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U.S. Army Cadet Command (USACC) welcomes Col. Promotable Amanda Azubuike as the Deputy Commanding Officer of USACC, Fort Knox, Ky., July 28, 2022. Azubuike received the Cadet Command patch during the ceremony and shared remarks about joining the Army ROTC command team. | Photo by Kyle Crawford, U.S. Army Cadet Command Public Affairs
This is how you celebrate a goal that's going to get you and your club promoted for top-flight football next season. The goal-scorer, Ilari Mettälä, even got his jaw stuck wide open after this celebration, but luckily the medical staff got it fixed quickly and he was able to continue playing. :) Congrats Ilari and FC TPS!
The family and friends rented a beautiful cabin in Murphy, NC. It was a wonderful and relaxing weekend.
Jeremy and Dominic celebrated Forest's automatic promotion to the Championship last night by wearing their shirts
VENICE BIENNALE / VENEZIA BIENNIAL 2013 : BIENNALIST
www.emergencyrooms.org/biennalist.html
Biennalist is an Art Format by Thierry Geoffroy / Colonel debating with artistic tools on Biennales and other cultural managed events . Often those events promote them selves with thematics and press releases faking their aim . Biennalist take the thematics of the Biennales very seriously , and test their pertinance . Artists have questioned for decade the canvas , the pigment , the museum ... since 1989 we question the Biennales .Often Biennalist converge with Emergency Room providing a burning content that cannot wait ( today before it is too late )
please contact before using the images : Thierry Geoffroy / Colonel 1@colonel.dk
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lists of artists participating at the Venice Biennale :
Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.
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other pavilions at Venice Biennale
Andorra Artists: Javier Balmaseda, Samantha Bosque, Fiona Morrison
Commissioner: Henry Périer Deputy Commissioners: Francesc Rodríguez, Ermengol Puig, Ruth Casabella
Curators: Josep M. Ubach, Paolo De GrandisAngola Artist: Edson Chagas Commissioner: Ministry of Culture
Curators: Beyond Entropy (Paula Nascimento, Stefano Rabolli Pansera), Jorge Gumbe, Feliciano dos Santos
Argentina Artist: Nicola Costantino Commissioner: Magdalena Faillace Curator: Fernando Farina
Armenia Artist: Ararat SarkissianCurator: Arman Grogoryan /AustraliaArtist: Simryn Gill Commissioner: Simon Mordant Deputy Commissioner: Penelope Seidler Curator: Catherine de Zegher /AustriaArtist: Mathias Poledna ,Curator: Jasper Sharp /AzerbaijanArtists: Rashad Alakbarov, Sanan Aleskerov, Chingiz Babayev, Butunay Hagverdiyev, Fakhriyya Mammadova, Farid Rasulov /Commissioner: Heydar Aliyev FoundationCurator: Hervé Mikaeloff
Bahamas Artist: Tavares Strachan Commissioner: Nalini Bethel, Ministry of Tourism Curators: Jean Crutchfield, Robert HobbsDeputy Curator: Stamatina Gregory/BangladeshChhakka Artists’ Group: Mokhlesur Rahman, Mahbub Zamal, A. K. M. Zahidul Mustafa, Ashok Karmaker, Lala Rukh Selim, Uttam Kumar Karmaker. Dhali Al Mamoon, Yasmin Jahan Nupur, Gavin Rain, Gianfranco Meggiato, Charupit School/Commissioner/Curator: Francesco Elisei. , Curator: Fabio Anselmi./BahrainArtists: Mariam Haji, Waheeda Malullah, Camille Zakharia /Commissioner: Mai bint Mohammed Al Khalifa, Minister of Culture /Curator: Melissa Enders-Bhatiaa/BelgiumArtist: Berlinde De Bruyckere
Commissioner: Joke Schauvliege, Flemish Minister for Environment, Nature and Culture .Curator: J. M. Coetzee ,Deputy Curator: Philippe Van Cauteren /Bosnia and Herzegovina
Artist: Mladen Miljanovic .Commissioners: Sarita Vujković, Irfan Hošić
Brazil Artists: Hélio Fervenza, Odires Mlászho, Lygia Clark, Max Bill, Bruno Munari
Commissioner: Luis Terepins, Fundação Bienal de São Paulo,Curator: Luis Pérez-Oramas ,Deputy Curator: André Severo
CanadaArtist: Shary Boyle /Commissioner: National Gallery of Canada / Musée des beaux-arts du Canada ,Curator: Josée Drouin-Brisebois/Central AsiaArtists: Vyacheslav Akhunov, Sergey Chutkov, Saodat Ismailova, Kamilla Kurmanbekova, Ikuru Kuwajima, Anton Rodin, Aza Shade, Erlan Tuyakov
Commissioner: HIVOS (Humanist Institute for Development Cooperation)
Deputy Commissioner: Dean Vanessa Ohlraun (Oslo National Academy of the Arts/The Academy of Fine Art)
Curators: Ayatgali Tuleubek, Tiago Bom
Scientific Committee: Susanne M. Winterling
ChileArtist: Alfredo JaarCommissioner: CNCA, National Council of Culture and the Arts Curator: Madeleine Grynsztejn
ChinaArtists: He Yunchang, Hu Yaolin, Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong, Zhang Xiaotao
Commissioner: China Arts and Entertainment Group (CAEG) ,Curator: Wang Chunchen
Costa Rica Artists: Priscilla Monge, Esteban Piedra, Rafael Ottón Solís, Cinthya Soto
Commissioner: Francesco EliseiCurator: Francisco Córdoba, Museo de Arte y Diseño Contemporáneo (Fiorella Resenterra)
Croatia Artist: Kata Mijatovic ,Commissioner/Curator: Branko Franceschi.
CubaArtists: Liudmila and Nelson, Maria Magdalena Campos & Neil Leonard, Sandra Ramos, Glenda León, Lázaro Saavedra, Tonel, Hermann Nitsch, Gilberto Zorio, Wang Du, H.H.Lim, Pedro Costa, Rui Chafes, Francesca Leone ,Commissioner: Miria ViciniCurators: Jorge Fernández Torres, Giacomo Zaza
CyprusArtists: Lia Haraki, Maria Hassabi, Phanos Kyriacou, Constantinos Taliotis, Natalie Yiaxi, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister /Louli Michaelidou
Deputy Commissioners: Angela Skordi, Marika Ioannou/Curator: Raimundas Malašauskas
Czech Republic & Slovak RepublicArtists: Petra Feriancova, Zbynek Baladran ,Commissioner: Monika Palcova, Curator: Marek Pokorny /DenmarkArtist: Jesper Just in collaboration with Project ProjectsEgypt
Artists: Mohamed Banawy, Khaled Zaki
EstoniaArtist: Dénes Farkas ,Commissioner: Maria Arusoo ,Curator: Adam Budak
FinlandArtist: Antti Laitinen , Commissioner: Raija Koli , Curators: Marko Karo, Mika Elo, Harri Laakso
FranceArtist: Anri Sala ,Curator: Christine Macel
GeorgiaArtists: Bouillon Group,Thea Djordjadze, Nikoloz Lutidze, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin, Gio Sumbadze/Commissioner: Marine Mizandari, First Deputy Minister of Culture Curator: Joanna Warsza
GermanyArtists: Ai Weiwei, Romuald Karmakar, Santu Mofokeng, Dayanita Singh Commissioner/Curator: Susanne Gaensheimer /Great BritainArtist: Jeremy Deller ,Commissioner: Andrea Rose , Curator: Emma Gifford-Mead
Holy SeeArtists: Lawrence Carroll, Josef Koudelka, Studio Azzurro ,Curator: Antonio Paolucci
Hungary , Artist: Zsolt Asztalos , Curator: Gabriella Uhl
Iceland , Artist: Katrín Sigurðardóttir ,Commissioner: Dorotheé Kirch
Curators: Mary Ceruti , Ilaria Bonacossa/IndonesiaArtists: Albert Yonathan Setyawan, Eko Nugroho, Entang Wiharso, Rahayu Supanggah, Sri Astari, Titarubi
Deputy Commissioner: Achille Bonito Oliva , Assistant Commissioner: Mirah M. Sjarif
Curators: Carla Bianpoen, Rifky Effendy
IraqArtists: Abdul Raheem Yassir, Akeel Khreef, Ali Samiaa, Bassim Al-Shaker, Cheeman Ismaeel, Furat al Jamil, Hareth Alhomaam, Jamal Penjweny, Kadhim Nwir, WAMI (Yaseen Wami, Hashim Taeeh)
Commissioner: Tamara Chalabi (Ruya Foundation for Contemporary Culture)Curator: Jonathan Watkins.
IrelandArtist: Richard MosseCommissioner, Curator: Anna O’Sullivan
Israel , Artist: Gilad Ratman , Commissioners: Arad Turgeman, Michael GovCurator: Sergio Edelstein
ItalyArtists: Francesco Arena, Massimo Bartolini, Gianfranco Baruchello, Elisabetta Benassi, Flavio Favelli, Luigi Ghirri, Piero Golia, Francesca Grilli, Marcello Maloberti, Fabio Mauri, Giulio Paolini, Marco Tirelli, Luca Vitone, Sislej Xhafa ,Commissioner: Maddalena Ragni
Curator: Bartolomeo Pietromarchi /Ivory Coast Artists: Frédéric Bruly Bouabré, Tamsir Dia, Jems Koko Bi, Franck Fanny
Commissioner: Paolo De Grandis , Curator: Yacouba Konaté
Japan ,Artist: Koki Tanaka ,Curator: Mika Kuraya
KenyaArtists: Kivuthi Mbuno, Armando Tanzini, Chrispus Wangombe Wachira, Fan Bo, Luo Ling & Liu Ke, Lu Peng, Li Wei, He Weiming, Chen Wenling, Feng Zhengjie, César MeneghettiCommissioner: Paola Poponi ,Curators: Sandro Orlandi, Paola Poponi /Korea (Republic of)Artist: Kimsooja
KosovoArtist: Petrit Halilaj ,Commissioner: Erzen Shkololli ,Curator: Kathrin Rhomberg
KuwaitArtists: Sami Mohammad, Tarek Al-Ghoussein
Commissioner: Mohammed Al-Asoussi ,Curator: Ala Younis /Latin AmericaIstituto Italo-Latino Americano
Artists:Marcos Agudelo, Miguel Alvear & Patricio Andrade, Susana Arwas, François Bucher, Fredi Casco, Colectivo Quintapata (Pascal Meccariello, Raquel Paiewonsky, Jorge Pineda, Belkis Ramírez), Humberto Díaz, Sonia Falcone, León & Cociña, Lucía Madriz, Jhafis Quintero, Martín Sastre, Guillermo Srodek-Hart, Juliana Stein, Simón Vega, Luca Vitone, David Zink Yi. /Harun Farocki & Antje Ehmann. In collaboration with: Cristián Silva-Avária, Anna Azevedo, Paola Barreto, Fred Benevides, Anna Bentes, Hermano Callou, Renata Catharino, Patrick Sonni Cavalier, Lucas Ferraço Nassif, Luiz Garcia, André Herique, Bruna Mastrogiovanni, Cezar Migliorin, Felipe Ribeiro, Roberto Robalinho, Bruno Vianna, Beny Wagner, Christian Jankowski ,Commissioner: Sylvia Irrazábal ,Curator: Alfons Hug
Deputy Curator: Paz Guevara /Latvia Artists: Kaspars Podnieks, Krišs Salmanis ,Commissioners: Zane Culkstena, Zane Onckule ,Curators: Anne Barlow, Courtenay Finn, Alise Tifentale
LithuaniaArtist: Gintaras Didžiapetris, Elena Narbutaite, Liudvikas Buklys, Kazys Varnelis, Vytaute Žilinskaite, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter SinisterCommissioners: Jonas Žokaitis, Aurime Aleksandraviciute Curator: Raimundas Malašauskas /LuxembourgArtist: Catherine LorentCommissioner: Clément Minighetti Curator: Anna Loporcaro /MexicoArtist: Ariel Guzik ,Commissioner: Gastón Ramírez Feltrín ,Curator: Itala Schmelz
Montenegro ,Artist: Irena Lagator Pejovic .Commissioner/Curator: Nataša Nikcevic
The Netherlands ,Artist: Mark Manders
Commissioner: Mondriaan Fund ,Curator: Lorenzo Benedetti
New Zealand Artist: Bill Culbert ,Commissioner: Jenny Harper ,Deputy Commissioner: Heather Galbraith ,Curator: Justin Paton /Finland: ,Artist: Terike Haapoja ,Commissioner: Raija Koli ,Curators: Marko Karo, Mika Elo, Harri Laakso
Norway:Artists: Edvard Munch, Lene Berg
Curators: Marta Kuzma, Pablo Lafuente, Angela Vettese
Paraguay Artists: Pedro Barrail, Felix Toranzos, Diana Rossi, Daniel Milessi ,Commissioner: Elisa Victoria Aquino Laterza
Deputy Commissioner: Nori Vaccari Starck , Curator: Osvaldo González Real
Poland Artist: Konrad Smolenski Commissioner: Hanna Wróblewska Curators: Agnieszka Pindera, Daniel Muzyczuk
Portugal Artist: Joana Vasconcelos Curator: Miguel Amado
RomaniaArtists: Maria Alexandra Pirici, Manuel Pelmus Commissioner: Monica Morariu Deputy Commissioner: Alexandru Damia Curator: Raluca VoineaArtists: Anca Mihulet, Apparatus 22 (Dragos Olea, Maria Farcas,Erika Olea), Irina Botea, Nicu Ilfoveanu, Karolina Bregula, Adi Matei, Olivia Mihaltianu, Sebastian MoldovanCommissioner: Monica Morariu ,Deputy Commissioner: Alexandru Damian ,Curator: Anca Mihulet
Russia Artist: Vadim Zakharov ,Commissioner: Stella Kasaeva ,Curator: Udo Kittelmann
Serbia Artists: Vladimir Peric, Miloš Tomic .Commissioner: Maja Ciric
SloveniaArtist: Jasmina CibicCommissioner: Blaž Peršin ,Curator: Tevž Logar
South Africa Commissioner: Saul Molobi ,Curator: Brenton Maart
Spain Artist: Lara Almarcegui , Commissioner/Curator: Octavio Zaya
Switzerland Artist: Valentin Carron Commissioners: Pro Helvetia - Sandi Paucic and Marianne Burki
Curator: Giovanni CarmineVenue: Pavilion at Giardini
Syrian Arab RepublicArtists: Giorgio De Chirico, Miro George, Makhowl Moffak, Al Samman Nabil, Echtai Shaffik, Giulio Durini, Dario Arcidiacono, Massimiliano Alioto, Felipe Cardena, Roberto Paolini, Concetto Pozzati, Sergio Lombardo, Camilla Ancilotto, Lucio Micheletti, Lidia Bachis, Cracking Art Group, Hannu Palosuo
Commissioner: Christian Maretti Curator: Duccio Trombadori
Taiwan Artists: Bernd Behr, Chia-Wei Hsu, Kateřina Šedá + BATEŽO MIKILU Curator: Esther Lu
Thailand Artists: Wasinburee Supanichvoraparch, Arin Rungjang
Curators: Penwadee Nophaket Manont, Worathep Akkabootara
Turkey Artist: Ali Kazma Commissioner: Istanbul Foundation for Culture and Arts Curator: Emre Baykal
Ukraine Artists: Ridnyi Mykola, Zinkovskyi Hamlet, Kadyrova Zhanna Commissioner: Victor Sydorenko
Curators: Soloviov Oleksandr, Burlaka Victoria
United Arab Emirates Artist: Mohammed Kazem /Commissioner: Dr. Lamees Hamdan Curator: Reem Fadda
Uruguay Artist: Wifredo Díaz Valdéz
Commissioner: Ricardo Pascale Curators: Carlos Capelán, Verónica Cordeiro
USA Artist: Sarah Sze Commissioners/Curators: Carey Lovelace, Holly Block
Venezuela Colectivo de Artistas Urbanos Venezolanos , Commissioner: Edgar Ernesto González Curator: Juan Calzadilla
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Encyclopedic Palace is curated by Massimiliano Gioni
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Other Biennales (Biennials ) : Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
New Yorkers Protest the US$850 BILLION (US$3 TRILLION) Wall Street BAILOUT: Wall Street, NYC - September 25, 2008
Phototgrapher: a. golden, eyewash design - c. 2008.
Friends,
The richest 400 Americans -- that's right, just four-hundred people -- own MORE than the bottom 150 million Americans COMBINED! 400 of the wealthiest Americans have got more stashed away than half the entire country! Their combined net worth is $1.6 trillion. During the eight years of the Bush Administration, their wealth has increased by nearly $700 billion -- the same amount that they were demanding We give to them for the "bailout." Why don't they just spend the money they made under Bush to bail themselves out? They'd still have nearly a trillion dollars left over to spread amongst themselves!
Of course, they are not going to do that -- at least not voluntarily. George W. Bush was handed a $127 billion surplus when Bill Clinton left office. Because that money was OUR money and not HIS, he did what the rich prefer to do -- spend it and never look back. Now we have a $9.5 trillion debt that will take seven generations from which to recover. Why -- on --earth – did -- our -- "representatives" -- give -- these -- robber -- barons -- $US850 BILLION -- of – OUR -- money?
Last week, proposed my own bailout plan. My suggestions, listed below, were predicated on the singular and simple belief that the rich must pull themselves up by their own platinum bootstraps. Sorry, fellows, but you drilled it into our heads one too many times: THERE...IS...NO…FREE... LUNCH ~ PERIOD! And thank you for encouraging us to hate people on welfare! So, there should have been NO HANDOUTS FROM US TO YOU! Last Friday, after voting AGAINST this BAILOUT, in an unprecedented turn of events, the House FLIP-FLOPPED their "No" Vote & said "Yes", in a rush version of a "bailout" bill vote. IN SPITE OF THE PEOPLE'S OVERWHELMING DISAPPROVAL OF THIS BAILOUT BILL... IN SPITE OF MILLIONS OF CALLS FROM THE PEOPLE CRASHING WASHINGTON "representatives'" PHONE LINES...IN SPITE OF CRASHING OUR POLITICIAN'S WEBSITES...IN SPITE OF HUNDREDS OF THOUSANDS OF PEOPLE PROTESTING AROUND THE COUNTRY... THEY VOTED FOR THIS BAILOUT! The People first succeeded on Monday with the House, but failed do it with the Senate and then THE HOUSE TURNED ON US TOO!
It is clear, though, we cannot simply continue protesting without proposing exactly what it is we think THESE IDIOTS should/'ve do/one. So, after consulting with a number of people smarter than Phil Gramm, here’s the proposal, now known as "Mike's Rescue Plan." (From Michael Moore's Bailout Plan) It has 10 simple, straightforward points. They are that you DIDN'T, BUT SHOULD'VE:
1. APPOINTED A SPECIAL PROSECUTOR TO CRIMINALLY INDICT ANYONE ON WALL STREET WHO KNOWINGLY CONTRIBUTED TO THIS COLLAPSE. Before any new money was expended, Congress should have committed, by resolution, to CRIMINALLY PROSECUTE ANYONE who had ANYTHING to do with the attempted SACKING OF OUR ECONOMY. This means that anyone who committed insider trading, securities fraud or any action that helped bring about this collapse should have and MUST GO TO JAIL! This Congress SHOULD HAVE called for a Special Prosecutor who would vigorously go after everyone who created the mess, and anyone else who attempts to scam the public in future. (I like Elliot Spitzer ~ so, he played a little hanky-panky...Wall Street hates him & this is a GOOD thing.)
2. THE RICH SHOULD HAVE PAID FOR THEIR OWN BAILOUT! They may have to live in 5 houses instead of 7. They may have to drive 9 cars instead of 13. The chef for their mini-terriers may have to be reassigned. But there is no way in hell, after forcing family incomes to go down more than $2,000 dollars during the Bush years, that working people and the middle class should have to fork over one dime to underwrite the next yacht purchase.
If they truly needed the $850 billion they say they needed, well, here is an easy way they could have raised it:
a) Every couple makeing over a million dollars a year and every single taxpayer who makes over $500,000 a year should pay a 10% surcharge tax for five years. (It's the Senator Sanders plan. He's like Colonel Sanders, only he's out to fry the right chickens.) That means the rich would have still been paying less income tax than when Carter was president. That would have raise a total of $300 billion.
b) Like nearly every other democracy, they should have charged a 0.25% tax on every stock transaction. This would have raised more than $200 billion in a year.
c) Because every stockholder is a patriotic American, stockholders should have forgone receiving a dividend check for ONE quarter and instead this money would have gone the treasury to help pay for the bullsh*t bailout.
d) 25% of major U.S. corporations currently pay NO federal income tax. Federal corporate tax revenues currently amount to 1.7% of the GDP compared to 5% in the 1950s. If we raised the corporate income tax BACK to the levels of the 1950s, this would give us an extra $500 billion.
All of this combined should have been enough to end the calamity. The rich would have gotten to keep their mansions and their servants and our United States government ("COUNTRY FIRST!") would've have a little leftover to repair some roads, bridges and schools...
3. YOU SHOULD HAVE BAIL OUT THE PEOPLE LOSING THEIR HOMES, NOT THE PEOPLE WHO WILL BUILD AN EIGHTH HOME! There are 1.3 million homes in foreclosure right now. That is what is at the heart of this problem. So, instead of giving the money to the banks as a gift, they should have paid down each of these mortgages by $100,000. They should have forced the banks to renegotiate the mortgage so the homeowner could pay on its current value. To insure that this help wouldn't go to speculators and those who tried to making money by flipping houses, the bailout should have only been for people's primary residences. And, in return for the $100K pay-down on the existing mortgage, the government would have gotten to share in the holding of the mortgage so it could get some of its money back. Thus, the total initial cost of fixing the mortgage crisis at its roots (instead of with the greedy lenders) is $150 billion, not $850 BILLION.
And let's set the record straight. People who have defaulted on their mortgages are not "bad risks." They are our fellow Americans, and all they wanted was what we all want: a home to call their own. But, during the Bush years, millions of the People lost the decent paying jobs they had. SIX MILLION fell into poverty! SEVEN MILLION lost their health insurance! And, every one of them saw their real wages go DOWN by $2,000! Those who DARE look down on these Americans who got hit with one bad break after another should be ASHAMED.! We are a better, stronger, safer and happier society when all of our citizens can afford to live in a home they own.
4. THERE SHOULD HAVE BEEN A STIPULATION THAT IF YOUR BANK OR COMPANY GOT ANY OF OUR MONEY IN A "BAILOUT," THEN WE OWN YOU. Sorry, that's how it's done. If the bank gives me money so I can buy a house, the bank "owns" that house until I pay it all back -- with interest. Same deal for Wall Street. Whatever money you need to stay afloat, if our government considers you a safe risk -- and necessary for the good of the country -- then you can get a loan, but WE SHOULD OWN YOU. If you default, we will sell you. This is how the Swedish government did it and it worked.
5. ALL REGULATIONS SHOULD HAVE BEEN BE RESTORED. THE REAGAN REVOLUTION IS DEAD! This catastrophe happened because we let the fox have the keys to the hen-house. In 1999, Phil Gramm authored a bill to remove all the regulations that governed Wall Street and our banking system. The bill passed and Clinton signed it. Here's what Sen.Phil Gramm, McCain's chief economic advisor, said at the bill signing:
"In the 1930s ... it was believed that government was the answer. It was believed that stability and growth came from government overriding the functioning of free markets.
"We are here today to repeal [that] because we have learned that government is not the answer. We have learned that freedom and competition are the answers. We have learned that we promote economic growth and we promote stability by having competition and freedom.
"I am proud to be here because this is an important bill; it is a deregulatory bill. I believe that that is the wave of the future, and I am awfully proud to have been a part of making it a reality."
