas viviendo en el presente” Lao Tzu

 

Claridad:

Pregunta, con sinceridad A que se refiere ? )

 

Viajo con alegria

 

Hasta q no se sabe, no se sabe

 

"Crea una vida que a ti te encante"

 

I choose me

 

Me elijo a mi.

 

Compassion

 

“Se necesita valor para convertirse en quien realmente eres"

 

“If I want to be free, I have got to be me, not the me I think you think I should be, not the me I think my wife thinks I should be, not the me I think my kids think I should be, If I want to be free, I have got to be me and I better know who me is” / “Si yo quiero ser libre, entonces tengo que ser yo, no el yo que yo pienso que tu piensas que yo debería ser, no el yo que yo pienso que mi esposa piensa que yo debería ser, no el yo que yo pienso que mis hijos piensan que yo debería ser. Si yo quiero ser libre, tengo que ser yo, por lo que es mejor saber quien yo soy yo” Bill Gove

 

No te quedes con un sólo momento,

porque la vida esta llena de

muchos momentos más.

 

"...el lenguaje universal, el que todos entendemos alrededor del mundo, es el de los sentimientos que todos los seres humanos experimentamos.."

 

Privacy is a fundamental human right

 

“Ayer yo era inteligente, asi que quería cambiar el mundo. Hoy soy sabio, asi que me estoy cambiando a mi mismo./

Yesterday I was clever, so I wanted to change the world. Today I am wise, so I am changing myself.”

Rumi

 

Paz en. la tierra / Peace on Earth

A prioritized life empowers you to live like a flower — a lovely and fragrant offering to a harried and distracted world. Change agent and author of Restoring Order, Vicki Norris, has some advice for living beautifully, inside and out.

 

— Photo Courtesy Society of American Florists, aboutflowers.com/sun

030819 - WASHINGTON DC., Managing Director and Chairwoman of the IMF Christine Lagarde and Interim WBG President Kristalina Georgieva engage in a conversation on their pioneering leadership and challenges they and other women have faced, the economic issues they’re dealing with and how they prioritize gender both through operations and in walking the talk within the IMF and WBG.

Photo: World Bank / Simone D. McCourtie

030819 - WASHINGTON DC., Managing Director and Chairwoman of the IMF Christine Lagarde and Interim WBG President Kristalina Georgieva engage in a conversation on their pioneering leadership and challenges they and other women have faced, the economic issues they’re dealing with and how they prioritize gender both through operations and in walking the talk within the IMF and WBG.

Photo: World Bank / Simone D. McCourtie

As with every move, I'm prioritizing the bookshelves. Now, thanks to inadequate cabinetry and a tall toddler, we have to accommodate some kitchenware, too.

This image is excerpted from a U.S. GAO report:

www.gao.gov/products/GAO-16-250

 

SOCIAL SECURITY DISABILITY: SSA Could Increase Savings by Refining Its Selection of Cases for Disability Review

 

a) SSA prioritizes a sample of about 60,000 cases annually to validate the statistical models.

 

A prioritized life prepares you to live like a flower – nimbly and gracefully in all kinds of weather and refreshed by the rain. Follow this advice from change agent and author of Restoring Order, Vicki Norris, to be grateful for rain.

— Photo Courtesy Society of American Florists, aboutflowers.com/rain

Janette Sadik-Khan is the Transportation Commissioner for New York City. Under her leadership, the DOT has implemented a vision for New York streets that prioritizes people before automobiles. This has meant new pedestrian plazas (remember Times Square a few years ago?), traffic calming projects, and hundreds of miles of new bike lanes. The net result has been a more human, livable New York City.

 

None of these changes have been without controversy or push-back. Any kind of change is always hard, and any change to our streets is immediately visible and elicits immediate reactions - both positive and negative. But for every sneering tabloid op-ed, there are hundreds of thousands of New Yorkers who feel their daily lives made safer and more enjoyable by improvements to our shared public space.

 

As bike commuting in NYC has exploded over the last few years, there has been one glaring void - the lack of a bike share program. We have watched London, Paris, Montreal, etc. implement their successful bike share systems while getting nothing here at home. This is about to change with the arrival (finally!) of Citi Bike, due to launch on May 27. These clunky blue bikes, designed for short trips from one docking station to another, will benefit New Yorkers of all stripes - even many of my skeptical cycling friends who don't see the point and dread the introduction of less experienced riders to the streets.

 

Not only will bike share be a convenient, cheap, enjoyable way to make short trips around the city, I believe it will go a long way toward legitimizing cycling in the minds of many New Yorkers who still see it as a fringe activity. This is because the bike share stations are literally becoming a part of New York's infrastructure. Within a few months they will go from curious novelty to old news - just another part of the city's transportation network. Subway, bus, taxi, bike. You won't have to own a bike to ride a bike, and you won't have to be "one of those bike people" to reap the benefits of our truly bikeable city. This is my hope, anyway, and I'm personally grateful to JSK and her department for their work in getting us this far.

The older you get, the more you begin to appreciate the availability of time. Your time is limited, but how do you prioritize for things which are important?

 

I used to put priority in terms of categories: work, self, love, family. But when you group things into categories then sometimes you have exceptions and rules with exceptions are tricky to follow.

 

So now I only ask myself one question: “Is this worth doing if I die tomorrow?” If it is worth doing, then I do it. If it is not worth doing then I postpone it as long as postponing so will not affect anyone else.

 

This I learned mostly from Steve Jobs, which before his death gave a commencement speech at Stanford which has affected me deeply [1].

 

Is this post worth writing if I die tomorrow? I believe so. And therefore it is written and posted.

 

# Notes

1. SML Pro Blog: 2007: You've got to find what you love / Steve Jobs: blog.seeminglee.com/2007/08/youve-got-to-find-what-you-lo...

 

# Media Licensing

Creative Commons (CCBY) See-ming Lee 李思明 / SML Universe Limited

 

“Is this worth doing if I die tomorrow?” / SML.20130516.PHIL

/ #SMLPhil #CreativeCommons #CCBY #SMLOpinions #SMLUniverse #SMLProBlog

/ #中國 #中国 #China #香港 #HongKong #philosophy #opinions #do #doit #death #SteveJobs #die #life #worthy

 

***UPDATE**Doug and Tim always prioritize their agenda, and news flash....they found a great pair. Thank you both for your continued support!

  

Nice little character piece.

 

Here is the skinny on this line. Excellent, and well made. Period.

davidseah.com/archives/2005/11/12/the-printable-ceo-series/

THE TRANSMODERN ALCHEMIST hacks the undifferentiated potential, exploring the theoretical usefulness of Dynamics for modeling processes in the alchemical art. Dynamics is an organic model, an alternative to mechanistic or cyber- models of process. It prioritizes life as the root science. Alchemy is a multidisciplinary pursuit focusing on mystic technologies, spagyrics, healing, life sciences, metallurgy, chemistry, dynamics and physics.Transmodern alchemy is a new Renaissance science-art -- a treasury of psychophysical meaning. Alchemists sought the experience of Unus Mundus, the one world united through material, emotional, mental and spiritual aspects. Science illuminates the spiritual quest, and spiritual tech illuminates the deep nature of matter and our nature.Universal Meta-Syn

 

Alchemy is a metanarrative, a way of framing all our experience. Alchemy begins and ends in the quest for eternal life. It is a spiritual technology of rebirth using natural methods that in their effect transcend nature by amplifying that which is immortal within us. It does not exist in nature but must be prepared by Art. Art is a form of manifesting, making and objectifying the world - spiritual physics.

 

Artists and mystics are aware of their own internal space and thus able to enter it, playing the mindbody like a musical instrument. Looking inside, they see the true nature of reality and can express that literally and symbolically. We all possess the creative potential. All creative acts are a marriage of spirit and matter, reaching down into the body as the source of our essential being and becoming."There is a generic process in nature and consciousness which dissolves and regenerates all forms. The essence of this transformative, morphological process is chaotic -- purposeful yet inherently unpredictable holistic repatterning. The Great Work of the art of alchemy is the creation of the Philosopher's Stone, a symbol of wholeness and integration. The liquid form of the Stone, called the Universal Solvent, dissolves all old forms like a rushing stream, and is the self-organizing matrix for the rebirth of new forms. It is thus a metaphor or model for the dynamic process of transformation, ego death and re-creation." -- Iona Miller, ‘Chaos As the Universal Solvent’

 

ABSTRACT: Physicist Wolfgang Pauli and psychologist Carl Jung suggested, “We should now proceed to find a neutral, or unitarian, language in which every concept we use is applicable as well to the unconscious as to matter, in order to overcome this wrong view that the unconscious psyche and matter are two things.”

 

Jung thought both alchemy and physics mirrored the psyche and were central in the process of transformation, the Great Work. Alchemist Fulcanelli (1937) claimed that Great Work involved “…a way of manipulating matter and energy so as to produce what modern scientists call a 'field of force.' The field acts on the observer and puts him in a privileged position vis-a-vis the Universe. From this position he has access to the realities which are ordinarily hidden from us by time and space, matter and energy.” Today we understand that primal unitive field is holographic in nature and we are embedded within it. Electromagnetic energy and particles arise from the virtual vacuum flux of subspace – the Void, which is the metaphysical root of all form. We are embedded within that field and our existential root is Likewise constantly in local virtual photon fluctuation. The fine vehicle of that interaction has been called the ‘energy body,’ ‘body of light,’ ‘diamond body,’ ‘astral body,’ ‘Merkabah,’ and a variety of cultural variations.

 

The classical magical operation known as The Middle Pillar provides a way of nourishing the energy body by feeding off that virtual light, connecting with Cosmos, our primordial Source or Groundstate for renewal. Alchemy provides a Unitarian language that reconciles the tension of opposites between magic and physics, between psyche and matter. A transmodern view of virtual vacuum physics allows us to employ the language of alchemy to move medieval natural philosophy into the 21st Century.