FOR THIS NOT TO REOCCUR, This BILL SHOULD HAVE BEEN REPEALED! Bill Clinton could have helped by leading the effort for the repeal of the Gramm bill and the reinstating of even tougher regulations regarding our financial institutions. And when they were done with that, they should have restored the regulations for the airlines, the inspection of our food, the oil industry, OSHA, and every other entity that affects our daily lives. All oversight provisions for any "bailout" should have had enforcement monies attached to them and criminal penalties for all offenders.
6. IF IT'S TOO BIG TO FAIL, THEN THAT MEANS IT'S TOO BIG TO EXIST! Allowing the creation of these mega-mergers and not enforcing the monopoly and anti-trust laws has allowed a number of financial institutions and corporations to become so large, the very thought of their collapse means an even bigger collapse across the entire economy. No ONE or TWO companies should EVER have this kind of power! The so-called "economic Pearl Harbor" can't happen when you have hundreds -- thousands -- of institutions where people have their money. When we have a dozen auto companies, if one goes belly-up, we DON'T FACE A NATIONAL DISASTER! If we have three separately-owned daily newspapers in your town, then one media company can't call all the shots (I know... What am I thinking?! Who reads a paper anymore? Sure glad all those mergers and buyouts left us with a STRONG and "FREE" press!). Laws Should have been enacted to prevent companies from being so large and dominant that with one slingshot to the eye, the GIANT FALLS and DIES. And no institution should be allowed to set up money schemes that NO ONE understands. If you can't explain it in two sentences, you shouldn't be taking anyone's money!
7. NO EXECUTIVE SHOULD EVER BE PAID MORE THAN 40 TIMES THEIR AVERAGE EMPLOYEE, AND NO EXECUTIVE SHOULD RECEIVE ANY KIND OF "PARACHUTE" OTHER THAN THE VERY GENEROUS SALARY HE OR SHE MADE WHILE WORKING FOR THE COMPANY. In 1980, the average American CEO made 45 times what their employees made. By 2003, they were making 254 times what their workers made. After 8 years of Bush, they now make over 400 times what their average employee makes. How We have allowed this to happen at publicly held companies is beyond reason. In Britain, the average CEO makes 28 times what their average employee makes. In Japan, it's only 17 times! The last I heard, the CEO of Toyota was living the high life in Tokyo. How does he do it on so little money? Seriously, this is an OUTRAGE! We have created the mess we're in by letting the people at the top become bloated beyond belief with millions of dollars. THIS HAS TO STOP! Not only should no executive who receives help out of this mess profit from it, but any executive who was in charge of running his company into the ground should be FIRED before the company receives ANY help.
8. CONGRESS SHOULD HAVE STRENGTHENED THE FDIC AND MADE IT A MODEL FOR PROTECTING NOT ONLY PEOPLE'S SAVINGS, BUT ALSO THEIR PENSIONS AND THEIR HOMES. Obama was correct to propose expanding FDIC protection of people's savings in their banks to $250,000. But, this same sort of government insurance must be given to our NEVER have to worry about whether or not the money they've put away for their old age will be there. This should have meant strict government oversight of companies who manage their employees' funds -- or perhaps it means the companies should have been forced to turn over those funds and their management to the government? People's private retirement funds must also be protected, but perhaps it's time to consider not having one's retirement invested in the casino known as the stock market??? Our government should have a solemn duty to guarantee that no one who grows old in this country has to worry about becoming destitute.
9. EVERYBODY NEEDS TO TAKE A DEEP BREATH, CALM DOWN, AND NOT LET FEAR RULE THE DAY. Turn off your TVs! We are NOT in the Second Great Depression. The sky is NOT falling, Chicken Little! Pundits and politicians have lied to us so FAST and FURIOUS it's hard not to be affected by all the fear mongering. Even I wrote to and repeated what I heard on the news last week, that the Dow had the biggest one day drop in its history. Well, that was true in terms of points, but its 7% drop came nowhere close to Black Monday in 1987 when the stock market in one day lost 23% of its value. In the '80s, 3,000 banks closed, but America didn't go out of business. These institutions have always had their ups and downs and eventually it works out. It has to, because the rich do not like their wealth being disrupted! They have a vested interest in calming things down and getting back into their Jacuzzis before they slip into their million thread-count sheets to drift off to a peaceful, Vodka tonic and Ambien-induced slumber.
As crazy as things are right now, tens of thousands of people got a car loan last week. Thousands went to the bank and got a mortgage to buy a home. Students just back to college found banks more than happy to put them into hock for the next 15 years with a student loan. I was even pre-approved for a US$5K personal loan. Yes, life has gone on with little-or-no-change (other than the whopping 6.1% unemployment rate, but that happened last month). Not a single person lost any of his/her monies in bank, or a treasury note, or in a CD. And, the perhaps the most amazing thing is that the American public FINALLY didn't buy the scare campaign. The citizens didn't blink, instead telling Congress to take that bailout and shove it. THAT was impressive. Why didn't the population succumb to the fright-filled warnings from their president and his cronies? Well, you can only say 'Saddam has the bomb' so many times before the people realize you're a lying sack of shit. After eight long years, the nation is worn out and simply can't take it any longer. The WORLD is fed up & I don't blame them.
10. THEY SHOULD HAVE CREATED A NATIONAL BANK, A "PEOPLE'S BANK." Since they're really itching to print up a trillion dollars, instead of giving it to a few rich people, why don't We give it to ourselves? Now that We own Freddie and Fannie, why not set up a People's bank? One that can provide low-interest loans for all sorts of people who want to own a home, start a small business, go to school, come up with the cure for cancer or create the next great invention. And, now that we own AIG - the country's largest insurance company - let's take the next step and PROVIDE HEALTH INSURANCE FOR EVERYONE. MEDICARE FOR ALL! It will SAVE us SO MUCH MONEY in the LONG RUN (not to mention bring peace of mind to all). And, America won't be 12th on the life expectancy list! We'll be able to have a longer lifespan, enjoying our government-protected pension and will live to see the day when the corporate criminals who caused this much misery are let out of prison so that We can help re-acclimate them to plain old ordinary, civilian life -- a life with ONE nice home and ONE gas-free car invented with help from the People's Bank.
P.S. Call your Senators NOW !!! ---> www.visi.com/juan/congress/
Since they voted against passing the extension of unemployment benefits and skipped out to "campaign" to us to be re-elected...call them and tell them you will vote for the other "guy" if they don't get their act together!
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UPDATE: THE PEOPLE HAVE VOTED! A HISTORIC MOMENT: NOVEMBER 4th 2008!
------> THE Historic ELECTION <------
"A work in PROGRESS."
Nov. 4th, 2008.
A great American leader once said, "As individual fingers We can be easily broken. But TOGETHER We make a mighty fist." These words too were spoken by a minority leader. He was the venerable Chief Sitting Bull. No, Barack Obama's not the first American minority to speak eloquently and he most certainly won't be the last. Though, in the end, this election wasn't even close !!! The world watched as, "YES WE CAN!" turned into, "YES WE DID!" as it now ushers in, "YES WE MUST!" time is NOW!
What WE do with this moment shall define US, forthright. America has now elected a man with a background of partial African - American descent as President elect. A new leader with roots from Kenya to Kansas (with a step-father from Indonesia), will be working in conjunction with a vice-Presidential of Anglo-European roots. This is something in which citizens of ALL races - both here and the world 'round – have loudly REJOICED. Why talk about race? Is race important? You bet! Because - like it or not - race has dominated and governed Our daily lives for thousands of years. After all: "To know where We're going, We must first know where We've been".
We've come a LONG Way baby! What was once "acceptable" in 1965 is no longer in 2008 and THANKFULLY.
This is a changing of the guard. Especially since forty-percent of America's population is considered to be a "minority". Only four generations removed, the repression of African slaves by Anglo Saxons caused hundreds of thousands of brothers to kill brothers in a viscous and bloody battle that changed the fundamental principals of this Constitutional Republic from rhetoric to reality. This too was a significant changing of the guard.
For the first time in the history of the country, the ancestors of these very same people who so passionately fought for slavery have now OVERWHELMINGLY voted for a minority leader. This too ushers in a new chapter in the history of America. This is a tremendous nod to those great American leaders before Us who risked everything so that We find ourselves at this precise moment in time. We must give thanks to these men and women who both tirelessly and unselfishly gave their lives to cross and to help shatter the racial, sexual and social boundaries imbued in the history of the United States of America.
It has now taken place. There's a palpable renewed sense of HOPE for a better tomorrow – a HOPE that these same crippling boundaries shall finally once and for all be erased. Yet it is wise to also remember the adage, "Actions speak louder than words" and Our rhetoric must now be turned into action. The ability to truly rise above differences and to not just speak of doing so, tells much of Our long and continuous journey. If We remember the old North American Indian saying, "We do not inherit the earth from our ancestors, we borrow it from our children." We might just have a fighting chance.
The People have spoken! A record-setting 130 million Americans' turned out to vote in Tuesday's election, in which Barack Obama made history on a Democratic tidal wave of victory. Polling suggests voters came out in record numbers because of growing concerns over the economy, jobs, health care, energy, and the war in Iraq.
Clearly, the Obama administration and the new Democratic majority in Washington have a chance to make profound changes in Our lives - stretching from Wall Street to Main Street. Yes, this moment shows decency about human possibility and let's face it, We could use just a little decency RIGHT NOW.
Perhaps more importantly, this moment speaks volumes as it's an utter rejection of the right's politics of fear and greed? It will now be decades before there's another Republican majority in Congress. Never have the words, "Ask not what Your country can do for You, but what You can do for Your country," seemed more true for SO MANY. For, We-Are-Our-country. And We're at a MAJOR crossroads. Where, oh where to begin?
OBAMA / BIDEN Campaign.
Here in New York, Working Families voters, members, affiliates, supporters and chapter leaders poured everything they had into critical campaigns that proved successful. Many are now understandably exhausted - though more than a little proud of what was accomplished. And, the results were terrific ~ if not downright Historic. For the first time since the mid-1930, the State Senate will NO LONGER be controlled by Republicans. It's now in the hands of a Democratic Working Families majority! Just-take-one-moment-and-soak-this-in. MASSIVE Democratic majorities in BOTH the HOUSE and the SENATE!
Together, the W.F.P built a solid partnership with Senate Democrats, knocking on more than half a million doors for progressive CHANGE. And, in the end, "We the People" overwhelmingly responded. This is a MILESTONE. There's now a renewed sense of real HOPE resonating from Washington, indeed, around the world. This is powerful. Because, without HOPE, there's simply nothing to gain.
However, We must be careful not to fall prey to disillusionment. If illusions tear People asunder, then disillusion outright kills the human spirit. In other words, divided THEY conquer, united, WE stand. That this historic moment was ushered in during Native American Indian month is apropos. Because, We must not forget the very real foundations of this idealistic country and pay homage to the 500 plus year struggle of Our First Peoples' for the basic rights afforded them in Our own Constitution. Obama's victory is indeed a victory representing the multitudes. It is precisely because his success mirrors the masses, rather than a few wealthy, power-elite that this is so electrifying. A VERY palpable, "Finally!" was the expression heard 'round the world.
The world woke up WEDNESDAY with the real possibility of a very RARE OPPORTUNITY - the best in most Our lifetimes. This is a chance to truly transform America.
But, We mustn't forget the VERY hard realities existing in this country. Just ask any woman…any "person of color"…or, any First Peoples living in this "great" land. For, as long as Native American Indians in Our country still live in policies of containment on reservations without the very basics, such as running water, electricity, or heat… as long as more than 75% of the prison population includes African-Americans, First and Taino Peoples …as long as We continue to allow Our tax dollars spent to be three times more for each of these prisoners per head than on Our own school childrens' education…as long as American women continue to earn less than men for the SAME work…as long as We allow privately held corporations to exist without extreme MAJOR reform…as long as We continue to allow Our children to trample on foreign soil to kill and to be killed in "Our" names…as long as We sit idly by expecting or content to let others to "Do the right thing," for us… as long as We DON'T ACTIVELY PARTICIPATE TOGETHER in challenging and fighting for OUR OWN WELL-BEING for the betterment of future generations… as long as We choose to remain ignorant and in denial to Our faults…TRUE CHANGE can, and will NEVER HAPPEN.
Though, like anything rare and unique, We must first take proper time to Honor…to give thanks to those before us who, without their dedication and sacrifice, made this moment possible. We must come together. Immediate formulation and a real plan to guard and to protect this moment with fierce determination is required. New leaders are needed and will emerge so We ensure moments like this become the norm, rather than a mere token fluke. If We HOPE to transform Tuesday's results into a real break from the shipwreck of the most immediate last thirty years - We MUST start by realizing this election represents just that – a START. It's Round One of Our LONG and CONTINUOUS struggle.
And, Round Two will be just as tough, if not more so. Staying the course can easily be forgotten when People are dying from inadequate health care; when they've found themselves on the streets for lack of shelter and as they grow ever more desperate due to lack of job opportunities. Just ask people of Native or African American descent. Or, one of Our homeless veterans living on America's streets of plenty.
Yes, the house of cards has fallen HARD and FAST. And, President / V.P. elect Barack Obama and Joe Biden have inherited many seemingly insurmountable challenges. REAL CHANGE - not rhetoric - is what's needed. And to get it, We MUST demand it. We MUST march and be watchdogs for the sake of the coming generations. Communication with Our politicians is a MUST. MOST importantly, We MUST stand TOGETHER and be willing to fight to protect what is right and what is good for the MANY, NOT the FEW.
UNITED We STAND, DIVIDED, We FALL.
A President Obama will need to be simultaneously supported AND pushed. His training as a community organizer gives one confidence that he'll not only understand, but should also expect this dynamic. It's imperative for us to mind the trusty, "Follow the money" strategy. Don't forget, President elect Obama dually made history by raising the most unprecedented amount of campaign dollars in the HISTORY of U.S. Presidential elections. According to CNN, if annualized, the Obama campaign's ad spending on the post-primary Presidential campaign would come to US$750 million. This amount is only exceeded amongst large corporations such as Verizon and AT&T - both heavy sponsors of the Republican AND the Democratic national party conventions.
At the start of October, the Democratic National Committee announced it raised US$49.9 million with US$27.5 million sitting in the bank. The party raised money through joint fund-raising events with Obama and was able to use that money to assist his candidacy. These numbers were only possible because he opted out of the public financing system for the fall campaign. John McCain chose to participate in the system, which limited him to US$84 million for the September / October stretch prior to the election. After initially promising to accept public financing if McCain did, Obama changed his mind after setting primary fund-raising records. In fact, by the time the primaries hit, Obama was raising as much as US$5 million each and every day. The Obama / Biden campaign raised more than US$150 million in September alone - a stunning and unprecedented eruption of political giving. This extraordinary fund-raising is bound to set a new standard in politics that could doom the current taxpayer-paid system set up in the 1970's.
HOPEfully NOT.
The party presidential nominees – Democrat Barack Obama and Republican John McCain – together spent more than US$1 BILLION, also an unprecedented figure. According to White House for Sale, a nonpartisan group that tracks political giving, Obama had 605 bundlers, or donors who collect money from friends and associates and bundle them together. Four years ago, Democrat John F. Kerry had 588 bundlers and, in 2000, Al Gore had none. McCain had 851 bundlers working for his campaign, compared to 557 who raised money for the Bush-Cheney re-election committee in 2004. George W. Bush is largely credited with institutionalizing the role of bundlers in 2000, when he recruited a then unprecedented 555 surrogate fundraisers.
Ask Yourselves: Who really benefits most from having donated to the Obama / Biden campaign?
President - elect Barack Obama & John McCain's U.S. Presidential campaign funds details:
OBAMA:
Total:US$750,767,963
Bundlers:605
LobbyistBundlers:17
MCCAIN:
Total: US$372,525,058
Bundlers: 851
Lobbyist Bundlers: 77
See the Center for Responsive Politics Presidential campaign monies for a better perspective:
2008: Obama AND McCain - US$5.3 BILLION
(Obama: US$750,767,963 million / McCain: US$372,525,058 million)
2004: Bush AND Kerry - US$4.2 BILLION
2000: Gore AND Bush - US$67.56 MILLION
1996: Dole AND Clinton - US$61.82 MILLION
1992: Clinton AND Bush - US$55.24 MILLION
* TO SEARCH FOR MEGA-DONERS, CLICK here: www.whitehouseforsale.org/searchDonor.cfm?CandidateSelect... McCain&StateSelect=&SortOrder=Last_Name, First_Name, Middle_Name, Suffix.*
Democrats in Washington and will be under enormous pressure to "play it safe", even as everyone knows We need bold action and some kind of new, New Deal. And, if We allow the "play-it-safe" crowd to dominate, then Obama (and We) will not succeed. Make NO mistake: the corporate big-wigs and free-market fundamentalists see this for exactly what it is: THE FIGHT OF A LIFETIME. They want nothing more than for the Democrats to disappoint, because then the HOPEfulness that Obama represents can be stuffed back in the bottle and cynicism can once again regain its place in Our national political culture.
WE Can't Let This Happen!
Whether it's revamping our health care system…implementing a new fair-based trade policy…creating a sound, realistic and well thought-out immigration plan…jobs programs…organizing rights in Washington, or campaign election reform, family leave or fair taxes, this election has set the stage for an ENTIRELY NEW social contract between the government and the People. This election opens up a real possibility – small, but real - that We could make genuine progress as a society, in terms of equality and freedom and true sustainability. In other words, the democracy We preach, but don't teach. What comes next is up to US. And, We need to seriously ready OURSELVES.
In short, the real meaning of this election hasn't yet been decided.
Overall, there's a lot of work to do. It's imperative that EVERYONE do his share - whether this means attending a neighborhood or union meeting, signing a petition, organizing or riding a bus to a demonstration, going on a lobby visit, making a financial contribution, or just talking to a stranger about the need and desirability of the common good.
Thanks for all you do!
Live your values. Love your country.
And, remember: TOGETHER, We can make a D-I-F-F-E-R-E-N-C-E !
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VENICE BIENNALE / VENEZIA BIENNIAL 2013 : BIENNALIST
www.emergencyrooms.org/biennalist.html
Biennalist is an Art Format by Thierry Geoffroy / Colonel debating with artistic tools on Biennales and other cultural managed events . Often those events promote them selves with thematics and press releases faking their aim . Biennalist take the thematics of the Biennales very seriously , and test their pertinance . Artists have questioned for decade the canvas , the pigment , the museum ... since 1989 we question the Biennales .Often Biennalist converge with Emergency Room providing a burning content that cannot wait ( today before it is too late )
please contact before using the images : Thierry Geoffroy / Colonel 1@colonel.dk
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In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile
www.emergencyrooms.org/biennalist.html
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lists of artists participating at the Venice Biennale :
Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.
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other pavilions at Venice Biennale
Andorra Artists: Javier Balmaseda, Samantha Bosque, Fiona Morrison
Commissioner: Henry Périer Deputy Commissioners: Francesc Rodríguez, Ermengol Puig, Ruth Casabella
Curators: Josep M. Ubach, Paolo De GrandisAngola Artist: Edson Chagas Commissioner: Ministry of Culture
Curators: Beyond Entropy (Paula Nascimento, Stefano Rabolli Pansera), Jorge Gumbe, Feliciano dos Santos
Argentina Artist: Nicola Costantino Commissioner: Magdalena Faillace Curator: Fernando Farina
Armenia Artist: Ararat SarkissianCurator: Arman Grogoryan /AustraliaArtist: Simryn Gill Commissioner: Simon Mordant Deputy Commissioner: Penelope Seidler Curator: Catherine de Zegher /AustriaArtist: Mathias Poledna ,Curator: Jasper Sharp /AzerbaijanArtists: Rashad Alakbarov, Sanan Aleskerov, Chingiz Babayev, Butunay Hagverdiyev, Fakhriyya Mammadova, Farid Rasulov /Commissioner: Heydar Aliyev FoundationCurator: Hervé Mikaeloff
Bahamas Artist: Tavares Strachan Commissioner: Nalini Bethel, Ministry of Tourism Curators: Jean Crutchfield, Robert HobbsDeputy Curator: Stamatina Gregory/BangladeshChhakka Artists’ Group: Mokhlesur Rahman, Mahbub Zamal, A. K. M. Zahidul Mustafa, Ashok Karmaker, Lala Rukh Selim, Uttam Kumar Karmaker. Dhali Al Mamoon, Yasmin Jahan Nupur, Gavin Rain, Gianfranco Meggiato, Charupit School/Commissioner/Curator: Francesco Elisei. , Curator: Fabio Anselmi./BahrainArtists: Mariam Haji, Waheeda Malullah, Camille Zakharia /Commissioner: Mai bint Mohammed Al Khalifa, Minister of Culture /Curator: Melissa Enders-Bhatiaa/BelgiumArtist: Berlinde De Bruyckere
Commissioner: Joke Schauvliege, Flemish Minister for Environment, Nature and Culture .Curator: J. M. Coetzee ,Deputy Curator: Philippe Van Cauteren /Bosnia and Herzegovina
Artist: Mladen Miljanovic .Commissioners: Sarita Vujković, Irfan Hošić
Brazil Artists: Hélio Fervenza, Odires Mlászho, Lygia Clark, Max Bill, Bruno Munari
Commissioner: Luis Terepins, Fundação Bienal de São Paulo,Curator: Luis Pérez-Oramas ,Deputy Curator: André Severo
CanadaArtist: Shary Boyle /Commissioner: National Gallery of Canada / Musée des beaux-arts du Canada ,Curator: Josée Drouin-Brisebois/Central AsiaArtists: Vyacheslav Akhunov, Sergey Chutkov, Saodat Ismailova, Kamilla Kurmanbekova, Ikuru Kuwajima, Anton Rodin, Aza Shade, Erlan Tuyakov
Commissioner: HIVOS (Humanist Institute for Development Cooperation)
Deputy Commissioner: Dean Vanessa Ohlraun (Oslo National Academy of the Arts/The Academy of Fine Art)
Curators: Ayatgali Tuleubek, Tiago Bom
Scientific Committee: Susanne M. Winterling
ChileArtist: Alfredo JaarCommissioner: CNCA, National Council of Culture and the Arts Curator: Madeleine Grynsztejn
ChinaArtists: He Yunchang, Hu Yaolin, Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong, Zhang Xiaotao
Commissioner: China Arts and Entertainment Group (CAEG) ,Curator: Wang Chunchen
Costa Rica Artists: Priscilla Monge, Esteban Piedra, Rafael Ottón Solís, Cinthya Soto
Commissioner: Francesco EliseiCurator: Francisco Córdoba, Museo de Arte y Diseño Contemporáneo (Fiorella Resenterra)
Croatia Artist: Kata Mijatovic ,Commissioner/Curator: Branko Franceschi.