 

Transmodern Alchemy & Chaos

Alchemical philosophy supports the phenomenological notion that the universe exists primarily as we perceive it through what we know. Therefore, by changing perception, we can essentially change the universe and ourselves. Transmodern scientific imagination confirms this transformative postulate as the basis of matter/consciousness in dynamics, holographic and chaos theories. Trans- is the prefix that guides the vision of reality as virtual and fluctuating process. At the subquantal level, virtual photon flux, “cosmic zero,” or zero-point energy is the literal and metaphysical substrate of manifestation. An ocean of energetic flux boils into and out of existence as virtual vacuum fluctuation. The fiction of substantive ‘reality’ is revealed and nature’s transparent veil is ripped away.Alchemy is a science-art and tradition of participatory wisdom. Medieval alchemy was couched in the archaic language of its time, but we are not limited to that, or to theological, Hermetic, Masonic, Theosophical or New Age jargon. Philosophies and sciences evolve in articulation, theory and practice. New discoveries and statements of meaning inform our practice at all levels. In many cases, alchemy anticipated them. Like the cryptic tomes and dense texts of alchemy, unfamiliar scientific or philosophical theories require thoughtful reflection until they take root in our awareness. Models from many disciplines weave together, amplifying the meaning of alchemical process and patterns. Old experiments can be revisioned in a new light while new dynamical phenomena remain to be discovered. We can even revision the alchemical formula for surviving death.

At the zero-point time is no longer a flow, projection or hope. It accelerates at overwhelming speed, turns back on itself and becomes compressed and plays itself out. Instantaneously, everything takes place before us simultaneously, including retrievals of the past and projections of multiple futures. We have a greater understanding of deep time, earthly cycles and cosmic process than ever before. We communicate at light speed. We talk of supraliminality -- faster than light potentials. Light is our essential nature.Learning each technical or symbolic language is like learning a foreign language, but becomes second-nature once we sense the overall gestalt. It takes contemplation and consideration of implications. We unpack them one metaphor at a time as we descend into finer domains of existence, from particles to the subquantal world of the microcosm. Motivation theory suggests if we adopt a mastery orientation to our subjects, we exhibit all the productive learning behaviors we know will work. Even when challenged, we have the natural ability to learn and to keep at it while understanding grows. Simple concepts, not mathematical details, from dynamics and physics are all that is required for illuminating alchemical practice. Field and Flow Our worldview has evolved to include quantum physics and dynamics in our models of reality. As in the alchemical dictum, "As Above, So Below," a satisfactory theory must explain both cosmogenesis and microphysics. In the 20th Century, Carl Jung described alchemy in terms of depth psychology and the physics of his day, shedding new light on an old science. The Modern Alchemist, (1994) describes Jung’s process of individuation -- the transformation of personality and Self. Searching for the hidden structure of matter, the alchemists discovered that of the psyche. Depth psychology continues to redefine itself beyond postmodern notions as new research emerges in nonunitary consciousness, the fractal nature of archetypes and complexes and new models in microphysics mirroring cosmos and co-creator. The alchemical process is its own solution. Jung's notions of a heroic, striving Self have been transcended with imaginal, nonlinear models of consciousness, archetypes as strange attractors and metanarratives as healing fictions. If new theories in astrophysics, quantum physics and depth psychology supersede the old, can we expect any less from 21st century alchemy itself? The esoteric pursuit for the arcane nature of matter continues.Transmodern alchemy describes the secrets of matter in scientific terms with correlates of the alchemical worldview. The dynamic blueprints of nature as we comprehend them today are unfolded by stripping away Nature's etheric veil, revealing naked awareness. As we deconstruct our old notions, new realities emerge. The Philosopher's Stone is awakened consciousness.Hacking the undifferentiated potential, we can explore the theoretical usefulness of Dynamics for modeling processes in the alchemical art. Dynamics is an organic model, an alternative to mechanistic or cyber- models of process. It prioritizes life as the root science. Alchemy is a multidisciplinary pursuit focusing on mystic technologies, spagyrics, healing, life sciences, metallurgy, chemistry, dynamics and physics.

Transmodern alchemy is a new Renaissance science-art -- a treasury of psychophysical meaning. Alchemists sought the experience of Unus Mundus, the one world united through material, emotional, mental and spiritual aspects. Science illuminates the spiritual quest, and spiritual tech illuminates the deep nature of matter and our nature.Universal Meta-SynAlchemy is a metanarrative, a way of framing all our experience. Alchemy begins and ends in the quest for eternal life. It is a spiritual technology of rebirth using natural methods that in their effect transcend nature by amplifying that which is immortal within us. It does not exist in nature but must be prepared by Art. Art is a form of manifesting, making and objectifying the world - spiritual physics.

 

Artists and mystics are aware of their own internal space and thus able to enter it, playing the mindbody like a musical instrument. Looking inside, they see the true nature of reality and can express that literally and symbolically. We all possess the creative potential. All creative acts are a marriage of spirit and matter, reaching down into the body as the source of our essential being and becoming.Today, we might describe this resonance as accessing biophotonic or free energy that regenerates the mindbody. Healing is an aspect of creativity; nature is within and without us. Resonating with the whole, the Magus does not dominate reality but develops embodied psychophysical equilibrium, clarity, wisdom and compassion. We perform our greatest experiment on ourselves. Creative work originates in the body and is projected out into the world. The projections are then internalized into awareness. The bodymind of the artist is an alchemical vessel containing the creative flux and lux of transformation. We feed on Light.

 

Awareness and consciousness form a continuous alchemical movement. The creative gold is generated and embodied in the alembic of the mindbody. The mindbody is the same substance as the Cosmos and contains and reveals its mysteries. Alchemy reduces all to the first state, the ground state of being - original experience that is timeless, infinite. The classical Void, the quantum vacuum is a carrier of information. The energy body or the field body -- along with the scalars (virtual photons) of our holographic blueprint -- connect us directly with the negentropic potential of the zero-point field. Radiant light literally emerges from this mystic void. Primordial structuring processes are common to both psyche and matter, working in the gap or empty interval between intention and action. Alchemy refines the way the mindbody generates and processes inherent light as medicine. It refines the aspirant's ability for tapping and amplifying Medicine Light. This primordial state is the luminous ground of our being, hidden deep in the heart of things.All other goals are subordinate to this prime directive which includes meditative techniques for continuing consciousness after death. This Philosopher's Stone is the Universal Medicine, the regenerative Elixir of Life. The greatest mystery is Life After Death: we don't die but continue in transcendent form. This is the secret of man and nature.

Paradoxically, when we look into the depths of matter, we look into the depths of ourselves. Scientists and mystics report similar phenomena in their models and phenomenology. Spiritual technologies, the software of sacred penetration and amplification, virtually predicted the fine nature of matter as nothing but a complex illusion. We now understand energy/matter as a hologram. Mystics have also always emphasized the primal nature of Light, and claimed that we are in fact made of light itself. Science has confirmed this in numerous ways. Ambient Vacuum is a Plenum of Transformation Light is an excitation of empty space. "Aether" means ‘shine’ in Greek. Scalar physics tells us the ambient void is omnipresent, yet inherently nonobservable -- it is an omnipresent field of radiant energy potential emanating from every zero-point in the cosmos. But we can observe and infer results of this virtual vacuum fluctuation. Quantum Mechanics demonstrates no discrete particle or solid chunk of anything exists in metric space -- the whole Physical Universe. Everything is made of Light. Only light matters. Nothing arises but standing waves from the seething zero-point field created by cosmic beings like ourselves. How we do so is a mystery to ourselves. But we are getting closer to non-religious descriptions of reality that curiously have profound mystical overtones. The properties of mass, inertia, charge and gravity -- and those who observe them -- are the result of space resonances produced by zero-point scalar waves. At zero-point, waves pass through waves without interference. We come from, are sustained by, and are returning to the radiant light of our mass. All electromagnetic force is mediated by virtual photons.

The void is not devoid. In the absence of "solid" matter, we can take a revolutionary view of today's alchemy as dynamic process using Chaos Theory, and related sciences to inform our search. We are indivisibly wedded to our earthly and cosmic environment through zero point field phenomena and resonance. Could consciousness order the world?

Alchemy's prima materia and 'sensitive initial conditions' of chaos are the same. Initiation recalibrates our "initial conditions" and sets transformational "butterfly effects" in motion. The potential of enfolded time energy is transduced into dynamic spatial energy as cosmic jitter (ZPE, Isotropic Vector Matrix). Zero represents the Cosmic egg, the primordial Androgyne merging positive and negative charge - the Plenum. Zero point creative process manifests cosmos, nature and consciousness from roiling quantum flux.

Biophysics tells us we are brilliantly disguised photonic humans -- Homo Lumen -- if we but realize that awareness. The quantum vacuum is a radiant sea of light, encrypted information waves, a dynamic matrix of energy exchange. Our bioplasmic energy pulsates along with this matrix. Because it is ubiquitous, inside and outside, we are blind to it. It is the groundstate of our being. Transmodernity is the synthesis of modernity and postmodern philosophy, reflected in alchemical notions of transcendence, transformation and transmutation. It transcends the construction and deconstruction of recent historical eras by re-enchanting the post-Millennial world. So what might a chaos-informed Transmodern Alchemy look like? First and foremost our existential state space is in flux. We arise from an infinite ocean of quantum foam. Phenomena no longer correspond with old-paradigm frameworks. Anomalies, the strangest phenomena have the most to teach us.

 

Nonlinear Recursive Process Paradoxically, chaos is the essence of order. That order is inherent in and emerges from chaos. Dynamics has successfully explained many natural phenomena and been heralded as a new scientific paradigm. The quintessence is now found in nonlinear dynamics, the holographic field and the virtual vacuum of absolute space. Only when we comprehend the groundstate of being can we fathom reality. It fundamentally changes and deepens our alchemical and scientific notions about transformations in ourselves, matter, systems, patterns and structure.Psychology and neurology now recognize the psyche and brain as a dynamic dissipative system. Therapeutic techniques lead to reorganization of the individual at a higher level of order. Medicine realizes chaos is essential to health. Biophysics recognizes the primacy of light in life processes. The artworld recognizes the aesthetic appeal, rhythm and beauty of fractals. But the poetic science of alchemy made a workable theoretical and experimental system in which chaos was central centuries ago. Each era views nature from the paradigm of its time. Chaos Theory has been associated with every aspect of human behavior. Alchemy is an irreducible fusion of mysticism, science and art that also happens to be therapeutic or growth-promoting and tantalizingly hints at illumination. The process begins in nigredo, with doubts and lack of conviction but time spent on self-knowledge, experiments and spiritual exercises is amply rewarded. Chaos keeps the process fluid. Alchemy calls chaos the "universal solvent." Virtual Physics describes jitterbugging quantum subspace plasma as a superconducting superfluid.