CubaArtists: Liudmila and Nelson, Maria Magdalena Campos & Neil Leonard, Sandra Ramos, Glenda León, Lázaro Saavedra, Tonel, Hermann Nitsch, Gilberto Zorio, Wang Du, H.H.Lim, Pedro Costa, Rui Chafes, Francesca Leone ,Commissioner: Miria ViciniCurators: Jorge Fernández Torres, Giacomo Zaza
CyprusArtists: Lia Haraki, Maria Hassabi, Phanos Kyriacou, Constantinos Taliotis, Natalie Yiaxi, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister /Louli Michaelidou
Deputy Commissioners: Angela Skordi, Marika Ioannou/Curator: Raimundas Malašauskas
Czech Republic & Slovak RepublicArtists: Petra Feriancova, Zbynek Baladran ,Commissioner: Monika Palcova, Curator: Marek Pokorny /DenmarkArtist: Jesper Just in collaboration with Project ProjectsEgypt
Artists: Mohamed Banawy, Khaled Zaki
EstoniaArtist: Dénes Farkas ,Commissioner: Maria Arusoo ,Curator: Adam Budak
FinlandArtist: Antti Laitinen , Commissioner: Raija Koli , Curators: Marko Karo, Mika Elo, Harri Laakso
FranceArtist: Anri Sala ,Curator: Christine Macel
GeorgiaArtists: Bouillon Group,Thea Djordjadze, Nikoloz Lutidze, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin, Gio Sumbadze/Commissioner: Marine Mizandari, First Deputy Minister of Culture Curator: Joanna Warsza
GermanyArtists: Ai Weiwei, Romuald Karmakar, Santu Mofokeng, Dayanita Singh Commissioner/Curator: Susanne Gaensheimer /Great BritainArtist: Jeremy Deller ,Commissioner: Andrea Rose , Curator: Emma Gifford-Mead
Holy SeeArtists: Lawrence Carroll, Josef Koudelka, Studio Azzurro ,Curator: Antonio Paolucci
Hungary , Artist: Zsolt Asztalos , Curator: Gabriella Uhl
Iceland , Artist: Katrín Sigurðardóttir ,Commissioner: Dorotheé Kirch
Curators: Mary Ceruti , Ilaria Bonacossa/IndonesiaArtists: Albert Yonathan Setyawan, Eko Nugroho, Entang Wiharso, Rahayu Supanggah, Sri Astari, Titarubi
Deputy Commissioner: Achille Bonito Oliva , Assistant Commissioner: Mirah M. Sjarif
Curators: Carla Bianpoen, Rifky Effendy
IraqArtists: Abdul Raheem Yassir, Akeel Khreef, Ali Samiaa, Bassim Al-Shaker, Cheeman Ismaeel, Furat al Jamil, Hareth Alhomaam, Jamal Penjweny, Kadhim Nwir, WAMI (Yaseen Wami, Hashim Taeeh)
Commissioner: Tamara Chalabi (Ruya Foundation for Contemporary Culture)Curator: Jonathan Watkins.
IrelandArtist: Richard MosseCommissioner, Curator: Anna O’Sullivan
Israel , Artist: Gilad Ratman , Commissioners: Arad Turgeman, Michael GovCurator: Sergio Edelstein
ItalyArtists: Francesco Arena, Massimo Bartolini, Gianfranco Baruchello, Elisabetta Benassi, Flavio Favelli, Luigi Ghirri, Piero Golia, Francesca Grilli, Marcello Maloberti, Fabio Mauri, Giulio Paolini, Marco Tirelli, Luca Vitone, Sislej Xhafa ,Commissioner: Maddalena Ragni
Curator: Bartolomeo Pietromarchi /Ivory Coast Artists: Frédéric Bruly Bouabré, Tamsir Dia, Jems Koko Bi, Franck Fanny
Commissioner: Paolo De Grandis , Curator: Yacouba Konaté
Japan ,Artist: Koki Tanaka ,Curator: Mika Kuraya
KenyaArtists: Kivuthi Mbuno, Armando Tanzini, Chrispus Wangombe Wachira, Fan Bo, Luo Ling & Liu Ke, Lu Peng, Li Wei, He Weiming, Chen Wenling, Feng Zhengjie, César MeneghettiCommissioner: Paola Poponi ,Curators: Sandro Orlandi, Paola Poponi /Korea (Republic of)Artist: Kimsooja
KosovoArtist: Petrit Halilaj ,Commissioner: Erzen Shkololli ,Curator: Kathrin Rhomberg
KuwaitArtists: Sami Mohammad, Tarek Al-Ghoussein
Commissioner: Mohammed Al-Asoussi ,Curator: Ala Younis /Latin AmericaIstituto Italo-Latino Americano
Artists:Marcos Agudelo, Miguel Alvear & Patricio Andrade, Susana Arwas, François Bucher, Fredi Casco, Colectivo Quintapata (Pascal Meccariello, Raquel Paiewonsky, Jorge Pineda, Belkis Ramírez), Humberto Díaz, Sonia Falcone, León & Cociña, Lucía Madriz, Jhafis Quintero, Martín Sastre, Guillermo Srodek-Hart, Juliana Stein, Simón Vega, Luca Vitone, David Zink Yi. /Harun Farocki & Antje Ehmann. In collaboration with: Cristián Silva-Avária, Anna Azevedo, Paola Barreto, Fred Benevides, Anna Bentes, Hermano Callou, Renata Catharino, Patrick Sonni Cavalier, Lucas Ferraço Nassif, Luiz Garcia, André Herique, Bruna Mastrogiovanni, Cezar Migliorin, Felipe Ribeiro, Roberto Robalinho, Bruno Vianna, Beny Wagner, Christian Jankowski ,Commissioner: Sylvia Irrazábal ,Curator: Alfons Hug
Deputy Curator: Paz Guevara /Latvia Artists: Kaspars Podnieks, Krišs Salmanis ,Commissioners: Zane Culkstena, Zane Onckule ,Curators: Anne Barlow, Courtenay Finn, Alise Tifentale
LithuaniaArtist: Gintaras Didžiapetris, Elena Narbutaite, Liudvikas Buklys, Kazys Varnelis, Vytaute Žilinskaite, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter SinisterCommissioners: Jonas Žokaitis, Aurime Aleksandraviciute Curator: Raimundas Malašauskas /LuxembourgArtist: Catherine LorentCommissioner: Clément Minighetti Curator: Anna Loporcaro /MexicoArtist: Ariel Guzik ,Commissioner: Gastón Ramírez Feltrín ,Curator: Itala Schmelz
Montenegro ,Artist: Irena Lagator Pejovic .Commissioner/Curator: Nataša Nikcevic
The Netherlands ,Artist: Mark Manders
Commissioner: Mondriaan Fund ,Curator: Lorenzo Benedetti
New Zealand Artist: Bill Culbert ,Commissioner: Jenny Harper ,Deputy Commissioner: Heather Galbraith ,Curator: Justin Paton /Finland: ,Artist: Terike Haapoja ,Commissioner: Raija Koli ,Curators: Marko Karo, Mika Elo, Harri Laakso
Norway:Artists: Edvard Munch, Lene Berg
Curators: Marta Kuzma, Pablo Lafuente, Angela Vettese
Paraguay Artists: Pedro Barrail, Felix Toranzos, Diana Rossi, Daniel Milessi ,Commissioner: Elisa Victoria Aquino Laterza
Deputy Commissioner: Nori Vaccari Starck , Curator: Osvaldo González Real
Poland Artist: Konrad Smolenski Commissioner: Hanna Wróblewska Curators: Agnieszka Pindera, Daniel Muzyczuk
Portugal Artist: Joana Vasconcelos Curator: Miguel Amado
RomaniaArtists: Maria Alexandra Pirici, Manuel Pelmus Commissioner: Monica Morariu Deputy Commissioner: Alexandru Damia Curator: Raluca VoineaArtists: Anca Mihulet, Apparatus 22 (Dragos Olea, Maria Farcas,Erika Olea), Irina Botea, Nicu Ilfoveanu, Karolina Bregula, Adi Matei, Olivia Mihaltianu, Sebastian MoldovanCommissioner: Monica Morariu ,Deputy Commissioner: Alexandru Damian ,Curator: Anca Mihulet
Russia Artist: Vadim Zakharov ,Commissioner: Stella Kasaeva ,Curator: Udo Kittelmann
Serbia Artists: Vladimir Peric, Miloš Tomic .Commissioner: Maja Ciric
SloveniaArtist: Jasmina CibicCommissioner: Blaž Peršin ,Curator: Tevž Logar
South Africa Commissioner: Saul Molobi ,Curator: Brenton Maart
Spain Artist: Lara Almarcegui , Commissioner/Curator: Octavio Zaya
Switzerland Artist: Valentin Carron Commissioners: Pro Helvetia - Sandi Paucic and Marianne Burki
Curator: Giovanni CarmineVenue: Pavilion at Giardini
Syrian Arab RepublicArtists: Giorgio De Chirico, Miro George, Makhowl Moffak, Al Samman Nabil, Echtai Shaffik, Giulio Durini, Dario Arcidiacono, Massimiliano Alioto, Felipe Cardena, Roberto Paolini, Concetto Pozzati, Sergio Lombardo, Camilla Ancilotto, Lucio Micheletti, Lidia Bachis, Cracking Art Group, Hannu Palosuo
Commissioner: Christian Maretti Curator: Duccio Trombadori
Taiwan Artists: Bernd Behr, Chia-Wei Hsu, Kateřina Šedá + BATEŽO MIKILU Curator: Esther Lu
Thailand Artists: Wasinburee Supanichvoraparch, Arin Rungjang
Curators: Penwadee Nophaket Manont, Worathep Akkabootara
Turkey Artist: Ali Kazma Commissioner: Istanbul Foundation for Culture and Arts Curator: Emre Baykal
Ukraine Artists: Ridnyi Mykola, Zinkovskyi Hamlet, Kadyrova Zhanna Commissioner: Victor Sydorenko
Curators: Soloviov Oleksandr, Burlaka Victoria
United Arab Emirates Artist: Mohammed Kazem /Commissioner: Dr. Lamees Hamdan Curator: Reem Fadda
Uruguay Artist: Wifredo Díaz Valdéz
Commissioner: Ricardo Pascale Curators: Carlos Capelán, Verónica Cordeiro
USA Artist: Sarah Sze Commissioners/Curators: Carey Lovelace, Holly Block
Venezuela Colectivo de Artistas Urbanos Venezolanos , Commissioner: Edgar Ernesto González Curator: Juan Calzadilla
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Encyclopedic Palace is curated by Massimiliano Gioni
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Other Biennales (Biennials ) : Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
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Countries( nations ) that participate at the Venice Biennale 55 th ( 2013 Biennale di Venezia ) in Italy ( at Giardini or Arsenale or ? ) : Albania, Andorra, Argentina, Australia, Austria, Azerbaijan, Bangladesh, Belarus, Belgium, Brazil, Bulgaria,
Costa Rica, Croatia, Cuba, Cyprus, Czech , Slovenia, South Africa, Spain, Canada, Chile, China, Congo,
Slovak Republic, 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
Sweden, Switzerland, Syrian Arab Republic, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Zimbabwe
the Bahamas, the Kingdom of Bahrain, the Republic of Kosovo, Kuwait, the Maldives, Côte d'Ivoire, Nigeria and Paraguay
Eight countries participate for the first time in next year's biennale: the Bahamas, the Kingdom of Bahrain, the Republic of Kosovo, Kuwait, the Maldives, Côte d'Ivoire, Nigeria and Paraguay
An historic church located at Chaptico, St. Mary's County, Maryland, United States. It was constructed in 1736 of Flemish bond brick construction with glazed headers, 60 feet long and 40 feet wide, with an original semicircular brick apse. Significant interior features include a semi-circular chancel, arched ceiling, crowned columns, and boxed pews. In 1916, a three-story brick tower with octagonal belfry and spire was added to the west end of the church. The building was constructed under the supervision of Philip Key, vestryman, who was the grandfather of Francis Scott Key. The building was heavily damaged on July 30, 1814, during the War of 1812, when an admiral of the British fleet, sailed up the Potomac River, came ashore and took possession of the village of Chaptico, vandalized the village, dug up graves, and stabled their horses inside the church.
Surrounding the church is a cemetery with 18th, 19th, and 20th century markers, including a vault for the Key family. Christ Church Parish was one of the original 30 Anglican parishes in the Province of Maryland.
Several members of the Francis Scott Key family are buried in the Key Family vault.
Christ Episcopal Church was listed on the National Register of Historic Places in 1994.
Ipê Amarelo, Tabebuia [chrysotricha or ochracea].
Ipê-amarelo na CLS 302 (Rua das farmácias), em Brasília, Brasil.
This tree is at CLS 302, in Brasília, Capital of Brazil.
Text, in english, from Wikipedia, the free encyclopedia
"Trumpet tree" redirects here. This term is occasionally used for the Shield-leaved Pumpwood (Cecropia peltata).
Tabebuia
Flowering Araguaney or ipê-amarelo (Tabebuia chrysantha) in central Brazil
Scientific classification
Kingdom: Plantae
(unranked): Angiosperms
(unranked): Eudicots
(unranked): Asterids
Order: Lamiales
Family: Bignoniaceae
Tribe: Tecomeae
Genus: Tabebuia
Gomez
Species
Nearly 100.
Tabebuia is a neotropical genus of about 100 species in the tribe Tecomeae of the family Bignoniaceae. The species range from northern Mexico and the Antilles south to northern Argentina and central Venezuela, including the Caribbean islands of Hispaniola (Dominican Republic and Haiti) and Cuba. Well-known common names include Ipê, Poui, trumpet trees and pau d'arco.
They are large shrubs and trees growing to 5 to 50 m (16 to 160 ft.) tall depending on the species; many species are dry-season deciduous but some are evergreen. The leaves are opposite pairs, complex or palmately compound with 3–7 leaflets.
Tabebuia is a notable flowering tree. The flowers are 3 to 11 cm (1 to 4 in.) wide and are produced in dense clusters. They present a cupular calyx campanulate to tubular, truncate, bilabiate or 5-lobed. Corolla colors vary between species ranging from white, light pink, yellow, lavender, magenta, or red. The outside texture of the flower tube is either glabrous or pubescentThe fruit is a dehiscent pod, 10 to 50 cm (4 to 20 in.) long, containing numerous—in some species winged—seeds. These pods often remain on the tree through dry season until the beginning of the rainy.
Species in this genus are important as timber trees. The wood is used for furniture, decking, and other outdoor uses. It is increasingly popular as a decking material due to its insect resistance and durability. By 2007, FSC-certified ipê wood had become readily available on the market, although certificates are occasionally forged.
Tabebuia is widely used as ornamental tree in the tropics in landscaping gardens, public squares, and boulevards due to its impressive and colorful flowering. Many flowers appear on still leafless stems at the end of the dry season, making the floral display more conspicuous. They are useful as honey plants for bees, and are popular with certain hummingbirds. Naturalist Madhaviah Krishnan on the other hand once famously took offense at ipé grown in India, where it is not native.
Lapacho teaThe bark of several species has medical properties. The bark is dried, shredded, and then boiled making a bitter or sour-tasting brownish-colored tea. Tea from the inner bark of Pink Ipê (T. impetiginosa) is known as Lapacho or Taheebo. Its main active principles are lapachol, quercetin, and other flavonoids. It is also available in pill form. The herbal remedy is typically used during flu and cold season and for easing smoker's cough. It apparently works as expectorant, by promoting the lungs to cough up and free deeply embedded mucus and contaminants. However, lapachol is rather toxic and therefore a more topical use e.g. as antibiotic or pesticide may be advisable. Other species with significant folk medical use are T. alba and Yellow Lapacho (T. serratifolia)
Tabebuia heteropoda, T. incana, and other species are occasionally used as an additive to the entheogenic drink Ayahuasca.
Mycosphaerella tabebuiae, a plant pathogenic sac fungus, was first discovered on an ipê tree.
Tabebuia alba
Tabebuia anafensis
Tabebuia arimaoensis
Tabebuia aurea – Caribbean Trumpet Tree
Tabebuia bilbergii
Tabebuia bibracteolata
Tabebuia cassinoides
Tabebuia chrysantha – Araguaney, Yellow Ipê, tajibo (Bolivia), ipê-amarelo (Brazil), cañaguate (N Colombia)
Tabebuia chrysotricha – Golden Trumpet Tree
Tabebuia donnell-smithii Rose – Gold Tree, "Prima Vera", Cortez blanco (El Salvador), San Juan (Honduras), palo blanco (Guatemala),duranga (Mexico)
A native of Mexico and Central Americas, considered one of the most colorful of all Central American trees. The leaves are deciduous. Masses of golden-yellow flowers cover the crown after the leaves are shed.
Tabebuia dubia
Tabebuia ecuadorensis
Tabebuia elongata
Tabebuia furfuracea
Tabebuia geminiflora Rizz. & Mattos
Tabebuia guayacan (Seem.) Hemsl.
Tabebuia haemantha
Tabebuia heptaphylla (Vell.) Toledo – tajy
Tabebuia heterophylla – roble prieto
Tabebuia heteropoda
Tabebuia hypoleuca
Tabebuia impetiginosa – Pink Ipê, Pink Lapacho, ipê-cavatã, ipê-comum, ipê-reto, ipê-rosa, ipê-roxo-damata, pau d'arco-roxo, peúva, piúva (Brazil), lapacho negro (Spanish); not "brazilwood"
Tabebuia incana
Tabebuia jackiana
Tabebuia lapacho – lapacho amarillo
Tabebuia orinocensis A.H. Gentry[verification needed]
Tabebuia ochracea
Tabebuia oligolepis
Tabebuia pallida – Cuban Pink Trumpet Tree
Tabebuia platyantha
Tabebuia polymorpha
Tabebuia rosea (Bertol.) DC.[verification needed] (= T. pentaphylla (L.) Hemsley) – Pink Poui, Pink Tecoma, apama, apamate, matilisguate
A popular street tree in tropical cities because of its multi-annular masses of light pink to purple flowers and modest size. The roots are not especially destructive for roads and sidewalks. It is the national tree of El Salvador and the state tree of Cojedes, Venezuela
Tabebuia roseo-alba – White Ipê, ipê-branco (Brazil), lapacho blanco
Tabebuia serratifolia – Yellow Lapacho, Yellow Poui, ipê-roxo (Brazil)
Tabebuia shaferi
Tabebuia striata
Tabebuia subtilis Sprague & Sandwith
Tabebuia umbellata
Tabebuia vellosoi Toledo
Ipê-do-cerrado
Texto, em português, da Wikipédia, a enciclopédia livre.
Ipê-do-cerrado
Classificação científica
Reino: Plantae
Divisão: Magnoliophyta
Classe: Magnoliopsida
Subclasse: Asteridae
Ordem: Lamiales
Família: Bignoniaceae
Género: Tabebuia
Espécie: T. ochracea
Nome binomial
Tabebuia ochracea
(Cham.) Standl. 1832
Sinónimos
Bignonia tomentosa Pav. ex DC.
Handroanthus ochraceus (Cham.) Mattos
Tabebuia chrysantha (Jacq.) G. Nicholson
Tabebuia hypodictyon A. DC.) Standl.
Tabebuia neochrysantha A.H. Gentry
Tabebuia ochracea subsp. heteropoda (A. DC.) A.H. Gentry
Tabebuia ochracea subsp. neochrysantha (A.H. Gentry) A.H. Gentry
Tecoma campinae Kraenzl.
ecoma grandiceps Kraenzl.
Tecoma hassleri Sprague
Tecoma hemmendorffiana Kraenzl.
Tecoma heteropoda A. DC.
Tecoma hypodictyon A. DC.
Tecoma ochracea Cham.
Ipê-do-cerrado é um dos nomes populares da Tabebuia ochracea (Cham.) Standl. 1832, nativa do cerrado brasileiro, no estados de Amazonas, Pará, Maranhão, Piauí, Ceará, Pernambuco, Bahia, Espírito Santo, Goiás, Mato Grosso, Mato Grosso do Sul, Minas Gerais, Rio de Janeiro, São Paulo e Paraná.
Está na lista de espécies ameaçadas do estado de São Paulo, onde é encontrda também no domínio da Mata Atlântica[1].
Ocorre também na Argentina, Paraguai, Bolívia, Equador, Peru, Venezuela, Guiana, El Salvador, Guatemala e Panamá[2].
Há uma espécie homônima descrita por A.H. Gentry em 1992.
Outros nomes populares: ipê-amarelo, ipê-cascudo, ipê-do-campo, ipê-pardo, pau-d'arco-do-campo, piúva, tarumã.
Características
Altura de 6 a 14 m. Tronco tortuso com até 50 cm de diâmetro. Folhas pilosas em ambas as faces, mais na inferior, que é mais clara.
Planta decídua, heliófita, xerófita, nativa do cerrado em solos bem drenados.
Floresce de julho a setembro. Os frutos amadurecem de setembro a outubro.
FloresProduz grande quantidade de sementes leves, aladas com pequenas reservas, e que perdem a viabilidade em menos de 90 dias após coleta. A sua conservação vem sendo estudada em termos de determinação da condição ideal de armazenamento, e tem demonstrado a importância de se conhecer o comportamento da espécie quando armazenada com diferentes teores de umidade inicial, e a umidade de equilíbrio crítica para a espécie (KANO; MÁRQUEZ & KAGEYAMA, 1978). As levíssimas sementes aladas da espécie não necessitam de quebra de dormência. Podem apenas ser expostas ao sol por cerca de 6 horas e semeadas diretamente nos saquinhos. A germinação ocorre após 30 dias e de 80%. As sementes são ortodoxas e há aproximadamente 72 000 sementes em cada quilo.
O desenvolvimento da planta é rápido.
Como outros ipês, a madeira é usada em tacos, assoalhos, e em dormentes e postes. Presta-se também para peças torneadas e instrumento musicais.
Tabebuia alba (Ipê-Amarelo)
Texto, em português, produzido pela Acadêmica Giovana Beatriz Theodoro Marto
Supervisão e orientação do Prof. Luiz Ernesto George Barrichelo e do Eng. Paulo Henrique Müller
Atualizado em 10/07/2006
O ipê amarelo é a árvore brasileira mais conhecida, a mais cultivada e, sem dúvida nenhuma, a mais bela. É na verdade um complexo de nove ou dez espécies com características mais ou menos semelhantes, com flores brancas, amarelas ou roxas. Não há região do país onde não exista pelo menos uma espécie dele, porém a existência do ipê em habitat natural nos dias atuais é rara entre a maioria das espécies (LORENZI,2000).
A espécie Tabebuia alba, nativa do Brasil, é uma das espécies do gênero Tabebuia que possui “Ipê Amarelo” como nome popular. O nome alba provém de albus (branco em latim) e é devido ao tomento branco dos ramos e folhas novas.
As árvores desta espécie proporcionam um belo espetáculo com sua bela floração na arborização de ruas em algumas cidades brasileiras. São lindas árvores que embelezam e promovem um colorido no final do inverno. Existe uma crença popular de que quando o ipê-amarelo floresce não vão ocorrer mais geadas. Infelizmente, a espécie é considerada vulnerável quanto à ameaça de extinção.
A Tabebuia alba, natural do semi-árido alagoano está adaptada a todas as regiões fisiográficas, levando o governo, por meio do Decreto nº 6239, a transformar a espécie como a árvore símbolo do estado, estando, pois sob a sua tutela, não mais podendo ser suprimida de seus habitats naturais.
Taxonomia
Família: Bignoniaceae
Espécie: Tabebuia Alba (Chamiso) Sandwith
Sinonímia botânica: Handroanthus albus (Chamiso) Mattos; Tecoma alba Chamisso
Outros nomes vulgares: ipê-amarelo, ipê, aipê, ipê-branco, ipê-mamono, ipê-mandioca, ipê-ouro, ipê-pardo, ipê-vacariano, ipê-tabaco, ipê-do-cerrado, ipê-dourado, ipê-da-serra, ipezeiro, pau-d’arco-amarelo, taipoca.
Aspectos Ecológicos
O ipê-amarelo é uma espécie heliófita (Planta adaptada ao crescimento em ambiente aberto ou exposto à luz direta) e decídua (que perde as folhas em determinada época do ano). Pertence ao grupo das espécies secundárias iniciais (DURIGAN & NOGUEIRA, 1990).
Abrange a Floresta Pluvial da Mata Atlântica e da Floresta Latifoliada Semidecídua, ocorrendo principalmente no interior da Floresta Primária Densa. É característica de sub-bosques dos pinhais, onde há regeneração regular.
Informações Botânicas
Morfologia
As árvores de Tabebuia alba possuem cerca de 30 metros de altura. O tronco é reto ou levemente tortuoso, com fuste de 5 a 8 m de altura. A casca externa é grisáceo-grossa, possuindo fissuras longitudinais esparas e profundas. A coloração desta é cinza-rosa intenso, com camadas fibrosas, muito resistentes e finas, porém bem distintas.
Com ramos grossos, tortuosos e compridos, o ipê-amarelo possui copa alongada e alargada na base. As raízes de sustentação e absorção são vigorosas e profundas.
As folhas, deciduais, são opostas, digitadas e compostas. A face superior destas folhas é verde-escura, e, a face inferior, acinzentada, sendo ambas as faces tomentosas. Os pecíolos das folhas medem de 2,5 a 10 cm de comprimento. Os folíolos, geralmente, apresentam-se em número de 5 a 7, possuindo de 7 a 18 cm de comprimento por 2 a 6 cm de largura. Quando jovem estes folíolos são densamente pilosos em ambas as faces. O ápice destes é pontiagudo, com base arredondada e margem serreada.