 

Alchemy is a nonlinear organizational framework, a model to make sense of our experience, and a means of facilitating transformation. The universe without and within is our alchemical laboratory. The fire is kindled and stoked in the ‘magic theatre’ of the mind and the retort vessel of the body. Alchemy plants virtual fractal seeds in the gaps or intervals of consciousness. We are the portal for the fractal seed to unfold its liberating potential. But we must remain open.

 

Cosmic Zero The universe is the cosmic "parent fractal" of the microcosmic scale. Matter and consciousness share deep unity. The outer world we observe through our senses is nothing more than a consistent series of mental images that exists in our mind. Matter itself is an image in the mind, and mental images are the natural phenomena of consciousness. Mining the soul, we disassemble ourselves to reorganize in more refined form, reintegrating at a holistic level.

 

Alchemy calls Chaos the prima and ultima materia. The prima materia is ubiquitous, everywhere all the time. As we practice spiritual and practical alchemy, we come to understand the deep nature of chaos as the source of all transformative energy. In this chaosophical philosophy, all systems emerge from and eventually dissolve back into chaos. Solve et Coagula: Chaos is the essence of self-organization. Chaos Theory allows us to follow the Hermetic Spirit deep into the heart of matter and beyond into the subquantal realm in our quest for Nature's secrets. The undecomposable domain of Chaos is not an emptiness, but a rich, generative source -- a bornless nothingness from which all form

emerges.Consciousness, like creativity, is an emergent phenomenon patterned by strange attractors which govern the complexity of information in dynamic flow. Our consciousness appears co-temporaneously with our embodiment, creating the imaginal flux of representational and nonrepresentational perception - the stream of consciousness. The cosmic trinity of chaos, matter, and attraction appears at the heart of modern chaos theory and alchemy.

 

The Vedas identify all creative intent and substance as a manifestation of primal consciousness -- the basis of all manifestation. In this worldview, there is nothing but primordial consciousness. Complex dynamics is implicated in the energetic translation of "waves of unborn nothingness". Healing is the biological equivalent of creativity. The more complex a system, the more stable and self-correcting it is.

The objective (Sol, Frater) and subjective (Luna, Soror Mystica) are not divorced from one another, anymore than the left and right hemispheres of the brain. They marry in the mystic, in entanglement with Cosmos. Science adapted the artist’s sense that the detail of nature is significant. Like yin and yang, they rely on one another in a dynamic meld that transcends the tension of opposites. Synthesizing and transcending opposites is the theme of alchemy.

 

Truth of the Matter Alchemy, quantum mysticism and the holographic paradigm reveal the secrets of nature's subquantal realm. Metaphors are instructive. They are a Way of leaping the chasm between old and new knowledge, old and new ways of essential being. We can tap the source of creativity, healing and holistic restructuring through imagination and metaphor, including alchemical operations. They can be deeply transformative -- more than mere language. They are a technology for changing our behaviors, feelings, thoughts, and beliefs -- our spirit and soul.

 

Alchemy is a science-art, a tool to describe and mold reality using experimental and meditative techniques. As an art medium, alchemy helps us illustrate nature and our own nature in contemporary terms by creating new paradigms and environments. Matter has lost its central role in physics to dynamics. Alchemy can be informed by this new physics. There is aesthetic pleasure in finding likenesses between things once thought unalike. It gives a sense of richness and understanding. The creative mind looks for unexpected likenesses, through engagement of the whole person. Organic metaphors of quantum physics, field theory, and chaos theory illuminate the alchemical art.

 