As flores, grandes e lanceoladas, são de coloração amarelo-ouro. Possuem em média 8X15 cm.
Quanto aos frutos, estes possuem forma de cápsula bivalvar e são secos e deiscentes. Do tipo síliqua, lembram uma vagem. Medem de 15 a 30 cm de comprimento por 1,5 a 2,5 cm de largura. As valvas são finamente tomentosas com pêlos ramificados. Possuem grande quantidade de sementes.
As sementes são membranáceas brilhantes e esbranquiçadas, de coloração marrom. Possuem de 2 a 3 cm de comprimento por 7 a 9 mm de largura e são aladas.
Reprodução
A espécie é caducifólia e a queda das folhas coincide com o período de floração. A floração inicia-se no final de agosto, podendo ocorrer alguma variação devido a fenômenos climáticos. Como a espécie floresce no final do inverno é influenciada pela intensidade do mesmo. Quanto mais frio e seco for o inverno, maior será a intensidade da florada do ipê amarelo.
As flores por sua exuberância, atraem abelhas e pássaros, principalmente beija-flores que são importantes agentes polinizadores. Segundo CARVALHO (2003), a espécie possui como vetor de polinização a abelha mamangava (Bombus morio).
As sementes são dispersas pelo vento.
A planta é hermafrodita, e frutifica nos meses de setembro, outubro, novembro, dezembro, janeiro e fevereiro, dependendo da sua localização. Em cultivo, a espécie inicia o processo reprodutivo após o terceiro ano.
Ocorrência Natural
Ocorre naturalmente na Floresta Estaciobal Semidecicual, Floresta de Araucária e no Cerrado.
Segundo o IBGE, a Tabebuia alba (Cham.) Sandw. é uma árvore do Cerrado, Cerradão e Mata Seca. Apresentando-se nos campos secos (savana gramíneo-lenhosa), próximo às escarpas.
Clima
Segundo a classificação de Köppen, o ipê-amarelo abrange locais de clima tropical (Aw), subtropical úmido (Cfa), sutropical de altitude (Cwa e Cwb) e temperado.
A T.alba pode tolerar até 81 geadas em um ano. Ocorre em locais onde a temperatura média anual varia de 14,4ºC como mínimo e 22,4ºC como máximo.
Solo
A espécie prefere solos úmidos, com drenagem lenta e geralmente não muito ondulados (LONGHI, 1995).
Aparece em terras de boa à média fertilidade, em solos profundos ou rasos, nas matas e raramente cerradões (NOGUEIRA, 1977).
Pragas e Doenças
De acordo com CARVALHO (2003), possui como praga a espécie de coleópteros Cydianerus bohemani da família Curculionoideae e um outro coleóptero da família Chrysomellidae. Apesar da constatação de elevados índices populacionais do primeiro, os danos ocasionados até o momento são leves. Nas praças e ruas de Curitiba - PR, 31% das árvores foram atacadas pela Cochonilha Ceroplastes grandis.
ZIDKO (2002), ao estudar no município de Piracicaba a associação de coleópteros em espécies arbóreas, verificou a presença de insetos adultos da espécie Sitophilus linearis da família de coleópteros, Curculionidae, em estruturas reprodutivas. Os insetos adultos da espécie emergiram das vagens do ipê, danificando as sementes desta espécie nativa.
ANDRADE (1928) assinalou diversas espécies de Cerambycidae atacando essências florestais vivas, como ingazeiro, cinamomo, cangerana, cedro, caixeta, jacarandá, araribá, jatobá, entre outras como o ipê amarelo.
A Madeira
A Tabebuia alba produz madeira de grande durabilidade e resistência ao apodrecimento (LONGHI,1995).
MANIERI (1970) caracteriza o cerne desta espécie como de cor pardo-havana-claro, pardo-havan-escuro, ou pardo-acastanhado, com reflexos esverdeados. A superfície da madeira é irregularmente lustrosa, lisa ao tato, possuindo textura media e grã-direita.
Com densidade entre 0,90 e 1,15 grama por centímetro cúbico, a madeira é muito dura (LORENZI, 1992), apresentando grande dificuldade ao serrar.
A madeira possui cheiro e gosto distintos. Segundo LORENZI (1992), o cheiro característico é devido à presença da substância lapachol, ou ipeína.
Usos da Madeira
Sendo pesada, com cerne escuro, adquire grande valor comercial na marcenaria e carpintaria. Também é utilizada para fabricação de dormentes, moirões, pontes, postes, eixos de roda, varais de carroça, moendas de cana, etc.
Produtos Não-Madeireiros
A entrecasca do ipê-amarelo possui propriedades terapêuticas como adstringente, usada no tratamento de garganta e estomatites. É também usada como diurético.
O ipê-amarelo possui flores melíferas e que maduras podem ser utilizadas na alimentação humana.
Outros Usos
É comumente utilizada em paisagismo de parques e jardins pela beleza e porte. Além disso, é muito utilizada na arborização urbana.
Segundo MOREIRA & SOUZA (1987), o ipê-amarelo costuma povoar as beiras dos rios sendo, portanto, indicado para recomposição de matas ciliares. MARTINS (1986), também cita a espécie para recomposição de matas ciliares da Floresta Estacional Semidecidual, abrangendo alguns municípios das regiões Norte, Noroeste e parte do Oeste do Estado do Paraná.
Aspectos Silviculturais
Possui a tendência a crescer reto e sem bifurcações quando plantado em reflorestamento misto, pois é espécie monopodial. A desrrama se faz muito bem e a cicatrização é boa. Sendo assim, dificilmente encopa quando nova, a não ser que seja plantado em parques e jardins.
Ao ser utilizada em arborização urbana, o ipê amarelo requer podas de condução com freqüência mediana.
Espécie heliófila apresenta a pleno sol ramificação cimosa, registrando-se assim dicotomia para gema apical. Deve ser preconizada, para seu melhor aproveitamento madeireiro, podas de formação usuais (INQUE et al., 1983).
Produção de Mudas
A propagação deve realizada através de enxertia.
Os frutos devem ser coletados antes da dispersão, para evitar a perda de sementes. Após a coleta as sementes são postas em ambiente ventilado e a extração é feita manualmente. As sementes do ipê amarelo são ortodoxas, mantendo a viabilidade natural por até 3 meses em sala e por até 9 meses em vidro fechado, em câmara fria.
A condução das mudas deve ser feita a pleno sol. A muda atinge cerca de 30 cm em 9 meses, apresentando tolerância ao sol 3 semanas após a germinação.
Sementes
Os ipês, espécies do gênero Tabebuia, produzem uma grande quantidade de sementes leves, aladas com pequenas reservas, e que perdem a viabilidade em poucos dias após a sua coleta. A sua conservação vem sendo estudada em termos de determinação da condição ideal de armazenamento, e tem demonstrado a importância de se conhecer o comportamento da espécie quando armazenada com diferentes teores de umidade inicial, e a umidade de equilíbrio crítica para a espécie (KANO; MÁRQUEZ & KAGEYAMA, 1978).
As levíssimas sementes aladas da espécie não necessitam de quebra de dormência. Podem apenas ser expostas ao sol por cerca de 6 horas e semeadas diretamente nos saquinhos. A quebra natural leva cerca de 3 meses e a quebra na câmara leva 9 meses. A germinação ocorre após 30 dias e de 80%.
As sementes são ortodoxas e há aproximadamente 87000 sementes em cada quilo.
Preço da Madeira no Mercado
O preço médio do metro cúbico de pranchas de ipê no Estado do Pará cotado em Julho e Agosto de 2005 foi de R$1.200,00 o preço mínimo, R$ 1509,35 o médio e R$ 2.000,00 o preço máximo (CEPEA,2005).
LOS ANGELES - The Los Angeles Fire Department gathered on April 21, 2023 to honor the achievements of fifty-three LAFD uniformed and civilian members who successfully completed the demanding process of promoting in rank or status within the Department.
Expressing her pride in their accomplishments, City of Los Angeles Fire Chief Kristin M. Crowley oversaw the formal promotion ceremony at the LAFD Frank Hotchkin Memorial Training Center in Elysian Park.
Individually honored at the event were:
Joseph Bannan
Daniel Barrera
Roland Bonada
Michael Campana
Victor Chavez
Justin Draeger
Christopher Dupertuis
Ricardo Garcia
Javier Gonzalez
Thomas Griffith
Andrew Guzzard
Eldon Karrati
Matthew Kasparian
Carlos Limon
Arturo Martinez
Luis Ochoa
Gage Oetgen
Michael Pellegrini
Brant Pulliam
Ian VanGerpen
Alan Almaguer
Amanda Avery
Ellery Beltran
Manuel Castaneda III
Michael Contreras
Justin Dettorre
Christopher Elguea
Joel Fien
Jacob Fryer
Borys Gudiel
Cody Hass
Justin Lahr
Christopher Napper
Calvin Ngo
Robert Price
Taylor Rappaport
Jeffrey Rodner
Gregory Zaccaro
Jason Teter
Greg Whitmore
Adam Blasey
Gregory Brown
Lenora Caldera
Mercedes Orellana-Farias
Tom Hoang
Maria Lozano
Brittany Medina
Nam Nguyen
William Nguyen
Mauricio Ramirez
Arman Serobyan
Amabel Torres
John Warner
Photo Use Permitted via Creative Commons - Credit LAFD
LAFD Event 042123 - Promotion Ceremony
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U.S. Army Africa photo by David Ruderman
U.S. Africa Command (AFRICOM) hosted its second annual C4ISR Senior Leaders Conference Feb. 2-4 at Caserma Ederle, headquarters of U.S. Army Africa, in Vicenza, Italy.
The communications and intelligence community event, hosted by Brig. Gen. Robert Ferrell, AFRICOM C4 director, drew approximately 80 senior leaders from diverse U.S. military and government branches and agencies, as well as representatives of African nations and the African Union.
The conference is a combination of our U.S. AFRICOM C4 systems and intel directorate,” said Ferrell. “We come together annually to bring the team together to work on common goals to work on throughout the year. The team consists of our coalition partners as well as our inter-agency partners, as well as our components and U.S. AFRICOM staff.”
The conference focused on updates from participants, and on assessing the present state and goals of coalition partners in Africa, he said.
“The theme for our conference is ‘Delivering Capabilities to a Joint Information Environment,’ and we see it as a joint and combined team ... working together, side by side, to promote peace and stability there on the African continent,” Ferrell said.
Three goals of this year’s conference were to strengthen the team, assess priorities across the board, and get a better fix on the impact that the establishment of the U.S. Cyber Command will have on all members’ efforts in the future, he said.
“With the stand-up of U.S. Cyber Command, it brings a lot of unique challenges that we as a team need to talk through to ensure that our information is protected at all times,” Ferrell said.
African Union (AU) representatives from four broad geographic regions of Africa attended, which generated a holistic perspective on needs and requirements from across the continent, he said.
“We have members from the African Union headquarters that is located in Addis Ababa, Ethiopia; we have members that are from Uganda; from Zambia; from Ghana; and also from the Congo. What are the gaps, what are the things that we kind of need to assist with as we move forward on our engagements on the African continent?” Ferrell said.
U.S. Army Africa Commander, Maj. Gen. David R. Hogg, welcomed participants as the conference got under way.
“We’re absolutely delighted to be the host for this conference, and we hope that this week you get a whole lot out of it,” said Hogg.
He took the opportunity to address the participants not only as their host, but from the perspective of a customer whose missions depend on the results of their efforts to support commanders in the field.
“When we’re talking about this group of folks that are here — from the joint side, from our African partners, from State, all those folks — it’s about partnership and interoperability. And every commander who’s ever had to fight in a combined environment understands that interoperability is the thing that absolutely slaps you upside the head,” Hogg said.
“We’re in the early stages of the process here of working with the African Union and the other partners, and you have an opportunity to design this from the end state, versus just building a bunch of ‘gunkulators.’ And so, the message is: think about what the end state is supposed to look like and construct the strategy to support the end state.
“Look at where we want to be at and design it that way,” Hogg said.
He also admonished participants to consider the second- and third-order effects of their choices in designing networks.
“With that said, over the next four days, I hope this conference works very well for you. If there’s anything we can do to make your stay better, please let us know,” Hogg said.
Over the following three days, participants engaged in a steady stream of briefings and presentations focused on systems, missions and updates from the field.
Col. Joseph W. Angyal, director of U.S. Army Africa G-6, gave an overview of operations and issues that focused on fundamentals, the emergence of regional accords as a way forward, and the evolution of a joint network enterprise that would serve all interested parties.
“What we’re trying to do is to work regionally. That’s frankly a challenge, but as we stand up the capability, really for the U.S. government, and work through that, we hope to become more regionally focused,” he said.
He referred to Africa Endeavor, an annual, multi-nation communications exercise, as a test bed for the current state of affairs on the continent, and an aid in itself to future development.
“In order to conduct those exercises, to conduct those security and cooperation events, and to meet contingency missions, we really, from the C4ISR perspective, have five big challenges,” Angyal said.
“You heard General Hogg this morning talk about ‘think about the customer’ — you’ve got to allow me to be able to get access to our data; I’ve got to be able to get to the data where and when I need it; you’ve got to be able to protect it; I have to be able to share it; and then finally, the systems have to be able to work together in order to build that coalition.
“One of the reasons General Ferrell is setting up this joint information enterprise, this joint network enterprise . . . it’s almost like trying to bring together disparate companies or corporations: everyone has their own system, they’ve paid for their own infrastructure, and they have their own policy, even though they support the same major company.
“Now multiply that when you bring in different services, multiply that when you bring in different U.S. government agencies, and then put a layer on top of that with the international partners, and there are lots of policies that are standing in our way.”
The main issue is not a question of technology, he said.
“The boxes are the same — a Cisco router is a Cisco router; Microsoft Exchange server is the same all over the world — but it’s the way that we employ them, and it’s the policies that we apply to it, that really stops us from interoperating, and that’s the challenge we hope to work through with the joint network enterprise.
“And I think that through things like Africa Endeavor and through the joint enterprise network, we’re looking at knocking down some of those policy walls, but at the end of the day they are ours to knock down. Bill Gates did not design a system to work only for the Army or for the Navy — it works for everyone,” Angyal said.
Brig. Gen. Joseph Searyoh, director general of Defense Information Communication Systems, General Headquarters, Ghana Armed Forces, agreed that coordinating policy is fundamental to improving communications with all its implications for a host of operations and missions.
“One would expect that in these modern times there is some kind of mutual engagement, and to build that engagement to be strong, there must be some kind of element of trust. … We have to build some kind of trust to be able to move forward,” said Searyoh.
“Some people may be living in silos of the past, but in the current engagement we need to tell people that we are there with no hidden agenda, no negative hidden agenda, but for the common good of all of us.
“We say that we are in the information age, and I’ve been saying something: that our response should not be optional, but it must be a must, because if you don’t join now, you are going to be left behind.
“So what do we do? We have to get our house in order.
“Why do I say so? We used to operate like this before the information age; now in the information age, how do we operate?
“So, we have to get our house in order and see whether we are aligning ourselves with way things should work now. So, our challenge is to come up with a strategy, see how best we can reorganize our structures, to be able to deliver communications-information systems support for the Ghana Armed Forces,” he said.
Searyoh related that his organization has already accomplished one part of erecting the necessary foundation by establishing an appropriate policy structure.
“What is required now is the implementing level. Currently we have communications on one side, and computers on one side. The lines are blurred — you cannot operate like that, you’ve got to bring them together,” he said.
Building that merged entity to support deployed forces is what he sees as the primary challenge at present.
“Once you get that done you can talk about equipment, you can talk about resources,” Searyoh said. “I look at the current collaboration between the U.S. and the coalition partners taking a new level.”
“The immediate challenges that we have is the interoperability, which I think is one of the things we are also discussing here, interoperability and integration,” said Lt. Col. Kelvin Silomba, African Union-Zambia, Information Technology expert for the Africa Stand-by Force.
“You know that we’ve got five regions in Africa. All these regions, we need to integrate them and bring them together, so the challenge of interoperability in terms of equipment, you know, different tactical equipment that we use, and also in terms of the language barrier — you know, all these regions in Africa you find that they speak different languages — so to bring them together we need to come up with one standard that will make everybody on board and make everybody able to talk to each other,” he said.
“So we have all these challenges. Other than that also, stemming from the background of these African countries, based on the colonization: some of them were French colonized, some of them were British colonized and so on, so you find that when they come up now we’ve adopted some of the procedures based on our former colonial masters, so that is another challenge that is coming on board.”
The partnership with brother African states, with the U.S. government and its military branches, and with other interested collaborators has had a positive influence, said Silomba.
“Oh, it’s great. From the time that I got engaged with U.S. AFRICOM — I started with Africa Endeavor, before I even came to the AU — it is my experience that it is something very, very good.
“I would encourage — I know that there are some member states — I would encourage that all those member states they come on board, all of these regional organizations, that they come on board and support the AFRICOM lead. It is something that is very, very good.
“As for example, the African Union has a lot of support that’s been coming in, technical as well as in terms of knowledge and equipment. So it’s great; it’s good and it’s great,” said Salimba.
Other participant responses to the conference were positive as well.
“The feedback I’ve gotten from every member is that they now know what the red carpet treatment looks like, because USARAF has gone over and above board to make sure the environment, the atmosphere and the actual engagements … are executed to perfection,” said Ferrell. “It’s been very good from a team-building aspect.
“We’ve had very good discussions from members of the African Union, who gave us a very good understanding of the operations that are taking place in the area of Somalia, the challenges with communications, and laid out the gaps and desires of where they see that the U.S. and other coalition partners can kind of improve the capacity there in that area of responsibility.
“We also talked about the AU, as they are expanding their reach to all of the five regions, of how can they have that interoperability and connectivity to each of the regions,” Ferrell said.
“(It’s been) a wealth of knowledge and experts that are here to share in terms of how we can move forward with building capacities and capabilities. Not only for U.S. interests, but more importantly from my perspective, in building capacities and capabilities for our African partners beginning with the Commission at the African Union itself,” said Kevin Warthon, U.S. State Department, peace and security adviser to the African Union.
“I think that General Ferrell has done an absolutely wonderful thing by inviting key African partners to participate in this event so they can share their personal experience from a national, regional and continental perspective,” he said.
Warthon related from his personal experience a vignette of African trust in Providence that he believed carries a pertinent metaphor and message to everyone attending the conference.
“We are not sure what we are going to do tomorrow, but the one thing that I am sure of is that we are able to do something. Don’t know when, don’t know how, but as long as our focus is on our ability to assist and to help to progress a people, that’s really what counts more than anything else,” he said.
“Don’t worry about the timetable; just focus on your ability to make a difference and that’s what that really is all about.
“I see venues such as this as opportunities to make what seems to be the impossible become possible. … This is what this kind of venue does for our African partners.
“We’re doing a wonderful job at building relationships, because that’s where it begins — we have to build relationships to establish trust. That’s why this is so important: building trust through relationships so that we can move forward in the future,” Warthon said.
Conference members took a cultural tour of Venice and visited a traditional winery in the hills above Vicenza before adjourning.
To learn more about U.S. Army Africa visit our official website at www.usaraf.army.mil
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A fascinating trade brochure issued by Tube Products Ltd., of Oldbury - one of the Black Country towns then in Worcestershire. Tube Products Ltd was formed in 1929 by Tube Investments, the large industrial holding combine, but unusually this catalogue makes no mention of the parent company. Tube Products made use of several patents surrounding electrical welding fo tubes that TI had acquired in the 1920s. The company also incorporated H. Joyce & Co.). The booklet describes the Electrically Welded steel tube as being scientifically produced from the virgin strip leading to a more precise, accurate product than by older methods.
As can be seen from this stylish catalogue a wide range of uses were promoted for the company's products - ranging from bicycle frames, furniture, industrial products and display material. Several of the pages note other TI subsidiaries such as PEL who made furniture as well as specific designers including Wells Coates who made the most of the 'modern' looks afforded by the use of tubes. these pages show a selection of furniture including some items that are now highly collectable such as the desk.
Stackable and tubular steel furniture were relatively 'new to the market' at the time and embodied many of the 'moderne' design features that were in vogue in architecture and interior design. The photographs include the interior of the striking Hornsey Town Hall, one of the first major UK building to be constructed in the Modernist style. Designed by New Zealand born architect Reginald Uren for the Municipal Borough of Hornsey, the building shows the influence of Hilversum town hall in the Netherlands and the design was awarded a bronze medal by the Royal Institute of British Architects. The Town Hall has had a chequered career since becoming surplus to council requirements but, Listed, it has now been redeveloped and restored by Donald Insull & Partners.
The other photos show tubular furniture in cafe, bar and restaurant use with examples drawn from the Tea Pavilion in Valley Gardens, Harrogate and the Dress Circle Bar at the Garrick Theatre in Southport, Lancashire, when the resort wa soften touted as a more 'upper class' venue than others on the Lancashire coast.
VIDEO - www.youtube.com/watch?v=IT5pRzEd0xE
Life For Mile Facebook page - www.facebook.com/#!/home.php?sk=group_195327163836612
On July 10, 2011, the iconic wood and steel bridge in Hope, BC that was featured in the 1982 movie Rambo: First Blood bid an emotional farewell to movie fans in an event dubbed Rambo Bridge Final Take.
Many movie fans dressed up like Sylvester Stallone in Rambo and offered themselves up for a voluntary arrest and have their pictures taken by friends and family just to capture a piece of Hollywood movie history that will soon be gone forever. Because starting from the next day, the structure that was known as Kawkawa Bridge by locals was scheduled to be taken down piece by piece by a demolition crew.
Not all will be forgotten though. At least one man will have memory of the bridge etched forever on canvas by artist Mary Haymes who finished the work in 2003. He was seen cradling the artwork in his arms anxious to share with anyone about the painting.
On its last glory day of existence, the bridge was surrounded by hundreds of Rambo fans, some of whom came from as far away as Australia and England. Hope Mayor Laurie French reenacted the sheriff role that Brian Dennehy portrayed to the delight of many who stood by and watched.
Almost the entire cast of Rambo: First Blood which consists of Sylvester Stallone, Brian Dennehy, Richard Crenna, David Caruso etc. were a no-show. The only star that showed up was BC actor Stephen Chang who played VC Commander in the Vietnam vet turned unstable civilian flick.
Stephen Chang used the opportunity to sell some autographed copies and promoted his new movie Life For Mile, a feature film about the Chinese and aboriginal involvement in the construction of the transcontinental railway that united Canada as a nation in the 1880s. Life For Mile is executive produced by Stephen Chang and he will act in it. Producer Ray Van Eng wrote the screenplay with Stephen who penned the treatment.
The Final Take event began at 11:00 AM with a Rambo look-a-like contest and later a helicopter fly-by over Coquihalla Canyon as demoed by Valley Helicopters. Props such as a 1980s police car, a jeep and an army vehicle were on display to beef up the presentation.
When the day’s activities were finished, a screening of Rambo: First Blood was shown at 3:00 PM at the Hope Cinema. Rambo fans paid $5.00 to catch the matinee show.
[Photos & Video by Ray Van Eng. www.vancouver21.com ]
LOS ANGELES - The Los Angeles Fire Department is proud to honor the achievements of seventy LAFD uniformed and civilian members who have successfully completed the demanding process of promoting in rank or status within the Department.
Expressing her pride in their accomplishments, City of Los Angeles Fire Chief Kristin M. Crowley oversaw a formal promotion ceremony at the LAFD Frank Hotchkin Memorial Training Center in Elysian Park on Thursday, July 20, 2023.