The many theories of reality are the post-Millennial version of the alchemical peacock’s tail that heralds the beginnings of integration, the Unus Mundus -- the Grand Unified Theory or Theory of Everything in physics. The search for the Stone is a long rite of initiation, culminating in the cauda pavonis which signals the perfect transmutation. It is a dazzling synthesis of all qualities and elements much like rainbow colors unite as white light. The iridescent tail represents all the colors of light while the "eyes" symbolize all potential universes. The Peacock's Tail is the central part of the alchemical process. The myriad eyes in the tail suggest the highly-chromatic view includes multiple perspectives of imaginal vision. The kaleidoscopic vision is a metaphor for the spiritual rebirth that awakens the Third Eye and consciousness of the deeper subtle and field bodies. The universe informs our awareness and being. Sometimes the universal laws of nature lead us beyond ordinary science. Subjects in isolation don't provide enough to accurately describe our complex world. More disciplines, more tools, better technologies lead to best practice. In theoretics we build up and tear down relentlessly, questioning our own underpinnings, adhering to no stale theory: "Solve et Coagula."Since matter remains a paradox, our Work, comprehending the spirit of matter, means learning more than the Standard Theory of physics. Both orthodox and heterodox theories stimulate our imaginative and spiritual perception. Energy and information fields, not just genetics, drive human psychophysiology. Libido (psychic energy) drives the imagination. When we speak of Mercury, Sulphur and Salt, we mean our spiritual, energetic and physical bodies as well as the elements. Each theory adds another piece to the puzzle of existence and meaning, potentially leading to breakthrough on the bench or in consciousness. Such a brief, conceptual survey of alternate theories in physics cannot do them justice, but it can provide leads for further contemplation and research for the esoteric physics of lab work. We study the nature of being and our own being, the essence of inner reality. Consciousness is a timeless transformative force unfolding in nature. Alchemy, art and physics are complimentary modes of inquiry. Symbolic contemplation and interaction transform the material and immaterial self.

 

BODY OF LIGHT

 

The body of light is a spiritual term for the non-physical body associated with enlightenment. It is known by many names in different spiritual traditions, such as "the resurrection body" and "the glorified body" in Christianity, "the most sacred body" (wujud al-aqdas) and "supracelestial body" (jism asli haqiqi) in Sufism, "the diamond body" in Taoism and Vajrayana, "the light body" or "rainbow body" in Tibetan Buddhism, "the body of bliss" in Kriya Yoga, and "the immortal body" (soma athanaton) in Hermeticism.Enlightenment is not purely psychological; it is psychophysical, including the energy or subtle body. In the course of realizing full human potential, physical changes also occur, most dramatically in the later phases of the enlightenment process. In the final phase, according to various sacred traditions, the body is alchemically changed into light. Enlightenment becomes literally so, through the transubstantiation of flesh, blood, and bone into an immortal body of light. Through a combination of personal effort and divine grace, a person attains a deathless condition through the alchemical transmutation of his or her ordinary fleshly body. This transubstantiated body is called various names in the traditions, such as light body, solar body, diamond body, or resurrection body. (John White) www.wie.org/j21/white.asp

 

The radiant ground is the fundamental source beyond the boundary layer of quantum foam. Our healing task is to somehow realize this radiant image of the body in earth, to ground this body in its essential nature, which is the source of creativity and healing. It is precisely in the world, in life itself, that we experience compassion, wisdom, enlightenment. It is only our persistent rigid delusions to the contrary that prevents us from realizing it every moment.

 

Meditation masters speak of an inner Light that pervades the physical and energy bodies, and now science investigates it as biophotons, and through quantum physics we can watch that matter/energy/information devolve back into the unstructured void from which potential emanates.

 

Mystics have often equated this pervasive Light/Sound with primordial Consciousness and the source of life as well as matter. Quantum bioholography shows the DNA literally produces coherent light, which transduces to sound that directs the formative processes of life. Radiant energy is radiant energy. Whether we look outside into our environment or inside into ourselves we find primordial Light.

 

Biophotons are weak emissions of light radiated from the cells of all living things. The light is too faint to be seen by the naked eye, but biophotons have been detected and verified using photomultiplier tubes. Light is constantly being absorbed and remitted by DNA molecules within each cell's nucleus, creating a dynamic, coherent web of light. This system could be responsible for chemical reactions within the cells, cellular communication throughout the organism, and the overall regulation of the biological system, including embryonic development into a predetermined form.

 

Photonic Body is a biohologram projected by coherent light and sound. We arise from and are sustained by field phenomena, waves of biophotonic light and sound, which form our essential nature through acoustic holography This coherent light transduces itself into radio waves (holographic biophoton field), which carry sound as information that decodes the 4-D form as a material object. We also suspect chromosomes transform their genetic-sign laser radiations into broadband genetic-sign radio waves. The polarizations of chromosome laser photons are connected nonlocally and coherently to polarizations of radio waves. Thus, we have an explicit physical analogue for the traditional mystical apprehension of inner Light and the Audible Life Stream.

 

Sacred Light is generated internally by DMT, the spirit molecule. Meditation evokes pineal DMT release through EM vibrations. Visionary experience with symbolic or religious content gives way to dazzling light of illumination, reported in eastern and western religions.

 

In the Judeo-Christian tradition, it is called "the resurrection body " and "the glorified body." The prophet Isaiah said, "The dead shall live, their bodies shall rise" (Isa. 26:19). St. Paul called it "the celestial body" or "spiritual body " (soma pneumatikon) (I Corinthians 15:40). In Sufism it is called "the most sacred body " (wujud al-aqdas) and "supracelestial body " (jism asli haqiqi). In Taoism, it is called "the diamond body," and those who have attained it are called "the immortals" and "the cloudwalkers." In Tibetan Buddhism it is called "the light body." In Tantrism and some schools of yoga, it is called "the vajra body," "the adamantine body," and "the divine body." In Kriya yoga it is called "the body of bliss." In Vedanta it is called "the superconductive body." In Gnosticism and Neoplatonism, it is called "the radiant body."

 

In the alchemical tradition, the Emerald Tablet calls it "the Glory of the Whole Universe" and "the golden body." The alchemist Paracelsus called it "the astral body." In the Hermetic Corpus, it is called "the immortal body " (soma athanaton). In some mystery schools, it is called "the solar body." In Rosicrucianism, it is called "the diamond body of the temple of God." In ancient Egypt it was called "the luminous body or being" (ankh).

 

In Old Persia it was called "the indwelling divine potential" (fravashi or fravarti). In the Mithraic liturgy it was called "the perfect body " (soma teilion). In the philosophy of Sri Aurobindo, it is called "the divine body," composed of supramental substance. In the philosophy of Teilhard de Chardin, it is called "the ultrahuman."

 

The idea of the “Body of Light” often called the “Rainbow” or “Diamond Body” is the perfection of a vehicle for the exteriorization (projection), and continuation of consciousness beyond material reality. In Qabala, the astral body has access to three levels of consciousness, and then must be shed, or encounter the ‘Second Death” in order to penetrate the Veil, or Paroketh, to the next three levels of the “Thrice Born.”

 

DIAMOND AWARENESS

 

In this dynamic model there are no “things”, just energetic events. Light and sound (acoustic cymatics) modulate all matter. This “holoflux” includes the ultimately flowing nature of what is, and all possible forms. All the objects of our world are three-dimensional images formed of standing and moving waves by electromagnetic and nuclear processes. This is the guiding matrix for self-assembly, and manipulating and organizing physical reality. It is how our DNA creates and projects our psychophysical structure.

 

Our brains mathematically construct ‘concrete’ reality by interpreting frequencies from another dimension. This information realm of meaningful, patterned primary reality transcends time and space. Thus, the brain is an embedded hologram, interpreting a holographic universe. Supernal light emerges from this ground of being, both in the cosmos and our human brains and bodies.

 

All existence consists of embedded holograms within holograms, fractally embedded waves within waves of clear light. Their interrelatedness somehow gives rise to our existence and sensory images. When we embody this intimate wisdom, our bodies become temples of the living spirit.

 

Absolute space is the womb of creation and the physics of virtual photon fluctuation reflects not only Nature, but also our nature. Only now are we learning just how literal that experience of Light is, and the interactive mechanisms it engages in our holistic psychophysical Being

ionamiller.weebly.com/transmodern-alchemist.html

The core of what they have changed when adding the turn arrows is switching the signal from a 60-second cycle (synchronized to match the 41st Street signal timing) to a 90-second cycle. I think this part is actually necessary if they are to have turn arrows because there just isn't time to fit all the necessary phases into 60 seconds.

 

So what they have done is to prioritize Broadway, giving it in the default pattern 60 seconds and 40th Street 30 seconds. The northbound and eastbound turn arrows (including their yellow arrow phases) last about 10 seconds each, leaving 50 seconds for the Broadway green and yellow phases and 20 seconds for the 40th Street green and yellow phases. The 10 seconds appears to be enough to get two cars through the turn arrow, which seems to be the appropriate number for how many get queued up in practice.

 

The moderately good news is that they acknowledge that 50 seconds is plenty of time to cross 40th Street, the longest leg of which is 75 feet, and give a walk signal if a pedestrian pushes the button while the light is green. This is not as good as always giving a walk signal with every green light, but is tolerable and perhaps gives some additional visibility if drivers pay attention to when the walk signal appears or doesn't appear. In practice, as the picture shows, many people don't bother to press the button, and both drivers and pedestrians miss out on the useful information the pedestrian signal is intended to provide.

 

The bad news is that 20 seconds is only barely long enough to cross Broadway, which is 70 feet between curbs. Their answer to this is that if a pedestrian pushes the button to cross Broadway, the next round of signals gives 45 seconds to Broadway and 45 seconds to 40th Street, giving enough time to cross. The bad news is that if the light to cross Broadway is already green, the phasing doesn't change until the next cycle, so pedestrians must wait through 20/30 seconds of green light and 45 seconds of red light before they get their walk signal. What obviously should happen here instead is for the green phase in progress to be lengthened and the walk signal lit immediately rather than making pedestrians wait for the next one.

 

Even better of course would be to even out the standard phase lengths a little and always give a walk signal with every green light, but really: if you know a pedestrian is present and you have the choice between giving them a walk signal now and giving them a walk signal a minute in the future, give them the walk signal now.

***UPDATE**Doug and Tim always prioritize their agenda, and news flash....they will make sure to prioritize their needs. Thank you both for your continued support!

  

I remember looking thru my lens and thinking.... well damn, this is an appealing dresser. The inset cat eye pulls, geometric front and that killer arch support.

19 June 2019, Rome, Italy - Jessica Fanzo, The Johns Hopkins University. ESN Seminar The Food Systems Dashboard: Contextualizing national food systems, identifying challenges and prioritizing actions. FAO Headquarters (German Room).

  

Photo credit must be given: ©FAO/Giulio Napolitano. Editorial use only. Copyright ©FAO.

Note:

 

This is RAW straight out of camera processed with default settings in Sigma Pro Photo 4.1 software.