Individually honored at the event were:
Deputy Chief:
Jason Hing
Jaime Moore
Battalion Chief:
Shin Black
Matthew Conroy
Benjamin Culp
Donald Dillenberger
Aaron Guggenheim
Sloane Joseph
Adam Knabe
Damon Leach
Kyle Rausch
Thomas Raymond
Eric Roberts
Arturo Tarango
Shawn Tukua
Brian Wall
Captain II:
Amy Bastman
David Dunivan
Leon Dunn
Dustin Gates
Brian Harris
Milton Johnson
Wonmeen Jun
Craig Kuykendall
Ronald Landers
Ruben Lopez
John Marasco
Eric Matillo
Jeffrey Sambar
Roberto Sanchez
John Smith III
Nathan Sweet
Edward Tumbleson
Jennifer Wilcox
Jesse Wong
Captain I:
George Anderson Jr.
Abel Avalos
Daniel Balzano
Henry Chavez
Joseph Cunningham
Christopher Klimpel
Mark Perine
Anthony Randolph
Justin Randolph
James Sharlein
Casey Stevens
Christopher Swailes
Robert Villa
Fire Helicopter Pilot III:
Cherif Amin
Anthony V. Cecola
David Habib III
Jonith Johnson Jr.
Joel A. Smith
Fire Helicopter Pilot I:
Kyle Brantner
Scott Keelin
Alexander Kriewall
Paramedics:
Jacob Anderson
Steven Bui
Marc Correy
Kevin Lumada
Christopher Vu
Civilians:
Rebecca M. Alvarado (Executive Administrative Assistant II)
Alina Bieschke (Hazardous Materials Specialist)
Mariano Bucag (Senior Management Analyst I)
Nicole Castro (Management Analyst)
Jennifer Corona (Senior Management Analyst I)
Vidal Garcia (Fire Protection Engineer Associate IV)
Minh Le (Hazardous Materials Supervisor)
Deanna Minatiskan-Vargas (Senior Administrative Clerk)
Aleta-Jean Orozco (Secretary)
Photo Use Permitted via Creative Commons - Credit: LAFD Photo | Gary Apodaca
LAFD Event: 040123 - Promotional Ceremony
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Promotes healthy heart and circulation
Shahnawaz Group is a leading industrial group of Pakistan with turnover in billions of rupees. This success has been achieved through honesty, professionalism, commitment and hard work spanning a period of 63 years. For example, Shezan International Ltd last year paid 110% cash dividend and its share was quoted as high as Rs. 290 for a Rs. 10 par value share on the Karachi Stock Exchange; Shahtaj Textile Mills Ltd is the record setter in Karachi Stock Exchange whose share at the time of IPO was oversubscribed by 2200%!
The name SHAHNAWAZ stands for a successful group of companies in Pakistan both in public and private sector. The network of Shahnawaz Group covers the whole country with full-fledged offices in all the main cities of Pakistan including Karachi, Hyderabad, Lahore, Rawalpindi, Hattar, Peshawar and Quetta with manufacturing facilities in all major cities.
Over 10,000 employees are working in a professionally managed environment and contribute to the progress of Shahnawaz Group and further enhance the technical advancement of Pakistan.
We operate in the fields of Pharmaceuticals, Fruit Processing, Beverages, Textiles, Sugar, Automobiles, Computers, Software, Real Estate Development, Satellite Communication, Restaurants, Business Process Outsourcing, Agriculture and Engineering.
Some of Shahnawaz Group companies:
Shahnawaz (Pvt) Ltd.
Shezan International Ltd.
Shahtaj Sugar Mills Ltd.
Shahtaj Textile Mills Ltd.
Shahnawaz Textiles Ltd.
Nawazabad Farms.
Shezan Services (Pvt) Ltd.
Information Systems Associates Ltd.
Shezan (Pvt) Ltd.
Shahtaj Services (Pvt) Ltd.
Shahnawaz Engineering (Pvt) Ltd.
First Global Sourcing.
Trigen Pharma International (Pvt) Ltd.
Brief Introduction of Shahnawaz Group of Companies
Shahnawaz (Pvt) Ltd: SPL represents, exclusively; a large number of the worlds reputed manufacturers. It is one of the first trading houses in Pakistan. SPL is proud to be the exclusive/sole distributor for DaimlerChrysler AG/Mercedes-Benz in Pakistan for the past 45 years and is authorized to deal in the entire range of Mercedes-Benz products. We have dealerships/workshops/showrooms all over Pakistan to cover the entire country.
We have an extensive network of offices throughout Pakistan having their own workshops, spare parts departments and other allied service & support facilities for the complete range.
SPL also undertakes installation of Industrial projects and is well known in a wide spectrum of diverse activities ranging from implementing turnkey computer based solutions to air-conditioning multistoried buildings.
Website: www.shahnawazltd.com
Shezan International Ltd: SIL was incorporated in 1964 with the main objective to set up an industrial undertaking for manufacturing of juices, squashes, sherbets, jams, pickles and preserves from fruits and vegetables. SIL was conceived as a joint venture by the Shahnawaz Group of Pakistan and Alliance Industrial Development Corporation of U.S.A. in 1964.
The agricultural background of Shahnawaz Group induced them to establish this agro-based industry. Taking advantage of the abundance of fruits available in Pakistan and the advanced technology provided by the American partners, Shezan became a pioneer in the field of converting fruits into pulps, concentrates and juices. It is the first company in Pakistan to specialize in this process.
Today Shezan is the largest fruit processing unit having developed and installed the capacity to meet the country's local as well as export needs. Over the decades, the company has shown sustained growth in both domestic and export fields. SIL has been steadily expanding its production capacity over the years with factories in Karachi, Lahore, Hattar and a 4th factory is expected to start production in 2007.
All SIL factories produce the entire range of Shezan products. Today Shezan is one of the most recognized brand names in Pakistan synonymous with quality products and available in more than 90% of the households. Shezan’s product range is over 80 products and growing.
Today, Shezan having most suitable location for export, with outstanding quality, flavors and packaging is exporting its products to Afghanistan, Central Asian States, UK, USA, Europe, Southeast Asia and Japan.
Website: www.shezan.com
Shahtaj Sugar Mills Ltd: SSML is a Public Limited Company, which is spread over an area of 1.5 Million square yards at a prime industrial zone of Mandi Bahauddin, Gujrat (Pakistan) and its Head Office is at Karachi. It is the second largest sugar mill in Pakistan according to crushing capacity. Its daily crushing capacity is over 10,000 tons.
Shahtaj Sugar Mills is one of the flagship companies of Shahnawaz Group. It has consistently won major awards as one of the best performing companies in Pakistan and has paid attractive dividends to investors and shareholders.
Shahtaj Textile Mills Ltd: STML is a hi-tech weaving unit and is equipped with 150 Air-jet looms and located in the Chunian Industrial Estate near Lahore and is spread over 100,000 square yards area of land.
STML was established by Shahnawaz Group in 1991 for the purpose of manufacturing and producing greige fabric. The mill is situated in the textile hub near Lahore and employs around 500 people.
The company has installed air-jet looms ranging from 190cm to 340cm. It has the most advanced high speed 4 color Picanol and 2 color Toyoda air jet looms of Belgium and Japanese origin to ensure versatility and production volume. The mill has established itself as a supplier to major Pakistani processors and exporters as well as marketing its own product to major US and European Textile manufacturers. It exports to UK, Holland, Belgium, Turkey, USA, Brazil, Australia, New Zealand, Malaysia, South Korea, Singapore, Hong Kong and Mauritius among others.
Website: www.shahtaj.com
Shahnawaz Textiles Ltd: This spinning unit of Shahnawaz Group produces high quality yarn with higher counts and has 22,560 spindles. It is spread over 85,000 square yards area and is located on Manga-Raiwind Road, near Lahore. It has over 600 employees working to make it a quality oriented spinning mill.
STL is a premium quality ring-spinning unit consisting of 22,560 spindles, producing 7800 tons of yarn per annum. The company commenced production in 1993 with the vision to be at the forefront of providing value to customers. The company produces 100% cotton combed and carded yarn. Our valued customers are from the air jet weaving, knitting and denim sectors. We also produce yarn for the sewing thread industry. Our quality speaks for itself.
The company is equipped with the most modern Japanese, European and Chinese equipment and the mill is being continuously upgraded with the latest machinery so that our customers get the highest quality standards.
This emphasis on quality is reflected in raw material selection. We aspire to use the highest quality of Pakistani, as well as imported cotton. Special effort is made to procure the highest grade of cotton from the best stations in Pakistan. Great effort is put to make our yarn contamination free. We also use imported cotton as well as specialized manufactured fibers like Lyocell to make high value added yarns for the apparel and home textile sectors.
Nawazabad Farms: Nawazabad Farms, the agriculture division of Shahnawaz Group is located around 150 miles from the port city of Karachi in Sind Province Pakistan. This is a fully developed fruit plantation and agricultural farm; spread over 12 Million square yards in Tando Allah Yaar, near Hyderabad. It is one of the largest Mango producers in Pakistan and is well renowned as having the best mango orchards in the entire country.
The farm is one of the most advanced and largest fruit farms in the country. The principal fruits grown at the farm are Mangoes, Lychees, Dates, Grapefruit, Pears, Oranges, Guavas, Chikoo, Banana, Avocado, Berries and Papaya. At the farms we grow more than 62 varieties of mangoes including Sindhri, Chaunsa, Sonera, Fajri and Neelum. The fruit orchards division of Nawazabad Farms alone has over 100,000 fruit trees where no chemical fertilizers and no chemical insecticides are used. Nawazabad Farms grows a variety of vegetables including carrots, cabbage, okra, green chilies and spices including red chilies and turmeric.
The water distribution system at our farms consists of over 100 km long water courses including 17 km long concrete main water course, which minimizes the water loss.
The farm has recently converted all its land into Organic under the supervision of the Soil Association UK. No pesticides, fungicides, insecticides have been used in the area and all the strict standards of the Soil Association have been adhered to. To avoid the use of harmful pesticide and insecticides EM Technology is used.
This highly successful farm has consistently won first prize in Horticultural Exhibitions. Most of our fruit produce is of export quality and is being exported to the Middle East and Europe.
Shezan Services (Pvt) Ltd.: Shezan Services owns the brand name "SHEZAN", which is one of the most recognized consumer brands in the country. This company also owns property in prime locations in Karachi, Lahore and other cities of Pakistan. We are in the process of building one of the highest buildings in Lahore to house the Shahnawaz Group companies and will be called "Shahnawaz Towers" .
Another prime real estate is being developed in Karachi to house the Mercedes-Benz showroom, a restaurant and another office for our group companies due to the expansion in the group’s portfolio.
Information Systems Associates Ltd: Comstar ISA Ltd. is primarily a Wide Area Network Provider. Licensed by the Pakistan Telecommunication Authority to establish and operate data networks throughout Pakistan.
Operating under the legal name of "Information Systems Associates" Comstar has been in business since 1996 – this year we celebrated our first decade of operations.
With Head Quarters in Karachi and regional offices in Lahore, Islamabad and Multan Comstar covers the entire length and breadth of the country ensuring error free services to its customers.
Comstar has been the service provider of choice for mission critical networks including Banks and Oil & Gas Companies, our customer list boasts many well known International and Local Organizations many of which have been with us for several years.
Our main focus has been on Wireless Communications – Satellite and Terrestrial Broadband.
This year we achieved yet another milestone by signing an agreement with Infosat Communications to jointly offer Infosat Satellite Services in Pakistan. Infosat is the largest VSAT Operator in Canada and is the largest I-Direct Service Provider in the World. Infosat has made a substantial equity investment in Comstar which is the first of its kind in Pakistan by a major Satellite Service Provider.
Website: www.comstar.com.pk
Shezan (Pvt) Ltd.: SPL as part of Shahnawaz Group operates popular restaurants all over the country. Shezan restaurants are the pioneers in Pakistan in setting up a network of restaurants all over the country and in England (London) and the US (New York and Washington D.C.). These restaurants have exclusively developed recipes that have been fine tuned over a period of decades to cater to the domestic as well as the international clientele covering Oriental, Pakistani, Chinese, Italian and Continental.
For over three decades Shezan has served the finest quality cuisine, being the only Indian or Pakistani restaurant in Great Britain to receive a "Star" rating by the Egon Ronay Good Food Guide also winning the Gold Plate Award and the Restaurant of The Year Award. The focus is mainly on the "Punjabi" style although Shezan boasts varied and delightful offerings from all regions suiting all tastes with the finest quality foods and ingredients. Served in one of the most pleasant and friendly atmospheres available in London just opposite the prestigious Harrods departmental store.
Shahtaj Services (Pvt) Ltd: Shahtaj Services is involved in exporting fruits to the Middle East and South East Asia including Malaysia, Dubai and Japan. It has also installed several satellite tracking systems at railway stations all over Pakistan to update passengers of arriving and departing trains. This is a pioneering project that is done in collaboration with Comstar, which is another Shahnawaz Group company. This company is further involved with indigenously developing advertising billboards to post at railway stations across Pakistan.
Shahnawaz Engineering (Pvt) Ltd.: Its client base includes some of the most illustrious organizations of the country. Shahnawaz Engineering has been instrumental in working on large scale projects of National and International importance.
SEPL is engaged in providing Engineering Services, including Air Conditioning design, Supply, Execution, Operation and Maintenance of large projects. It has a team of highly qualified and experienced professional engineers who are dedicatedly performing their services at various projects throughout Pakistan. Our Project Managers are acquainted with the latest professional techniques and tools, and are foreign trained in respective fields.
We are working for the last ten years at FINANCE & TRADE CENTER Karachi, under close monitoring of FTC Management Company. Shahnawaz Engineering is committed to providing a service of quality acceptable under international standards and as required for ISO 9001:2000 Certification.
First Global Sourcing: FGS is a sourcing organization backed by manufacturing alliances. FGS provides buyers with a cost effective sourcing base from major textile hubs. The FGS customer service and sales offices in markets such as North America, Europe, and the Middle East provide our customers with local language support backed by a sourcing team.
Our offices are staffed with experienced textile experts who understand the changing market requirements. Our goal is to provide buyers with a platform through which they source at the best quality/price ratio.
At FGS the Quality Assurance (QA) team provides quality control services to further strengthen our buying partners trust in our abilities.
This plaque is inset into a concrete wall in the amphitheater at the Erb Memorial Union on the University of Oregon campus in Eugene, Lane County, Oregon.
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Evan, dabbing his way through kindergarten promotion. I believe his friend Eric did it first... Evan was also wearing two jackets at this point, since he had apparently found the windbreaker he had left in his classroom the day before and added it to the winter coat that he had worn to school in the morning.
To Promote the next big exhibition at the end of the year in Autoworld with the fabulous theme "American Dream Cars" we proudly present to you the Plymouth Road Runner Superbird. This car is restored in it's rare, original, and wonderful period color of Limelight Green, wit a Black Vinyl Top, 440 Commando, 4-barrel engine and the heavy duty "Hemi Type" 4 speed transmission. With just 68.000 miles, the car runs and drives great and one can cruise the highway listing to both AM and the factory optional 8 Track stereo.
Featuring the wonderful Warner Bros. cartoon character the Road Runner, and being featured in Petty Blue in the hit 2006 Pixar film "Cars" as "The King" sponsored by "Dinoco", the Super Bird is a car that is loved by children from age 3 and up.
This particular 1970 Plymouth Road Runner Superbird is one of just approx. 1.980, that left the Chrysler's Lynch Road facility. The Superbird was produced, only in 1970. In stock form, with the 440 or 426 Hemi engine, the street car hit over 160 mph off the showroom floor. As you can imagine seeing something like this on the American roads in 1970, caused a sensation wherever they went and they still do today.
Expo : Dream Cars 2017
Auto / Moto / Van : 95° European Motor Show Brussels
Autosalon Brussel
Salon de l'Auto Bruxelles
Brussels - Belgium
January 2017
Director Theophilus Raynsford Mann
~ a Taiwanese social reformer, philosopher, photographer, and film director
“Do Everything for My People”
馬天亮導演
~ 臺灣的社會改革者,哲學家,攝影師,和電影導演
《造福人民》
SUMMARY
Theophilus Raynsford Mann is a naturalist, occultist, Buddhist and Taoist. In 1982, Mann developed a technique for abstract photography, applied “Rayonism” into photographic works. Mann staged 32 individual, extraordinary exhibitions around Taiwan, who was the first exhibitor around Formosa. Mann’s works is the beginning of modernization in the modern abstract arts in the world. At the University of Oxford, Mann’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”; also an author at the University of California, Berkeley and the University of Michigan in the United States; an alumnus from Christ Church College at the University of Oxford in England, the University of Glamorgan in Wales, and National Taiwan University in Taipei on Taiwan. Mann’s works have been quoted by the scholars many times, making Mann one of the highly cited technological, artistic, and managing public administrators in the academia. Mann was listed in “Taiwan Who’s Who In Business” © 1984, 1987, 1989 Harvard Management Service.
Education in Taiwan and a Brief of Latest Generation of History in Taiwan / Formosa
In 1980, Mann obtained his postgraduate certificate from the Graduate Institute of Electrical Engineering of National Taiwan University in Taipei; successfully completed another graduate studies in Information dBase III Plus and Taiwanese Traditional Chinese Mandarin Information System at National Sun Yat-Sen University in Kaohsiung in 1989.
Early Career
In 1989, Mann instituted Mann’s Office of Electrical Engineer, he settled himself in electrical technology and industries as a chief engineer in his early years. He put his professional and precise knowledge to good account in business management. A formal business management with business relationship established to provide for regular services, dealings, and other commercial transactions and deed. He had many customers having a business and credit relationship with his firm then he was a successful engineer.
Study Abroad and Immigration into the United Kingdom
In 1998, Mann studied abroad when he arrived in Great Britain; he studied at School of Built Environment, the University of Glamorgan, Wales for a master of science in real estate appraisal. Until the summer of 2000, Mann completed an academic course on “Towns through the Ages” from Christ Church at the University of Oxford.
PHILOSOPHICAL VIEWS
Mann is a naturalist; he trusts spiritual naturalism and naturalistic spirituality, which teaches that “the unknown” created this wonderful world. “The unknown” arranged the nature with its law so that everything in nature is kept balanced and in order. However, human beings failed to control themselves, deliberately went against the law of nature, and resulted in disasters, which we deserved. He also is an occultist, a Taoist, and a Buddhist; but in Britain, he frequently goes to Christian and Catholic churches, where he makes friends with pastors and fathers as well as churchgoers. In his mind, he recognizes “Belief is truth held in the mind; faith is a fire in the heart”. He is always a freethinker, does not accept traditional, social, and religious teaching, but based on his ideas: a thought or conception that potentially and actually exists in his mind as a product of mental activity - his opinion, conviction, and principle. If people have not come across eastern classics and philosophy, we are afraid that people would never understand Theophilus Raynsford Mann. People cannot judge an eastern philosopher based on western ways of thinking. He studies I Ching discovering eastern classics of ancient origin consisting of 64 interrelated hexagrams along with commentaries. The hexagrams embody Taoist philosophy by describing all nature and human endeavour in terms of the interaction of yin and yang, and the classics may be consulted as an oracle.
Back in the 1990s when Mann just arrived at England, he had been offered places to do Ph.D. and LL.M. degrees (degree in Law and Politics of the European Union) by several western professors in the Great Britain. He has met all the requirements for postgraduate admissions to study at UK’s universities.
During his time at Oxford, he learnt a lot of British culture and folk-custom while carrying out research with many British and Western professors, experts, and archaeologists. This proves that Mann understands various aspects in British society, culture, and lifestyles. Of course, he does not fully understand about the perspectives of thinking of a typical British. For example, what would be the most valuable in life for a British person? What would a British want to gain from life? What is the goal in life for a British? Is it fortune or a lover? Alternatively, perhaps honour? On the other hand, maybe being able to travel around the world and see the world?
FAIRNESS and JUSTICE
As Theophilus Raynsford Mann’s saying are:
“Touching Fairness and Justice”
Feel good about themselves, but do not know the sufferings of the people...
Who can get easy life like them?
What is profile of modern society?
What type and style is truly solemn for this society identify?
Where “the characterization” is? Who can see? Did you see it?
《感動的公平與正義》
自我感覺良好, 不知民間疾苦...
誰能得到安逸的生活如同他們一樣?
這是個什麼樣子的社會?
這個社會認定什麼樣的類型和風格是真正莊重的?
「特徵」在那裡?誰可以看到?你看到了嗎?
Jurisprudence and Political Philosophy and Perspectives
Mann ever studied judicial review and governmental action, the impact of law and legal techniques, constitutional mechanisms for the protection of basic rights, and ensuring the integrity of commercial activity, the impact of law and legal techniques on government, policymaking, and administration, as well as the creation of markets. He tries to understand these critical trends in the political development of modern state. Mann will combine both theoretical and empirical approaches, and the conditions for democratic transition and the nature of state development in the ‘post-industrial’ era of globalisation and economic integration.
According as Mann’s legal experiences, he comprehend that “the knowledge of the law is like a deep well, out of which each man draught according to the strength of his understanding”, and, law and arbitrary power are in eternal enmity. He is also sure law and institutions are constantly tending to gravitate like clocks; they must be occasionally cleansed, and wound up, and set to true time.
The government issues a decree - an authoritative order having the force of law, which charged with putting into effect a country's laws and the administering of its functions. Any of the officials promulgate a law or put into practice relating to the government charged with the execution and administration of the nation's laws then they announce and carry out the creation of any order or new policy that will be responsible for the people.
Mann had knowledge in connexion with construction law; he also understands architectural arts, and as well learnt the forms by combining materials and parts include as an integral part concerning modern construct. I ever built urban buildings and rural architecture in different styles under new housing and building projects by the governmental administration and construction corporations.
Right now, Mann studies the problems caused by ethnic disputes and human armed conflicts in the modern society resulted code of mixed civil and criminal procedure. He wishes an agreement or a treaty to end human hostilities - the absence of war and other hostilities around the world. The interrelation and arrangement of freedom from quarrels and disagreement become harmonious relations living in peace with each other. Actually, erect peace in more friendly ways of making friendships for modern human society is comfortable in my ideal. It is like building monolithic architecture: houses and buildings for the people. Mann would like to do “something beautiful for `the unknown`”.
In the ethnic disagreement and armed conflicts as concerning the poor people and children notwithstanding they live through a bad environment on any of poor or crowded village or town in a particular manner - lived frugally. However, after years of industrialisation as a more educated population, becomes more aware of global plenum, continuing to be alive. Environmental groups are increasing and lobbing government will legislate to stop bad environmental and social practices. The establishments of human rights’ wide and untiring efforts will be alleviated people’s suffering. And as well the poor people shall meet and debate sustainable development and for a concerted government led action towards sustainability is an example that the younger generation are concerned for the future. It shall be making the younger easier for their life and make better on their lives, and help them to build a better future.
In present world, Mann really knows the full meanings of “Fundamental Human Rights and Equal Opportunities for the People”. He thinks ethics is the moral code governing the daily conduct of the individual toward those about him / her. It represents those rules or principles by which men and women live and work in a spirit of mutual confidence and service. Without going into the question of how an ethical code was formulated or why anybody should obey it, we can look at the matter in a common-sense fashion with reference to its influence upon our legal affairs. In brief, from the law point of view, a reputable ethical code embodies the qualities of accuracy, dependability, fair play, sound judgement, and service. It is based upon honesty.
No person can have an ethical code that concerns him / her alone. Living in society, as he / she must, a person encounters others whose rights must be respected as well as his / her own. An honest regard for the rights of others is an essential element of any decent code of ethics, and one that anyone must observe if anybody intends to follow that code. After all, ethics is not something apart from human beings. Indeed, there is no such thing apart from our actions and us. It is the duty, therefore, of every man and woman in legal affairs to see that his daily associations with others are truly in conformity with the plain meaning of the Ten Commandments: “Thou shalt not barratry, thou shalt not bear false witness, thou shalt not receive illegal fee and the rest”.
The knowledge Mann has, in connection with legal affairs, was usually come from his precious experiences of his past over ten year’s law and political careers. In an interval regarded as a distinct period of 1980s, he studied mixed civil and crime, and the code of mixed civil and criminal procedure for the problems caused by ethnic disputes and human armed conflicts in the modern society. He was especially one who maintains the language and customs of the group, and social security in Taiwan.
Since 30 July of 1988, Mann settled himself in law as a chief executive and scrivener at Central Legal, Real Estate, and Accounting Services Office; it is in the equivalent to a solicitor of the United Kingdom. The Office provided full legal, accounting, real estate, and commercial services to the public. He did his job as a person legally appointed by another to act as his or her agent in the transaction of business, specifically one qualified and licensed to act for plaintiffs and defendants in legal proceedings and affairs. Over and above Mann was a chairman and executive consultant at Taiwan Credit Information Company®, founded in 1994. The company offered services to the public in response to need and demand in the area of credit information.
Mann had excellent experiences in political and law work was pertaining to mixed civil and crime, the code of mixed civil and criminal procedure, construction, and commercial law abroad. The experiences of legal services related to the rights of private individuals and legal proceedings concerning these rights as distinguished. In the criminal proceedings, he did many cases for the defendants. Although an act committed or omitted in violation of a law forbidding or commanding it and for which punishment is imposed upon conviction; but he also laid legal claim, required as useful, just, proper, or necessary to the defendants under the human rights in the meantime. This provision ensures to the defendant a real voice in the subject.
The men whose judgement we respect are those who do not allow prejudices, preferences, or personalities to influence their decisions. Profit and self-aggrandisement are likewise ignored in their determination to reach an equitable and fair settlement. What are the basic principles upon which good judgement is founded? A keen intellect, a normal emotionally, a through understanding of human nature, experience of law work, sincerity, and integrity.
Developed a Technique for Abstract Photography and Abstractionist
In 1982, Mann developed a technique for abstractive photography, which applied “rayonism” to the photographic works. In November of 1984, Mann was 26-year-old, he instructed many professors and students of National Taiwan Normal University in photography of abstract impressionism and rayonnisme in Taipei, Taiwan. The word “rayonnisme” is French for rayonism - a style of abstract painting developed in 1911 in Russia.
Photographic Exhibitions
Theophilus Raynsford Mann Photographic Exhibition of “Rayonnisme / Rayonism” Tour - Invitational Exhibition of Taiwan 1983-84.
一九八三〜八四年中華民國臺灣 馬天亮攝影巡迴邀請展
Theophilus Raynsford Mann Photographic Exhibition of Rayonism (32 individual exhibitions) 1983~1985.
馬天亮『光影』攝影特展(個人展32場)1983〜1985年.
Mann staged 32 individual, extraordinary exhibitions and annual special exhibitions on photography of abstractive image and Rayonnisme around Taiwan / Formosa. Mann was the first exhibitor around the country. All of the invited displays were by the Taiwan’s Government, cultural and artistic organisations, and sponsors. Mann’s earliest exhibition took place in the National Taiwan Arts Education Center (Museum) on 19 December 1983 when Mann was 25 years old; Mann was the youngest exhibitor in the history of the Center in any solo exhibitions. The Center that was opened in March 1957, kept a collection of Mann’s work. It is currently updating the Center’s internal organisation and strengthening co-operation with leading centers and museums around the world. Meanwhile, it widened the center’s scope to increase its emphasis on Taiwan’ regional culture and folk arts.
Modernization in the Modern Abstract Arts of Taiwan
Mann’s works is the beginning of modernization in the modern abstract arts of Taiwan, China and greater Chinese society in the world. The use of “modernisation” as a concept that is opposed to “Traditional” of “Conservative” ideas began with the approach of the 20th century. It spreads rapidly through academic circles, and was broadly accepted as a means to reform society. Chinese Manchu Qing (Ching) dynasty’s first steps toward modernisation began in the Tung-chih era (1862-1874) with the “Self-Empowerment Movement”. During the late 19th century, as late Manchu dynasty was confronted on all sides by foreign aggression, voices throughout society debated the most effective means to reform and strengthen the country. Some advocated “combining the best of East and West”, while others went so far as to call for “complete Westernisation”. Taiwan was at the centre of these waves of reform. Faced with direct threats against the island by foreign enemies, the Chinese Ching dynasty court took special steps to push Taiwan’s modernisation.
In a role just like that of a gardener wanting to create a rich and fertile environment for the seeds of culture, one in which Mann may sprout, grow and bloom. Mann aims to provide an educational stimulus for society by introducing his works - Mann can express the neo-romantic spirit deftly from various creations and supporting international artistic exchanges. Mann believes that the first step in creating such a new and independent state is the real emergence of culture and arts, for which the art and science of designing and erecting buildings, and fine arts (including photography and motion picture) of the civilization is a good measurement of success. For the foreseeable future, Mann should be continuing to forge ahead, working diligently and unceasingly towards its mission of raising China and Formosa / Taiwan’s culture in his spare time.
Became an Author and a Scholar
In 1980, Theophilus Raynsford Mann completed his first book - scenario original “The Soul's Sentimentalizing”, also named: “Hun Yun : Jin Qi Tu Rui” 電影原著《魂韻》(衿契吐蕊) then Mann was at the age of 22. In 1983, The General Library of the University of California, Berkeley in the United States of America, collected and kept Mann’s writings - scenario original 「魂韻 : 衿契吐蕊」“Hun Yun : jin qi tu rui”, included a musical composition of his own – “Sonate Nr. 1 C-dur op. 3 für Klavier (piano)”, composed on 3rd April 1977 then Mann was 18 years old. The works were published in 1980; the theme was based on “The Soul's Sentimentalizing”. Another masterpiece was an Album of Academic Work for News
Publication “Theophilus Raynsford Mann Photographic Exhibition of Rayonnisme / Rayonism”, published in 1985. The Hathi Trust Digital Library, the University of Michigan also collected and kept Mann’s writings.
Authorship
Mann’s articles and writings were published in more than 200 different kinds of domestic and foreign magazines, newspapers, and periodicals, in the period between May of 1972 and 1990s. It was all started when Mann was just 13-year-old. Many of which have been very influential. These have been quoted by Western and Eastern scholars many times in the last few years, making Mann one of the highly cited technological, artistic, and managing public administrators in the world in the late 20th and early 21st century. The Ministry of the Interior in Taiwan had registered Mann’s professional writings and given him two certificates of copyright. The numbers are 33080 and 33081 on 4th July of 1985; and Taiwan’s Gazette of The Presidential Office issue No. 4499, featured his writings on 4th September 1985.
Became an Academic and Film Director
Today, Mann is a professor at Space Time Life Research Academy, a photographer (portrait, fashion, commercial, digital, architectural, abstract photography), film director, and computer engineer now live and work in London; and most currently engage in his vocational professions of ‘Consultant of Immigration and Translations’. Mann is an author at the University of California, Berkeley, and the University of Michigan; an alumnus from Christ Church at the University of Oxford, the University of Glamorgan, and National Taiwan University in Taipei.
Director Works:
FILMS:
Experimental Film: “New Image for the Spring” © 1982
Abstract Films:
“Rayonnisme 110124” © 2011
www.youtube.com/watch?v=M0ghIxV0LBo&feature=youtu.be
www.youtube.com/watch?v=PC_r2CO-UJs&feature=youtu.be
www.flickr.com/photos/124141020@N05/17893335268/in/datepo...
“Rayonism 110124” © 2011
www.youtube.com/watch?v=1Ph8qb2Wjps&feature=youtu.be
www.flickr.com/photos/124141020@N05/17979015641/in/photos...
www.youtube.com/watch?v=IN1e07X4AEc&feature=youtu.be
“Light Dancing 110124” © 2011
www.youtube.com/watch?v=DmCVSjG1KEk&feature=youtu.be
www.flickr.com/photos/124141020@N05/17553751944/in/photos...
“Birth” © 2011
www.youtube.com/watch?v=zoG3cxICeEY
www.flickr.com/photos/124141020@N05/17797502869/in/datepo...
“Fantasy in Dream” © 2011
www.youtube.com/watch?v=pkcmrMmF_gc&feature=youtu.be
www.flickr.com/photos/124141020@N05/18115536036/in/photos...
“floating” © 2011
www.youtube.com/watch?v=2xFOdzM3T9Y&feature=youtu.be
www.flickr.com/photos/124141020@N05/17525813743/in/photos...
“Optical Rotation” © 2011
www.youtube.com/watch?v=a48BPHplf4Q&feature=youtu.be
www.flickr.com/photos/124141020@N05/17576816593/in/photos...
Documentary Films:
“Spider” 130921 © 2013
www.youtube.com/watch?v=flSg_KZC8T4&feature=youtu.be
www.flickr.com/photos/124141020@N05/17482109753/in/photos...
“Fighting by Spider” © 2011
www.youtube.com/watch?v=Tcpkc6niMiY&feature=youtu.be
www.flickr.com/photos/124141020@N05/18201816521/in/photos...
“Spider's Living” © 2011
www.youtube.com/watch?v=vWjYRRTsltI&feature=youtu.be
www.flickr.com/photos/124141020@N05/18208449565/in/photos...
“London Buddha Day Festival, UK 150510 英國倫敦浴佛節” © 2015
www.youtube.com/watch?v=1mcPNaQtWu8&feature=youtu.be
www.flickr.com/photos/124141020@N05/17883706816/
www.youtube.com/watch?v=RApsQA2Km1w
Theophilus Raynsford Mann 馬天亮導演 - YouTube
www.youtube.com/watch?v=ijotODxZkNo&list=LLosvuIOImSV...
www.youtube.com/channel/UCosvuIOImSVgFru84i9omOQ/videos
www.youtube.com/playlist?list=LLosvuIOImSVgFru84i9omOQ
Bing Videos
www.bing.com/videos/search?q=Theophilus+Raynsford+Mann&am...
Yahoo Video
video.search.yahoo.com/search/video;_ylt=A2KLqIJi82hVnk0A...
Google Search
www.google.co.uk/search?client=aff-cs-360se&ie=UTF-8&...
Drama Films:
“The Soul's Sentimentalizing” of the feature film is based on the scenario original “The Soul's Sentimentalizing” (preparation)
FASHION SHOWS:
New Image for the Spring of Shapely Models International © 1982
High Lights on the Summer and Fall Fashion of Shapely Models Int’l © 1982
ART EXHIBITIONS:
The Cadillac Club International Fine Arts Exhibition © 1981
The Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts © 1981
Musician Work:
MUSIC COMPOSITION:
Sonate Nr. 1 C-dur op. 3 für Klavier (piano) © 1977, © 1980, © 1981, © 1983, the theme was based on “The Soul's Sentimentalizing”.
PHOTOGRAPHIC ALBUMS:
Portrait and Landscape in France © 2000
Portrait and Landscape in Scotland © 2001
Portrait and Landscape in England © 2009
Portrait at Queen Mary, University of London © 2010
Rayonism of London © 2011
Portrait at The University of Nottingham, United Kingdom © 2011
Snowy Southeast London, United Kingdom © 2012
Male Teeth of Great Britain © 2012
Long-horned Grasshopper of London, England © 2012
Tettigoniidae of the United Kingdom © 2012
Spider of London, United Kingdom © 2012, © 2013
Portrait at King's College London © 2013
Buddha 佛, London, United Kingdom © 2014
Summer Flowers of London © 2014
London Buddha Festival, UK 150510 英國倫敦浴佛節 © 2015
www.youtube.com/watch?v=ijotODxZkNo
The Art of Buddhist Sculpture in London Buddha Festival, UK © 2015
英國倫敦浴佛節佛陀雕塑藝術, music “Gymnopedie No. 3”, “Gymnopédies”
www.youtube.com/watch?v=dQqyefiuAYY
BOOKS:
Scenario Original「魂韻」(衿契吐蕊) “Hun yun: jin qi tu rui” © December 1980, © 1981, © 1983 (Date of First Publication: 31 December 1980, Second Edition on 29 July 1981, Date of Revision: Revised Edition on 8 May 1983), Languages: Chinese (traditional), and English language.
“Album of the Cadillac Club International Fine Arts Exhibition” © 1981
“Album of the Cinematic & Photographic Arts Salon and the Hall of the Arts, Pegasus Academy of Arts” © 1981
“Album of New Image for the Spring of Shapely Models International” © 1982
“Album of High Lights on the Summer and Fall Fashion of Shapely Models Int’l” © 1982
“Romantic Carol” © 1982
Album of Academic Work for News Publication: “TianLiang Maa (Theophilus Raynsford Mann) Photographic Exhibitions of Rayonnisme” © May 1985
新聞出版之學術著作專輯「馬天亮『光影』“Rayonism” 攝影展」© May 1985
New version of scenario original “The Soul's Sentimentalizing” (to be published)
「曾經輝煌到頂天立地」 “The Indomitable Spirit Was Brilliant to Successful” (The indomitable spirit was brilliant to towering a great height from earth reaching the sky!
Individual biography, to be published)
“My Life, My History, and My Love” (based on a legend, to be published, a film scenario will be developed later)
「感動的公平與正義」“Touching Fairness and Justice” (political science and social studies, to be published)
「氣壯山海‧頂天立地‧民富國強‧白金時代」 “Full of power and grandeur thrusts onto the mountain and ocean, towering a great height from earth reaching the sky for my people with good fortune and my country become stronger, builds a platinum era - white golden age.” (Chinese version for my way towards national election)
Research Interests:
University of Oxford
Research Studies in Archaeology:
Mann’s attractive topic was “A View of Architectural History: Towns through the Ages from Winchester through London Arrived at Oxford in England”.
National Taiwan University
Graduate Certificate,
Graduate Institute of Electrical Engineering:
Mann’s monograph of seminar was “Applied the sequence control in the electric power distribution engineering”.
University of Glamorgan
M.Sc. Course,
Master of Science in Real Estate Appraisal:
Mann’s thesis - major subject, with relevant construction law was “The Assignment is under Economics of Construction Management in Architecture”.
National Sun Yat-Sen University
Postgraduate Certificate,
Postgraduate Studies in Computing:
Mann’s required subject was Information dBase III Plus and Taiwanese Traditional Mandarin Chinese Information System. He combined academic course work and practical laboratory sessions in “Applied Mandarin Phonetic Symbols into Traditional Taiwanese Personal Computer and Its Information System”.
Associations:
Member of The Kaohsiung Life Line Association since 11 January 1979, an association established in the USA.
Member of The Society of Youth Writers, Tien (Catholic) Educational Center, Taipei since 1980.
Since 1980, a member of Chinese Taipei Film Archive (CTFA, National Film Archive, Taiwan; founded in 1978), The Motion Picture Foundation, R.O.C. (member of Fédération Internationale des Archives du Film, FIAF; The International Federation of Film Archives was founded in Paris in 1938 by the British Film Institute, the Museum of Modern Art in New York City, the Cinémathèque Française and the Reichsfilmarchiv in Berlin.)
Commissioner of the cinema, photography, radio, and television committee of The Culture and Arts Association (Chinese Writers and Artists Association) of Taiwan ever since September 1983.
Classic member, the membership is equivalent to a doctorate membership of the Chinese Institute of Electrical Engineering since 23 March 1984.
On 15 March 1989, Mann promoted and founded the Consortium Juridical Person Mr. Theophilus Raynsford Mann Social Benefit Foundation 財團法人馬天亮先生社會公益基金會籌備處 (Social Charity 社會慈善事業) in Taiwan.
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Classic member, the membership is equal to a professor or associate professor of The Chinese Institute of Engineers since 30 September 1991.
Honours:
Listed on ‘Taiwan Who’s Who In Business’, © 1984, © 1987, and © 1989 Harvard Management Service.
中華民國企業名人錄編纂委員會, 哈佛企業管理顧問公司.
On 26 August 1985, Mann was awarded a professional certificate of the Outdoor Artistry Activities issued by Education Bureau, Kaohsiung City Government, Taiwan. He acquired awards and certificates of honour about twenty times from National Taiwan Arts Education Center (Museum) on 24 December 1983; Kaohsiung Municipal Social Education Center on 17 March 1984, Kaohsiung Cultural Center, Taipei Cultural Center (Taipei Municipal Social Education Hall); and Taiwan Province Government, Taipei City Government, Kaohsiung City Government, and many cultural centres and art galleries, and so on.
Careers:
Honorary Professor at Space Time Life Research Academy, 7 June 2012 to present; Professor at Space Time Life Research Academy, 1 September 2011 to 1 June 2012 in London, United Kingdom:
Academia,
Teaching and Research:
business management and consultant, political philosophy, Chinese classics, Chinese humanities, modern Chinese language and literature, photography (portrait, fashion, commercial, digital, architectural, abstract photography), visual arts and film production.
教學與研究:
企業管理及顧問、政治哲學、中華經典 (古典漢學、文學、藝術、語言) 、中華人文、中華現代語言與文學、攝影 (人像、時裝、商業、數位/數碼、建築、抽象攝影) ,視覺藝術和製作影片。
Consultant and Translator at Eternal Life Consultants of Immigration and Translations Services, 10 March 2004 to present in London, United Kingdom:
consultants of immigration, translations, and legal services.
永生移民顧問翻譯服務社的移民諮詢顧問和翻譯:
移民事務,翻譯和法律服務。
Computer Hardware and Networking Engineer at Mann Office of Electrical Engineer, 8 March 2004 to present in London, United Kingdom:
Computer Engineering and Network Services. Repairing of Motherboards, Monitors, Power Supplies, CD-ROM Drives; UPS, Hard Disk Drives, H.D.D Data Recovery; BIOS Programming, and all types of Computer Hardware and Software Solutions.
計算機工程和網絡服務。維修主機板,顯示器,電源供應器,光碟機/光盘驱动器,不斷電系統,硬碟/硬盘,硬盤數據恢復,基本輸入輸出系統編程,以及所有類型的電腦/計算機硬體/硬件和軟體/軟件解決方案。
Film Director and Photographer at Shapely Studio of Creative & Cultural Industries, 2 April 2007 to present in London, United Kingdom:
1) Photo, Video and Film Production; 2) Graphic Design, Web Design, Social Networking, Social Media and Advertising; 3) Architectural Design and Interior Design.
Reformer and Philosopher at Taiwanese Social Reformer and Philosopher, 7 April 2012 (location: Los Angeles, California) to present in London, United Kingdom:
Social Reform in Taiwan
《魂韻》(衿契吐蕊) - 馬天亮22歲寫的電影原著。Theophilus Raynsford Mann (TianLiang Maa) wrote “Hun Yun” (Jin Qi Tu Rui), scenario original “The Soul’s Sentimentalizing” © 1980, 1981, 1983, was at the age of 22.
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Sonate Nr. 1 C-dur op. 3 für Klavier (piano) by Theophilus Raynsford Mann (TianLiang Maa 馬天亮) © 1977, © 1980, © 1981, © 1983. The Sonate composed on 3rd April 1977 then Mann was 18-year-old. The work was published in 1980; the theme was based on “The Soul's Sentimentalizing”.
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Abstract Films:
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Contact Christopher Cooke Listing Agent at 1-888 YACHT14 or 615-804-2612 for more information
Asking 1,175,000.00
Accommodations and Layout
Four staterooms, 3 heads, 2 galleys, 3 eating areas, large utility room and numerous options for sitting, lounging, or enjoying the scenery.
Entry is from boarding gates amidships on either port or starboard sides. Portside entry is into the galley. Starboard entry is into an open area leading either straight into the galley, forward to the day head and guest cabins, or aft to the salon, dining area, and master stateroom. Engine, utility, and storage room entry is immediately aft of the landing area upon entering the salon. From this landing area starboardside, stairs lead up to the pilothouse or aft to the expansive aft deck lounge. Sand Pebble offers warm ambiance in her subtle decor. High gloss teak and holly soles throughout, teak cabinetry and trim, natural and custom lighting, fresh ventilation, air conditioning compressors in every room, stand-up head room, generous room sizing, and good taste all lend to a comfortable and inviting home combined with the most seaworthy of ship design and systems.
Salon
Down two steps from the two amidship entry doors, the salon offers a large and comfortable area that is inviting for lounging or entertaining. The full beam salon has spatial division with an entertainment center, bookshelves, and leather couch and chair on the port side and a large dining area on starboard side. A passthrough from the galley makes casual service easy. Attention was given to natural lighting and ventilation. The salon and dining area promote a voluminous feeling of openness and comfort.
Phillips plasma TV
Sony DVD/CD player
Granite bookshelf and cabinet
Teak bookshelves
Coffee table
Custom teak dining table
Leather dinette seats 6
Teak and holly sole
(4) opening ports w/deadlight covers
Abundant stowage
Galley
The brilliantly designed galley assures good ventilation, ease of movement, safety while cooking underway, and all of the conveniences of home. The port and starboard teak dutch doors allow for plenty of fresh air in port or underway in good weather; watertight doors with viewing ports provide for safety ad security when desired. While this "main" galley is located main deck level amidships, there is an additional small galley on the aft lounge deck utilizing propane as a back-up. An additional freezer in the utility room and an entire storage room for provisions enable one to be at sea for many months without the need for island market shopping. There is a full complement of spare small appliances. Storage is abundant with deep cabinets, drawers, and ventilated pantry.
4 burner electric stove
Electric oven
Fisher Paykel SS regrigerator
Fisher Paykel SS freezer
Built-in microwave
Built-in toaster oven
Granite countertop
SS stove backsplash
Double SS sinks
Teak and holly sole
Master Stateroom
The oversized maser stateroom is a spacious suite consisting of a a walkaround bed, exorbitant stowage, large head, and a watertight door leading to an aft deck "patio" and swim platform. There is also a solid teak dutch door at the aft deck as well as a solid teak door at the forward entry to the stateroom. The ensuite head has marble vanity, stand-up shower with teak doors.This stateroom has large separation from the guest cabins and offers a private and luxurious enclave.
King size bed
Phillips DVD/CD AV system
(5) opening ports w/deadlights
Fresh air ports
Weems & Plath clock
Nightstands
Underbed stowage
Underbed mood lighting
Numerous hanging lockers
Numerous cabinets
Numerous drawers
Companionway
Forward of the starboardside entry at the galley is a companionway which houses the laundry center to starboard, guest/day head portside and leads to the 3 guest cabins and 3rd head. The VIP stateroom with queen bed is to port; starboardside guest stateroom has twin bunks and shares a head with the VIP stateroom; the guest cabin foreward has twin bunks and an ensuite head with shower. Each cabin has a large overhead opening hatch which allows for fresh air and natural light as well as serves as an emergency escape hatch. All cabins also have opening ports with deadlights and have individual air conditioning controls. High gloss teak and holly soles throughout.
Siemens washer/dryer
Pantry, cabinets. and stowage
Freshwater Jabsco head
Stand-up shower
Marble countertop
VIP Stateroom
Portside. Roomy and comfortable with good lighting and ventilation.
Queen bed (tapered)
Night stand
Overhead lights
Reading lights
Hanging locker
Drawers
Guest Stateroom
Starboardside. A generous cabin that is warm and comfortable.
Twin over/under berths
Storage cabinet w/ Corian counter
Overhead lights
Reading lights
Hanging locker
Drawers
Forward Stateroom
Foreward cabin serves as a guest cabin or is ideal for crew. Watertight door, collision bulkhead, and lockdown portlights make this entire area a watertight compartment.
Twin over/under berths
Desk/vanity
Overhead lights
Reading lights
Hanging locker
Drawers
Freshwater Jabsco head
Marble countertop
Shower
Utility Room
At the starboard entry into the vessel, from the starboardside of the salon is a soundproof full height door that opens to wide staircase leading to the watertight lead lined utility room and engine room. The utility room is full beam and houses a work station, night generator, cold plate interchangeable refrigerator and freezer, watermaker, and additional equipment. Forward of the utility room through a watertight door is a large storage room with built-in shelves and generous area for bulk storage.