 

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Every year, I go to Burma/Myanmar and I only take a carry on and a hand bag. Taking a large camera like the 5DMk2 (even a T2i size camera) with a lens or two is not an option for me since I like to go travel light (especially to Myanmar). I wanted a small camera that could produce great quality images, good bokeh when needed, and good colors; l knew not to prioritize it based on high ISO quality. I'll have to give that up for a small camera.

 

I bought/sold/tried shooting with several cameras--from small, point and shoot size sensor to micro-four thirds. Among the ones I tried, my favorite was the E-PL1 with Panasonic 20/1.7. I wanted to see if I could find something even SMALLER than the Oly/Panny combo without giving up too much on image quality.

 

I debated between the Samsung TL500 / EX1 and the Leica Dlux4. I was impressed with the quality of Samsung's images I saw on the web (and also the cheaper price). But, I ended up getting the Dlux4 because it had been around longer (RAW files supported by most software), and knew I could get good quality images out of it.

 

By the time I got the Dlux4, I was already inflicted with Gear Acquisition Syndrome (GAS)--I wanted another camera of that size that could produce images with even BETTER image quality. Since I couldn't afford a Leica X1, I wanted to try out the Sigma DP2s.

 

---SIGMA DP2s---

 

It's "different."

 

The user interface isn't bad, but not as intuitive as others I have tried. I got used it in a couple of days and I find no issues.

 

LCD screen is so-so. I can still view images on the LCD under a bright sun--better than E-P2. Image quality could be better, but with low-res screen, it's hard to see whether I've nailed the focus point. I also have the external optical viewfinder. It's small, with nice bright frame lines, but it's not really that accurate. If the camera could auto focus well, it'd be more useful.

 

The build seems fine. It's similar in size to the DLux4 but a little thicker but lighter. The battery life is average for small cameras (not great but not bad).

 

Performance-wise, it's a hit or miss. In good light, focus is quick but not instant-quick. In lower light, it takes its time locking focus--I'd say average of about a second or sometimes even two. As a range finder camera user, I don't mind taking a little time to shoot since I'm just looking for a good composition and good image quality. This is perfectly fine for stills but not the best for fast paced kids in action. These days, I shoot mostly my kids but I still find DP2s more than usable. I accept and forgive all the quirkiness of the camera since I know I'll get a few really good shots with it. Maybe it's a personal thing--I prefer it over the Oly E-PL1 because it's a little more "challenging" to use and the reward is much more satisfying.

 

The software that came with it works amazingly well. In fact, if I try to process the DP2s RAW files in Lightroom, my results won't be as good--or at least, it would take me a lot of time to get it right like SIGMA Pro Photo 4.1 software. Simga Pro Photo processing speed is fast--about 3-4 seconds on my 17" Macbook Pro 2.8Ghz Core 2 Duo, 4GB RAM laptop. I can see why many people go goo goo over the FOVEON sensor. The colors are, indeed, rich and the POP of the focused subject is quite similar to what I would get with a Leica Summicron 50/2 lens.

 

All in all, I'm glad I found the DP2s.

Kensal Green Cemetery is one of London’s magnificent seven, and one of the greater discoveries I’ve made when ticking them off. I didn’t know a huge amount before heading up, but once up there I found a huge area, densely packed with headstones and monuments, and one of the greatest collections of old statues I’ve seen in any cemetery. Definitely one to prioritize if your looking to explore London’s historic cemeteries.

The investment project will finance the first of three prioritized corridors of the planned regional rapid transit system (RRTS) network in India's National Capital Region (NCR). The Delhi-Meerut RRTS will pass through the densely populated sections of the NCR, connecting Delhi to Meerut in the state of Uttar Pradesh. The 82-kilometer corridor will provide safe, reliable, and high-capacity commuter transit services between various locations along the corridor. The investment project will finance rail track, signaling, station buildings, and maintenance facilities. It will also support capacity and institutional development of the National Capital Region Transport Corporation (NCRTC), a joint venture company of the Government of India and states of Delhi, Haryana, Rajasthan and Uttar Pradesh, that is mandated to implement the RRTS project across the NCR.

 

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Delhi-Meerut Regional Rapid Transit System Investment Project

071614: Washington, DC - Mr. John Wagner, Assistant Commissioner, Office of Field Operations, Customs and Border Protection accompanied by Mr. Eugene H. Schied, Assistant Commissioner, Office of Administration, Customs and Border Protection provided testimony and comments at the Subcommittee Hearing: Port of Entry Infrastructure: How Does the Federal Government Prioritize Investments? Seen here is AC John Wagner providing testimony.

Photographer: Donna Burton

Prioritizing

071614: Washington, DC - Mr. John Wagner, Assistant Commissioner, Office of Field Operations, Customs and Border Protection accompanied by Mr. Eugene H. Schied, Assistant Commissioner, Office of Administration, Customs and Border Protection provided testimony and comments at the Subcommittee Hearing: Port of Entry Infrastructure: How Does the Federal Government Prioritize Investments? Seen here is AC John Wagner providing testimony.

Photographer: Donna Burton