Glycol holding plate refrigerator
Glycol holding plate freezer
850 gpd Watermaker w/ auto backflush (30hrs)
UV water sterilizer
Engine Room
Watertight door aft from the utility room opens to a large, well finished, bright, self-ventilating engine room. The John Deere engines were the last series of mechanical (not electronic) made in the US. The vessel is designed to run off either engine or both. Cruise speed on either continuous duty John Deere is approximately 8.2-8.4 knots. Cruise while running on both engines is 9.2. The difference in fuel consumption is 4.7gph vs 9.4gph at 1800 rpm.. There is twin disc transmission; 2:1 reduction gear. A cooling pump on each engine allows continuous cooling to the off engine. The engines are 20 degrees off centerline that that the handling of the vessel is not compromised while running on a single engine.
Special consideration was given to systems like the air condition and refrigeration. They are operated by continuous duty pool pumps and there are 2 for redundancy. Forethought allows for such things as engine removal with large hatches opening to the master stateroom. The holding tank is a "septic" system holding 250-300 internally macerated gallons and not requiring vents (eliminating odors), but additionally has pumpout capability.
Generous spare parts for engines and gensets including raw water pumps, impellers, zincs.
(2) John Deere 225hp engines (1630 hrs)
AirSeps
Aqualift muffler
Sea Chest
600 gal day tank
Gulf fuel filtration system
Fuel transfer system
2:1 reduction gear
(5) Mermaid reverse cycle AC compressors (7 handlers) + 2 additional compressors
hot water tank (20) gal
Electrical
50 & 60 hz;12 volt house system.
Northern Lights 20kW generator (690 hrs)
Kohler 10kW generator (130hrs)
Heart 2500w inverter
Heart Link interface 2000
4 AGM 250amp house batteries (6/07)
2 AGM 250 amp starting batteries ( 6/07)
AGM 250 amp bow thruster battery (6/07)
Isolation transformer
Ground fault circuit interrupter
Red night lighting at all stairs
Pilothouse
The pilothouse has numerous windows for visibilty and fresh air ventilation. Situated amidships, the pilothouse is accessed from the starboardside main entry, salon, or galley by way of a curved staircase or from a curved staircase from the lower aft deck through the lounge aft deck through a sliding door.
Hydraulic steering
Side Power24 hp bowthruster
Gauge package
FloScan
Raymarine 4kW 24 mi Radar/chartplotter
(2) color screens
C-Maps
AutoNav autopilot
Raymarine Fishfinder
Raymarine GPS
Garmin GPS
Icom VHF M27
Icom SSB M802
Icom VHF handheld
Airchine Signal control
Compaq computer
Acer monitor (new 5/08)
HP printer/fax
EPIRB
Todd helmseat
Leather (real) settee for 4
Leather pilot's berth
Day and night lighting
(4) opening windows
Window defrosters and wipers
Chart table
Chart drawers
Generous stowage
Lilliput Engine room camera
Weems & Plath Clock
Weems & Plath Barometer
Upper Deck/Lounge
Access is from the sliding door to the pilothouse or from the staircase from the aft deck/swim platform. This area, whether for guest entertaining or family use, is surely the focal point in the yacht's exceptional offerings. While the galley serves as a redundant system to the main galley, it offers practical service for alfresco dining. Whether for breakfast watching the sunrise or cocktails at sunset, this area can be used for eating, lounging, or sightseeing purposes. Incredible vantage point, relaxing secluded atmosphere.
Built-in seating for 8-10
Finely crafted teak board shade overhang
High gloss custom teak & holly dinibg table
Overhead lighting
Canvas drop-down curtains
(2) lounge chairs
(3) propane tanks
Microwave
SS sink
Corian countertop
2 burner propane stove
Propane grill
Refrigerator
Cabinets, drawers, stowage
Kitchen service
Sony DVD/CD player
Decks & Hull
Four watertight bulkheads, all main doors are watertight. Portuguese bridge. The spacious foredeck has access to the pilothouse or to the port and starboardside entry doors at the galley. The steel hull (marine grade) is zinc plated. She has an incredible yacht finish due to epoxy fairing, spray painting with a mixture of flat and semi-gloss International paint, sanding, repainting with International, and finally Awlgripped in Wheat color, finished off with a protective clear coat. Stainless steel plating from below the waterline over the bulbous bow to several feet above protects the hull from debris damage. The shaft is steel encased, rudders are skeg protected. Upper deck is for dinghy storage, radar mast, and antennae. The aft deck is accessed from the master stateroom through a teak dutch door or watertight door or from the swim platform. Stairs lead to the upper deck/lounge.
(5) Integral fuel tanks
(4) cross ventilation vents
lightning rod bonded
Remote searchlight
Muir windlass
400' chain
(2) 160lb anchors
(2) SS anchor plates
11' RBI dinghy
Yamaha 15 hp engine (30 hrs)
(2) electric dinghy davits w/ spare motors
Deck boxes
Oversized chocks
Lazarette
8 man life raft
Sunbrella window screens
Sunbrella window covers
Additional Comments
M/V Sand Pebble is 55x20 but her voluminous interior space belies her small ship capabilities. The seakeeping ability of this vessel has been proven in her 25,000 miles of South Pacific cruising. With the knowledge and experience of decades of sailing, the owners were able to customize a proven design for all world cruising comforts. The owners having been professionally in the furniture building business resulted in fine teak cabinetry and joinery including rounded corners and edges and enabled them to add aesthetics and practical design to their bluewater ship. M/V Sand Pebble recently arrived from the South Pacific via Transport ship for the purpose of sale. She is in excellent condition and would be near impossible to replicate; however, duplication in a larger sistership is what the owners plan to do upon sale of their beloved yacht. M/V Sand Pebble is ready to go - anywhere!
City Managers, planners, the Fort Hood Garrison Commander, and environmental professionals met together in September 2009 for a two day pre-planning meeting to develop an approach to promote sustainable development, growth, and living in Central Texas. Each of the communities shared their goals and green initiatives. This regional planning effort will establish long term goals that respect the cultural heritage of the region and its residents while offering services to provide a high quality of life; insuring material resources (natural, agricultural, and man-made) now and into the future; promoting sustainable development and land use; creating efficient transportation systems; and enhancing economic development that fuels a thriving, desirable community now and into the future.
Etang de Berre, France, Oct 10 2010
A horse drawn carriage displays a 350 banner in southern France to promote sustainable transportation as a solution to climate change and to urge politicians to pass clean energy policies
This was one of over 7,000 climate action events taking place in in 188 countries around the world on 10/10/10 as part of “The Global Work Party.” This synchronized international event is organized by 350.org, and is expected to be the largest day of environmental activism in history.
Photo credit: 350.org/Christine Mihiere
Copyright info: This photo is freely available for editorial use and may be reproduced under an Creative Commons Attribution-Non-Commercial-Share Alike 3.0 license
it was a chance to take these beautiful girls after joined the music festival, these show girls promote some new product.and very kindly to show their beauty
LOS ANGELES - The Los Angeles Fire Department gathered on May 5, 2022 to honor the achievements of seventy LAFD uniformed and civilian members who successfully completed the demanding process of promoting in rank or status within the Department.
Expressing her pride in their accomplishments, City of Los Angeles Fire Chief Kristin M. Crowley oversaw the formal promotion ceremony at the LAFD Frank Hotchkin Memorial Training Center in Elysian Park.
Individually honored at the event were:
PROMOTING TO BATTALION CHIEF:
Martin G. Mullen
Ricky D. Crawford
Brett R. Willis
Timothy G. Lambert
PROMOTING TO CAPTAIN II:
Abran Tapia III
Kyle M. Rausch
Timothy J. Toledo
Bryan R. Willis
Leroy R. Rogers
Santino B. Marcione
Daniel J. Will
PROMOTING TO CAPTAIN I:
Landon Rupright
Kuniyuki Kasahara
Austin M. Hajjar
Scott R. Benton
Jason E. Yim
Bryan A. Geiger
Senay I. Teklu
Dameon A. Cane
Osbaldo G. Garcia
Stephen M. Hiserman
PROMOTING TO APPARATUS OPERATOR:
Brian A. Farris
Aaron E. Brownell
Mark S. Perine
Cameron S. Sentance
PROMOTING TO ENGINEER:
Anh M. Nguyen
Garrett M. Roach
Jacob S. Gonzalez
Jake B. Lins
Paul D. Jeremica
Matthew R. Moon
Calos Zuniga
Chelsey C. Grigsby
Cody A. Morgan
Drew R. Denton
Jesus Padilla
Cody E. Eitner
Christopher R. Winn
William F. Isozaki
Presyller G. Gadia Jr.
PROMOTING TO INSPECTOR II:
Laveon Rider
Daryl S. Yoshihashi
Lance S. Kawakami
PROMOTING TO INSPECTOR I:
Mathew J. Kovar
Blake S. Robbins
Jason G. Bunn
Marteese Smith
Benjamin R. Guzman
Ildefonso Felix
Lonnie Lopez
John D. Heller
PROMOTING TO FIREFIGHTER III / PARAMEDIC:
Natalie N. Martin
A'Raymond S. Smith
Charles Flowers
Jacy W. Hernandez
Sergio Lara Jara
Edward J. Oh
Mitchell R. Wasserman
Darion M. Timmons
Zulema Chavez
Jonathan C. McNey
PROMOTING TO SENIOR COMMUNICATIONS ELECTRICIAN:
Frank Moreno
PROMOTING TO FIRE SPECIAL INVESTIGATOR:
Valerie J. Ross
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Promoting the 'Red Devils' - the Belgian football national team (which is the hottest secret favorite for the upcoming World Cup in Brazil)...
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Pride and Prejudice: on Raphael Perez's Artwork
Raphael Perez, born in 1965, studied art at the College of Visual Arts in Beer Sheva, and from 1995 has been living and working in his studio in Tel Aviv. Today Perez plays an important role in actively promoting the LGBT (lesbian, gay, bisexual and transsexual) art and culture in Tel Aviv, and the internet portal he set up helps artists from the community reach large audiences in Israel and abroad. Hundreds of his artworks are part of private collections in Israel and abroad, and his artworks were shown in several group exhibitions: in Tel Aviv Museum of Art, "Zman Le'Omanut" art gallery, Camera Obscura, The Open House in Jerusalem, Ophir Gallery, The Haifa Forum and other private businesses and galleries.
In 2003-4 his paintings and studio appeared in a full-length movie, three student films and two graduation films.
Raphael Perez is the first Israeli artist to express his lifestyle as a Gay. His life and the life of the LGBT community are connected and unfold over hundreds of artwork pieces. His art creation is rare and extraordinary by every Israeli and international artistic standard. His sources of inspiration are first and foremost life events intertwined in Jewish and Israeli locality as well as influences and quotes from art history (David Hockney, Matisse). This uniqueness has crossed international borders and has succeeded in moving the LGBT and art communities around the world.
This is the first time we meet an Israeli artist who expresses all of his emotions in a previously unknown strength. The subjects of the paintings are the everyday life of couples in everyday places and situations, along with the aspiration to a homosexual relationship and family, equality and public recognition. Perez's works bring forward to the cultural space and to the public discourse the truth about living as LGBT and about relationships, with all of their aspects – casual relationships and sex, the yearning for love, the everyday life and the mundane activities that exist in every romantic relationship – whether by describing two men in an intimate scene in the bathroom, the bedroom or the toilet, a male couple raising a baby or the homosexual version of the Garden of Eden, family dinners, relationship ups and downs, the complexity in sharing a life as well as mundane, everyday life competing with the aspiration to self realization – through Perez's life.
Perez's first artworks are personal diaries, which he creates at 14 years of age. He makes sure to hide these diaries, as in them he keeps a personal journal describing his life events in the most genuine way. In these journals he draws thousands of drawings and sketches, next to which he alternately writes and erases his so-called "problematic texts", texts describing his struggle with his sexual orientation. His diaries are filled with obsessive cataloging of details, daily actions, friends and work, as well as repeating themes, such as thoughts, exhibits he has seen, movies, television, books and review of his work.
When he is done writing, Perez draws on his diaries. Each layer is done from beginning to end all along the journal. In fact, the work on the diaries never ends.
This struggle never ends, and when the emotion is passed on to paper, and it ends its role and becomes meaningless in a way, the visual-graphic side becomes dominant, due to the need to hide the written text, according to Perez. In books and diaries this stands out even more – when he chooses to draw in a style influenced by children's drawings, the characters are cheerful, happy, naïve and do not portray any sexuality, and when he tries drawing as an adult the sketches became more depressed and somber. During these years Perez works with preschool children, teaching them drawing and movement games. Perez says that during this period he completely abandoned the search for a relationship, either with a woman or a man, and working with children has given him existential meaning. This creation continues over 10 years, and Perez creates about 60 books-personal journals in various sizes (notepads, old notebooks, atlases and even old art books).
In his early paintings (1998-1999) the transition from relationships with women to relationships with men can be seen, from restraint to emotional outburst in color, lines and composition. Some characters display strong emotional expression. The women are usually drawn in restraint and passiveness, while a happy and loving emotional outburst is expressed in the colors and style of the male paintings.
"I fantasized that in a relationship with a woman I could fly in the sky, love, fly. However, I felt I was hiding something; I was choked up, hidden behind a mask, as if there was an internal scream wanting to come out. I was frustrated, I felt threatened…"
His first romance with a man in 1999 has drawn out a series of naïve paintings dealing with love and the excitement of performing everyday actions together in the intimate domestic environment.
"The excitement from each everyday experience of doing things together and the togetherness was great, so I painted every possible thing I liked doing with him."
From the moment the self-oppression and repression stopped, Perez started the process of healing, which was expressed in a burst of artworks, enormous in their size, amount, content and vivid colors – red, pink and white.
In 2000 Perez starts painting the huge artworks describing the hangouts of the LGBT community (The Lake, The Pool) and the Tel Avivian balcony paintings describing the masculine world, which, according to him, becomes existent thanks to the painting. Perez has dedicated this year to many series of drawings and paintings of the experience of love, in which he describes his first love for his new partner, and during these months he paints from morning to night. These paintings are the fruit of a long dialogue with David Hockney, and the similarity can be seen both in subjects and in different gestures.
In 2001 Perez creates a series of artworks, "Portraits from The Community". Perez describes in large, photorealistic paintings over 20 portraits of active and well-known members of the LGBT community. The emphasis is on the achievements that reflect the community's strong standing in Tel Aviv.
As a Tel-Avivian painter, in the past two years Perez has been painting urban landscapes of central locations in his city. Perez wanders around the city and chooses familiar architectural and geographical landmarks, commerce and recreation, and historical sites, and paints them from a homosexual point of view, decorated with the rainbow flag, which provide a sense of belonging to the place. His artworks are characterized by a cheerful joie de vivre and colors, and they also describe encounters and meetings. The touristic nature of his paintings makes them a declaration of Tel Aviv's image as a place where cultural freedom prevails.
Perez's Tel Aviv is a city where young families and couples live and fill the streets, the parks, the beach, the houses and the balconies – all the city's spaces. The characters in his paintings are similar, which helps reinforcing the belonging to the LGBT community in Tel Aviv. The collective theme in Perez's artwork interacts with the work of the Israeli artist Yohanan Simon, who dealt with the social aspects of the Kibbutz. Simon, who lived and worked in a Kibbutz, expressed the human model of the Kibbutznik (member of a Kibbutz) and the uniqueness of the Kibbutz members as part of a group where all are equal. Simon's works, and now Perez's, have contributed to the Israeli society what is has been looking for endlessly, which is a sense of identity and belonging.
Perez maps his territory and marks his boundaries, and does not forget the historical sites. Unlike other Tel Avivian artists, Perez wishes to present the lives of the residents of the city and the great love in their hearts. By choosing the historical sites in Tel Aviv, he also pays tribute to the artist Nachum Gutman, who loved the city and lived in it his whole life. In his childhood Gutman experienced historical moments (lighting the first oil lamp, first concert, first pavement), and as an adult he recreated the uniqueness of those events while keeping the city's magic.
Like Gutman, Perez has also turned the city into an object of love, and it has started adorning itself in rich colors and supplying the energy of a city that wishes to be "the city that never sleeps", combining old and new. Perez meticulously describes the uniqueness and style of the Bauhaus houses and balconies along the modern glass and steel buildings, all from unusual angles in a rectangular format that wishes to imitate the panorama of a diverse city in its centennial celebrations.
Daniel Cahana-Levensohn, curator.
Interview with the painter Raphael Perez about his family artist book
An interview with the painter Raphael Perez about an artist's book he created about his family, the Peretz family from 6 Nissan St. Kiryat Yuval Jerusalem
Question: Raphael Perez, tell me about the family artist book you created
Answer: I created close to 40 artist books, notebooks, diaries, sketch books and huge books. I dedicated one of the books to my dear family, a book in which I took a childhood photograph of my family, my parents and brothers and sisters.. I pasted the photographs inside a book (the photograph is 10 percent of the total painting) and I drew with acrylic paints, markers and ink on the book and the photograph, so that the image of the photograph was an inspiration to me Build the story that includes page by page..
Question: Tell me when you were born, where, and a little about your family
Answer: I was born on March 4, 1965 in the Kiryat Yuval neighborhood in Jerusalem
I have a twin brother named Miki Peretz and we are seven brothers and sisters, five boys and two girls
Question: Tell us a little about your parents
Answer: My parents were new immigrants from Morocco, both immigrated young.
My mother's name before the wedding was Alice - Aliza ben Yair and my father's name was Shimon Peretz,
My mother was born in the Atlas Mountains and was orphaned at a young age and was later adopted by my father's family at the age of 10, so that my mother and father spent childhood and adolescence together....
They had a beautiful and happy relationship but sometimes when they argued my mother would say "even when she was a child she was like that..." This means that their acquaintance and relationship dates back to childhood..
Question: What did your parents Shimon and Aliza Peretz work for?
Answer: My father, Shimon Perez, born in 1928 - worked in a building in his youth and then for thirty years worked as a receptionist at Hadassah Ein Kerem Hospital in Jerusalem... My father's great love was actually art, he loved to draw as a hobby, write, read, solve crossword puzzles and research Regarding the issue of medicinal plants, as a breadwinner he could not fulfill his dream of becoming an artist, in order to support and feed seven children. But we are the next generation, his children are engaged in the world of creativity and education, a field in which both of my parents were engaged during their lives. My father died at the age of 69
My mother, Alice Aliza Perez, born in 1934, worked as an assistant to a kindergarten teacher, and later took care of a baby at home. She is a woman of wholehearted giving and caring for children and people, a warm, generous and humble woman.. and took care of us in our childhood for every emotional and physical deficiency.. My mother is right For the year 2023, the 89-year-old is partly happy and happy despite the difficulties of age.. May you have a long life..
My mother really loved gardening and nature and both of them together created a magnificent garden, my parents have a relatively large garden so they could grow many types of special and rare medicinal plants and my father even wrote a catalog (unpublished) of medicinal plants and we even had botany students come to us who were interested in the field... today they They also grow ornamental plants, and fruit trees...
Question: A book about the brothers and sisters
Answer: My elder brother David Perez repented in his mid-twenties.. He was a very sharp, opinionated, curious and very charismatic guy who brought many people back to repentance, and also helped people with problems through the yeshiva and the synagogue to return to the normal path of life, he died young at the age of 56
Hana Peretz: My lovely sister, raised eight children, worked in the field of education, a kindergarten teacher, and child care.
She has a very large extended family of grandchildren, great-grandchildren and great-great-grandchildren...
My brother Avi (Abraham) Peretz studied in Israel at the University of Philosophy and Judaism, he married a wonderful woman named Mira Drumi, a nurse by profession, and together they had three wonderful children, when they moved to the United States in their mid-twenties, where my brother Avi Peretz completed his master's degree in education, worked in the field Education and for the last twenty years is A conservative rabbi
The fourth brother is Asher Peretz - a great man of the world, very fond of traveling and has been to magical places all over the world, engaged in the creation of jewelry with two children.
I am Rafi Peretz english raphael perez the fifth and after fifteen minutes my twin brother was born
My mother still gets confused and can't remember who was born first :-)
My twin brother Miki micky - Michael Peretz, a beloved brother (everyone is beloved), a talented industrial designer, he has three children, his wife Revital Peretz Ben, who is a well-known art curator, active and responsible for the art field in Tel Aviv, they are a dynamic and talented couple, full of talents and action
The lovely little sister Shlomit Peretz - has been involved in the Bezeq telephone company for almost three decades, and is there in management positions, raising her lovely and beloved child.
The art book I dedicated to my family is colorful, rich in details, shows a very intense childhood, happy, cheerful, colorful, ... We were taught to be diligent and to be happy in our part and to see the glass half full in life, to have emotional intelligence and to put the relationship and love at the center with self-fulfillment in work that will interest you us and you will give us satisfaction.
Each of us is different in our life decisions and my family is actually a mosaic of the State of Israel that includes both religious and secular people from the entire political spectrum who understand that the secret to unity is mutual respect for each other... when my mother these days is also the family glue in everyone's gatherings on Shabbat and holidays..
The personification of the flower couple paintings by the Israeli painter Raphael Perez
Raphael Perez, also known as Rafi Peretz, is an Israeli painter who
explores his personal and sexual identity through his flower paintings. He created a series of flower paintings from 1995 to 1998, when he was in his early thirties and still in relationships with women, despite feeling gay. His flower paintings reflect his emotional turmoil and his struggle with his sexual orientation. He painted two flowers, one blooming and one wilting, to represent the contrast and conflict between his heterosexual relationships and his true self. He also painted single flowers or two flowers in their prime, to express his longing for a harmonious relationship that matches his nature. He chose sunflowers, white lilies, and red lilies as symbols of expression, purity, and joy, respectively. He painted from real flowers, using different styles and light to create drama and mood. Perez’s paintings of the flower couples are minimalist and focused on the theme of the complex relationship. He omitted any background or context, leaving only the canvas and the drawing of the flower couples. In some of the paintings, he added a very airy abstract surface with thin oil paints that give an atmosphere of watercolors. He also made drawings of flowers in ink, markers and gouache on paper. Later on, he created large acrylic paintings of flowers and still life. Perez’s flower paintings are not mere illustrations or decorations. They are autobiographical and psychological expressions of his inner state and his struggle with his sexuality. He wanted to reveal his loneliness, distress and concealment through these paintings, and to connect with people who are in a similar situation. He deliberately chose only two flowers and no more to intensify the engagement in the charged and complex relationship. Perez also painted and drew couples of men and women with charged psychological states, as well as states of desire for connection and realization of a heterosexual relationship that did not succeed. He used hyperrealism and expressive styles to convey his frozen and calculated state, as well as his mental stress. He used harsh lighting to create contrast and drama, with one side very bright and the other side darker. Perez was influenced by some of the famous artists who painted flowers, such as Van Gogh, who also used sunflowers as a symbol of expression. He also used white lilies and red lilies to convey freshness, cleanliness, purity, color, joy, movement, eruption, and splendor. Perez also painted some single flowers or two flowers in their prime, to show his aspiration for a future where he will have a harmonious relationship. Today, he is 58 years old and in a happy relationship for 10 years with his partner Assaf Henigsberg. He is surrounded by female friends and soulmates and not conflicted with heterosexual relationships as he used to be. He occasionally paints flowers in pots to symbolize home, stability, and peace. Sometimes I paint flowers in pots, which represent home, stability, and solid ground for me. I don’t paint just a couple of flowers, but pots full of flowers that overflow with life. This means that we also have a supportive network of family, friends, and peers around us. We live in a rich, supportive, and protective world. These paintings are a personification of my psychological state, when I had no words to express my feelings to myself. The painting began In 35 years of my creation (starting in 1998), you can read more about how my art and style evolved over time. Perez’s flower paintings are a unique and extraordinary artistic creation that reveals his personal journey and his sexual identity. His work is honest, expressive, and emotional, as well as beautiful and vibrant.
The characteristics of the naive painting of the painter Raphael Perez
A full interview with the Israeli painter Raphael Perez (Hebrew name: Rafi Peretz) about the ideas behind the naive painting, resume, personal biography and curriculum vitae Question: Raphael Perez Tell us about your work process as a naive painter? Answer: I choose the most iconic and famous buildings in every city and town that are architecturally interesting and have a special shape and place the iconic buildings on boulevards full of trees, bushes, vegetation, flowers. Question: How do you give depth in your naive paintings? Answer: To give depth to the painting, I build the painting with layers of vegetation, after those low famous buildings, followed by a tall avenue of trees, and behind them towers and skyscrapers, in the sky I sometimes put innocent signs of balloons, kites. A recurring motif in some of my paintings is the figure of the painter who is in the center of the boulevard and paints the entire scene unfolding in front of him, also there are two kindergarten teachers who are walking with the kindergarten children with the state flags that I paint, and loving couples hugging and kissing and family paintings of mother, father and child walking in harmony on the boulevard. Question: Raphael Perez, what characterizes your naive painting? Answer: Most naive paintings have the same characteristics (Definition as it appears in Wikipedia) • Tells a simple story to absorb from everyday life, usually with humans. • The representation of the painter's idealization to reality - the mapping of reality. • Failure to maintain perspective - especially details even in distant details. • Extensive use of repeating patterns - many details. • Warm and bright colors. • Sometimes the emphasis is on outlines. • Most of the characters are flat, lack volume • No interest in texture, expression, correct proportions • No interest in anatomy. • There is not much use of light and shade, the colors create a three-dimensional effect. I find these definitions to be valid for all my naive paintings Question: Raphael Perez, why do you choose the city of Tel Aviv? Answer: I was born in Jerusalem, the capital city which I love very much and also paint, I love the special Bauhaus buildings in Tel Aviv, the ornamental buildings that were built a century ago in the 1920s and 1930s, the beautiful boulevards, towers and modern skyscrapers give you the feeling of the hustle and bustle of a large metropolis and there are quite a few low and tall buildings that are architecturally fascinating in their form the special one Also, the move to Tel Aviv, which is the capital of culture, freedom, and secularism, allowed me to live my life as I chose, to live in a relationship with a man, Jerusalem, which is a traditional city, it is more complicated to live a homosexual life, also, the art world takes place mainly in the city of Tel Aviv, and it is possible that from a professional point of view, this allows I can support myself better in Tel Aviv than in any other city in Israel. Question: Raphael Perez, are the paintings of the city of Tel Aviv different from the paintings of the city of Jerusalem? Answer: Most of the paintings of Jerusalem have an emphasis on the color yellow, gold, the color of the old city walls, the subjects I painted in Jerusalem are mainly a type of idealization of a peaceful life between Jews and Arabs and paintings that deal with the Jewish religious world, a number of paintings depict all shades of the currents of Judaism today In contrast, the Tel Aviv paintings are more colorful, with skyscrapers, the sea, balloons and more secular motifs Question: Raphael Perez, tell me about which buildings and their architects you usually choose in your drawings of cities Answer: My favorite buildings are those that have a special shape that anyone can recognize and are the symbols of the city and you will give several examples: In the city of Tel Aviv, my favorite buildings are: the opera building with its unusual geometric shape, the Yisrotel tower with its special head, the Hail Bo Shalom tower that for years was the symbol of the tallest building in Tel Aviv, the Levin house that looks like a Japanese pagoda, the burgundy-colored Nordeau hotel with the special dome at the end of the building, A pair of Alon towers with the special structure of the sea, Bauhaus buildings typical of Tel Aviv with the special balconies and the special staircase, the Yaakov Agam fountain in Dizengoff square appears in a large part of the paintings, many towers that are in the stock exchange complex, the Aviv towers and other tall buildings on Ayalon, in some of the paintings I took plans An outline of future buildings that need to be built in the city and I drew them even before they were built in reality, In the paintings of Jerusalem, I mainly chose the area of the Old City and East Jerusalem, a painting of the walls of the Old City, the Western Wall, the Church of the Holy Sepulcher, the El Akchea Mosque, the Tower of David, most of the famous churches in the city, the right hand of Moses, in most of the paintings the Jew is wearing a blue shirt with a red male cord I was in the youth movement and the Arab with a galabia, and in the paintings of the religious public then, Jews with black suits and white shirts, tallitas, kippahs, special hats, synagogues and more I also created three paintings of the city of Haifa and one painting of Safed In the Haifa paintings I drew the university, the Technion, the famous Egged Tower, the Sail Tower, well-known hotels, of course the Baha'i Gardens and the Baha'i Temple, Haifa Port and the boats and other famous buildings in the city Question: Raphael Perez, have you created series of other cities from around the world? Answer: I created series of New York City with all the iconic and famous buildings such as: the Guggenheim Museum, the famous skyscrapers - the Chrysler Building, the Empire State Building, Lincoln Center, the famous synagogue in the city, the Statue of Liberty, the flags of the United States and other famous buildings Two paintings of London and all its famous sites, Big Ben, famous monuments, the Ferris wheel, Queen Elizabeth and her family, the double bus, the famous public telephone, palaces, famous churches, well-known monuments I created 4 naive paintings of cities in China, a painting of Shanghai, two paintings of the city of Suzhou and a painting of the World Park in the city of Beijing... I chose the famous skyline of Shanghai with all the famous towers, the famous promenade, temples and old buildings, two Paintings of the city of Suzhou with the famous canals, bridges, special gardens, towers and skyscrapers of the city Question: Raphael Perez What is the general idea that accompanies your paintings Answer: To create a good, beautiful, naive, innocent world in which we will see the innovation of the modern city through the skyscrapers in front of small and low buildings that bring the history and past of each country, all with an abundance of vegetation, boulevards, trees Resume, biography, CV of the painter Rafi Peretz and his family Question: When was Raphael Perez born in hebrew his name rafi peretz? Answer: Raphael Perez in Hebrew his name Rafi Peretz was born on March 4, 1965 Question: Where was Raphael Perez born? Answer: Raphael Perez was born in Jerusalem, Israel Question: What is the full name of Raphael Perez? Answer: His full name is Raphael Perez Question: Which art institution did Raphael Perez graduate from? Answer: Raphael Perez graduated from the Visual Arts Center in Be'er Sheva Question: When did Raphael Perez start painting? Answer: Raphael Perez started painting in 1989 Question: When did you start making a living selling art? Answer: Raphael Perez started making a living selling art in 1999 Question: Where does Raphael Perez live and work? Answer: Since 1995, Raphael Perez has been living and working from his studio in Tel Aviv Question: In which military framework did Raphael Perez serve in the IDF? Answer: Raphael Perez served in the artillery corps Question: Raphael Perez, what jobs did he work after his military service? Answer: Raphael Perez worked for 15 years in education in therapeutic settings for children and taught arts and movement Question: How many brothers and sisters does Raphael Perez, the Israeli painter, have? Answer: There are seven children in total, with the painter 5 sons and two daughters, that means the painter Raphael Perez has 4 more brothers and two sisters Question: What do the brothers and sisters of the painter Raphael Perez do? Answer: The elder brother David Peretz Perez was involved in the field of religious studies, the sister Hana Peretz Perez is involved in the field of education, a kindergarten teacher and child care, the brother Avi Peretz Perez who is in the United States today is a conservative rabbi but in the past was involved in education and therapy, the brother Asher Peretz Perez is involved in the fields of creativity and jewelry The twin brother Mickey Peretz Perez is a well-known industrial designer and seller. The younger sister Shlomit Peretz Perez works in a managerial position at Bezeq. Question: Tell me about the parents of the painter Raphael PerezAnswer: The painter Raphael Perez's parents are Shimon Perez Peretz and Eliza Alice Ben Yair, they were married in 1950 in Jerusalem, both were born in Morocco and immigrated to Israel in 1949, Shimon Peretz worked in a building in his youth and later as a receptionist at the Hadassah Ein Kerem Hospital, Eliza Alice Peretz dealt in child care Kindergarten, working in kindergartens and of course taking care of and raising her seven children
On January 8 1984 the Commonwealth Speakers and Presiding Officers conference began in Wellington, New Zealand. The conference ran until January 15. The Conference brings together the Speakers and Presiding Officers of the national parliaments of the independent sovereign states of the Commonwealth. It was created in 1969 as an initiative of the Speaker of the House of Commons of Canada, the Honourable Lucien Lamoureux.
The Conference is an independent group and has no formal affiliation with the Commonwealth Parliamentary Association, the Commonwealth Secretariat or the Commonwealth Heads of Government. The conference operates on a two-year cycle, holding a conference of the full membership every two years, usually early in January, and a meeting of the Standing Committee at the same time the intervening year.
The Conference aims to:
•Maintain, foster, and encourage impartiality and fairness on the part of Speakers and Presiding Officers of Parliaments;
•Promote knowledge and understanding of parliamentary democracy in its various forms; and
•Develop parliamentary institutions.
Pictured here are the speakers of Parliament, on the steps of the Parliament in Wellington, New Zealand. The last Commonwealth Speakers and Presiding Officers conference held in Wellington was in 2014.
Reference: ABGX 7574 W4969 2/a (R2186542)
collections.archives.govt.nz/web/arena/search#/?q=2186542
For further enquiries please email
Research.Archives@dia.govt.nz
Material from Archives New Zealand
Secretary of State John F. Kerry: "Cooperation in international scientific and technological fora such as GEO is a high priority for the Obama Administration. We look forward to continuing our strong multilateral collaboration both within GEO and beyond to promote the free and open access to Earth observing data and information for the benefit of society."
From January 13 to 17, 2014 Geneva’s CICG center will be the site of a major international conference and exhibit aimed at improving access to critical information on the global environment. The GEO-X Plenary and Geneva Ministerial Summit brings together experts from 90 governments and nearly 70 organizations and will include an exhibit of cutting edge technology and more than 30 forums and panel discussions, many open to the general public. Topics will include Agriculture and Food Security, Measuring Biodiversity, Disaster Risk Reduction, Cholera Early Warning, Ocean Acidification, UNEP Live!, and Water Security. The summit will be presided over by GEO’s four co-chairs: China, the European Commission, South Africa and the United States. The United States will be represented at GEO-X by a high level multiagency delegation.
For nearly a decade, the Group on Earth Observations (GEO) has been driving the interoperability of thousands of individual space-based, airborne and in situ Earth observations around the world. Often these separate systems yield just snapshot assessments, leading to critical gaps in scientific understanding. GEO is addressing such gaps by providing easy, open access to organized observations that enable an increasingly integrated view of our changing Earth. Summit participants will look at how the international community can increase the sustainability and quality of observation networks and make the maximum possible volume of data freely accessible. For sound science to shape sound policy, leaders and other decision-makers require this fuller picture as an indispensable foundation of environmental decision-making.
For Additional Information Visit: www.earthobservations.org
BRIEFING WITH LINDA THOMAS-GREENFIELD, ASSISTANT SECRETARY FOR AFRICAN AFFAIRS
MODERATOR: So welcome to the New York Foreign Press Center. We’re really honored today to have Assistant Secretary for African Affairs Linda Thomas-Greenfield with us. This is a roundtable on-the-record discussion. It’s also DVCed to Washington --
ASSISTANT SECRETARY THOMAS-GREENFIELD: Okay.
MODERATOR: -- so if people have questions from Washington, we’ll bring them in.
ASSISTANT SECRETARY THOMAS-GREENFIELD: Okay.
MODERATOR: So I know that the assistant secretary is on a tight schedule, so we’ll go ahead and get started. She’ll give a few remarks and then we’ll open it out to your questions. So thank you all for coming and I’ll turn this over to Assistant Secretary Linda Thomas-Greenfield.
ASSISTANT SECRETARY THOMAS-GREENFIELD: Good. Good evening and let me thank all of you for being here and thank those who are joining us from Washington. This has been a very, very hectic period at UNGA this year. Being here with so many leaders from throughout the African continent has provided us a fantastic opportunity to have a series of bilateral meetings and provide us an opportunity to strengthen our relationships with African heads of state, and I’m pleased that so many of them are here, and we’ve been able to discuss discrete ideas that allow us to collaborate on issues that we’ve worked on in the past, but also to advance our own goals of promoting democracy, peace, and prosperity on the continent. So I’m very excited about the opportunities that I’ve had. We refer to this in Washington as speed dating. Last year, I had – I think, if I recall correctly – 39 bilats during UNGA week. We have not counted yet. I started last week, Friday, and we have been going nonstop since then and it continues for me until Friday.
Just to say there have been a number of very positive developments on the continent of Africa since last year. President Obama’s trip to Kenya and to Ethiopia this summer was a historic trip for many reasons. He opened the Global Entrepreneurship Summit and that gave entrepreneurs from across the globe an opportunity to see Africa at its best, to see Kenya at its best, to seek opportunities to invest on the continent.
The recent reauthorization of the Africa Growth and Opportunity Act was a big success and it sent a very strong signal to investors and showed confidence in the possibilities of investing on the continent of Africa. As you know, we had the good fortune of the Gabonese Government hosting the AGOA Forum in Gabon at the end of August and it was quite successful. It was extraordinary that we had members of Congress participate in the forum, and that AGOA is a bipartisan, very widely supported initiative that we have on the continent, and we had several members of Congress at the forum to reflect that view.
Looking ahead, we will continue to focus on the importance of strong democratic institutions and solid performance in the area of governance, which is essential, in our view, to security and prosperity across the continent of Africa. Many African countries will conduct parliamentary elections and presidential elections over the coming months, and certainly quite a few are occurring in 2016. So we will be working with African countries to support on-time, free, peaceful, and fair elections.
The Sustainable Development Goals under discussion here at UNGA remind us of the challenges the continent faces. Africa is the youngest and it is the fastest growing continent. Incomes are rising and the middle class is growing, but Africa will need to generate millions more jobs to sustain its momentum. So to help create these jobs, we’ll continue to work with our partners to build up the investment and entrepreneurship climate and encourage more trade with Africa.
All of our discussions here at UNGA have focused on taking advantage of the progress we’ve made to solve some of the hard problems we will face, and this is the core of our engagement with our African colleagues this week. Of course, there are a number of things happening on the continent right now that has keen interest for us. I’ll look forward to taking your questions. I think in the question and answers we’ll get to those difficult issues, and I’ll be able to address those then.
So thank you very much, and I’m happy to take your questions.
MODERATOR: Yes.
QUESTION: Bingxin Li from People’s Daily, based at the UN. I understand that President Obama initiated the Power Africa strategy several years ago. How is that going on?
ASSISTANT SECRETARY THOMAS-GREENFIELD: It’s going quite well. The idea was to bring power to Africa. As you know, sometimes I refer to the fact that (inaudible) refer to as the dark continent. What that darkness means is the lack of electricity, and the idea of Power Africa was to bring power to more African homes and more African businesses. We tripled this to bring electricity to at least 60 million new households and businesses and to encourage more companies, as well as other governments, to look at power as a source of prosperity (inaudible) on the continent of Africa.
So (inaudible) I was just meeting with European colleagues, and they’re looking at doing some similar investments on the continent of Africa. And we know that power or energy will be the engine of investment and growth on the continent.
MODERATOR: Yes.
QUESTION: I have half a dozen questions.
ASSISTANT SECRETARY THOMAS-GREENFIELD: Try one at a time. (Laughter.)
MODERATOR: If everyone could introduce yourself – say your name and news organization.
QUESTION: Right. So I’m Kevin Kelley. I’m based here in New York. I cover the UN for the Nation Media Group in Kenya, which also publishes The East African weekly paper covering the eastern half of the continent. So my questions are mainly about that, not about Kenya per se. I’ll choose the one about the DRC. At the Africa Summit, which is now 14 months ago – President Obama’s summit in Africa --
ASSISTANT SECRETARY THOMAS-GREENFIELD: Yes, a little over a year.
QUESTION: Ambassador – yeah, right. Ambassador Feingold was saying it’s urgent that there be action now against the FDLR. Then there was all these complications involving human rights questions and the generals in command. Nothing’s happened as far as anybody can see. What’s the U.S.’s view of what can and should be happening there now?
ASSISTANT SECRETARY THOMAS-GREENFIELD: Well, first of all, we’re very disappointed that nothing has happened. We think that the parties need to address the FDLR threat in DRC. Commitments were made to the Rwandan Government, as we worked to address the issues related to M23, that once we completed the actions against M23 we would turn to FDLR, and we are still committed to doing that. We’re encouraging all of the parties, including the Government of DRC, MONUSCO, the FB forces, to bring their combined resources together to address the FDLR threat and we continue to push that.
We have named a new special envoy, Tom Perriello, and he has been actively engaged on this issue since taking over his responsibilities about six weeks ago.
QUESTION: Just to --
MODERATOR: And he’ll be here at 4 o’clock today.
QUESTION: Yeah, he’ll be here. Just to follow up on that, can the United States bring pressure to bear on President Kabila? This is the issue. It’s that the UN says we can’t act because of these human rights violations that these generals are at least alleged to have committed. It’s fairly simple, it seems, that if these generals weren’t in command, the UN, the FIB, could act. Is that too simple an analysis?
ASSISTANT SECRETARY THOMAS-GREENFIELD: It probably is, but I would make those same arguments as well that it ought to be simple to deal with this issue. And it is one that, again, we are working very deliberately and very intensely on, because commitments were made that we would work to address this issue, and we need to get the parties to do it.
QUESTION: Hi, I’m Bukola Shonuga with the African View Network, and I also host a radio program called The African View – and it’s a pleasure to meet you. So with reference to Nigeria within your Administration and in light of the issue of Boko Haram, I was just wondering are there any new efforts form the United States Government to partner with this new administration to combat Boko Haram? And with the 20-some – 200-something girls still missing, so we don’t think they’ll ever find them, so I just wanted you to shed some light on that.
ASSISTANT SECRETARY THOMAS-GREENFIELD: I hope you’re wrong. I know that their mothers, their parents are still hopeful that some of these girls will be found and brought back to their homes. And we’re not going to give up hope and working with the Nigerian Government and with the families to try to bring as many of them back as we can.
We are working very closely with the Nigerian Government, as we were with the previous government. It is has been made somewhat easier with the current government to work more cooperatively on trying to address the Boko Haram threat. We have provided some assistance and funding to the multinational task force through the AU. They are working to pull together the Lake Chad Basin countries so that they can coordinate their efforts in addressing Boko Haram.
We still continue to cooperate with the Nigerian Government in terms of information sharing as well as training. Our AFRICOM team will be going to Nigeria later in the month to hold discussions on resuming the training that was stopped previously, and we hope to continue to work with the government in a much more positive and proactive way to address what is not just a Nigeria problem. It is a regional problem, and terrorism is a global problem. So we have to work with Nigeria. We cannot leave Nigeria to address this problem alone.
QUESTION: Thank you.
QUESTION: Frank Obimpeh from News Ghana. During your submission, you said that the U.S. is trying to build investment and climate of opportunities for Africans. Now let’s come back to my country, Ghana, whereby while we have a lot of malls – new malls going around, where we have foreign products in the malls. So there is what’s called a tendency of our culture families losing bias or their products. What is the U.S. doing, because the investment are taking jobs from the African and then they becoming poor? What are you doing to overcome?
ASSISTANT SECRETARY THOMAS-GREENFIELD: Yeah. Well, I think investment can create jobs. So having greater investment in Ghana can create new job opportunities for people in areas that they may not have worked in in the past. But we don’t want to see trade opportunities and business displace people who already have jobs. And it is important that government policies support their own local industry, encourage the local industries. But also the local industries have to be competitive. They have to be able to compete on a global market. They have to be able to compete with the products that are being sold in large department stores if they want to advance.
People – I remember working on a program in Liberia where people were making small products and making additional money, and we talked to them. And they said, oh we were making it before you came and supported our project. We were making about $50 a month, and now we’re making $80 a month. Well, they’re still poor. What we want to do is move people from being the working poor to being the working middle class, so that they can benefit from the investments that are coming from overseas, but also they can take their products and sell their products overseas so that they become part of the working middle class.
So it’s not an easy – the answer is not easy, but it is not about keeping new products from coming into your market. It’s about making the products that are produced in your country more competitive. AGOA offers the opportunity for Ghanaians to import their products to the United States duty-free, and Ghana has taken advantage of that.
QUESTION: Thank you, Ms. Ambassador. I just wanted to thank you for all your work. My name is Garry Iwele. I’m a freelance from DRC. And my question is just about the upcoming election. We know that eight of the – eight of some of the African countries go into the election next year. And the president are trying to run again against the constitution. So we saw it in (inaudible) a bit already; it’s sending people to the referendum. And now there is a piece of legislation in DRC under the table trying to do the same thing. I mean, my question is this: What you’re doing as U.S. Government? We know that you are the biggest partner in Africa. What are you doing to push those presidents to not try to run again –
ASSISTANT SECRETARY THOMAS-GREENFIELD: Our policy – yeah.
QUESTION: -- when the constitution does not allow them?
ASSISTANT SECRETARY THOMAS-GREENFIELD: Yeah, our policy is very clear on that. We do not support countries changing their constitutions to change term limits to benefit the incumbent who is currently serving in office. People can change their constitutions; that’s their right. But when the constitutions are changed just to support the incumbent, it sends a message that people don’t want to leave power. And Africa has gone through many generations of presidents for life, and we believe in a true democracy, transitions actually work. We think transitions contribute to stability. There are a number of countries in Africa that have had elections and transitions, and they’ve worked. Nigeria is our most recent example where it has worked.
So we are engaging with these governments to discourage their efforts to change constitutions. We are working closely with the regional organizations, with the African Union, with ECOWAS, and other regional organizations, to gain their support in pushing for this. ECOWAS, for example, has been looking at an agreement that would limit terms to two terms in ECOWAS countries. And actually, they went quite far, except two countries declined to agree. But I think it’s something they’re still working on.
People support democracy. Africans line up to vote like no other countries in – that I’ve seen in the world. And when they – when African people are given the opportunity in their individual countries to express their will at the ballot box, they do it. They do it enthusiastically. And so we want to support those efforts, and we are very clear on our policy. No country gets a pass on this. We raise it with every country where we see there are issues. And we certainly have had that discussion with DRC, with Republic of Congo, with Rwanda, and with Burundi, even though they did succeed in pushing forward an election that we believe was not transparent, that led to the president being elected for a third term against their constitution.
QUESTION: Hi, I just wanted to go back to the AGOA issue. I mean, in Africa, across the world, youth employment continues to be a major issue. And in Nigeria 60 percent of the youth are unemployed, according to the recent presentation by President Buhari. I was just wondering, how does AGOA translate into job gain for the youth in – across Africa?
ASSISTANT SECRETARY THOMAS-GREENFIELD: Yeah. We believe, actually, AGOA creates jobs both in Africa and in the United States because it allows for increased export products that are produced in your countries that are allowed into the U.S. duty-free. And so it does create jobs. But ultimately what will create jobs in Africa is investments in Africa, more companies creating opportunities for jobs, better education for young people so that they are qualified for the many job opportunities that will open up. The situation in Nigeria exists across the continent, where you have populations that are very, very young, and they need to be supported.
We have an initiative called the Young African Leaders Initiative, or the Washington Mandela Fellowship Program, where over the past two years we’ve brought 500 a year young people across the continent. Next year we will be bringing 1,000. They do a six-week leadership program at a major university in the United States and then they have a one-week summit in Washington in which President Obama and senior leaders across the U.S. Government participate. The first year of this program, when we were only choosing 500, we had 50,000 completed applications. There is intense desire, there is intense hunger on the continent of Africa by young people to get the tools that they need to be successful in the future.
So this is a challenge for African governments. It is a challenge for them to figure out how they engage with their young people, how they support their young people, and what tools they give to them so that they are able to be successful in the future. Some countries have raised questions about the Young African Leaders Initiative. I had one country suggest to us that we were brainwashing Africa’s young. And my response to that is you should not be worried about the U.S. brainwashing your young; you should be worried about Boko Haram brainwashing your young, you should be worried about al-Shabaab brainwashing your young, you should be worried about ISIL brainwashing your young.
What we’re trying to do is give them the tools so that they can be successful in the future, they can hone the leadership skills they already have to contribute to their governments. And what we’ve seen so far with the 1,000 who have gone through this program is they will be great in the future, whether they are great teachers, university professors, businesspeople, politicians. Whatever field of endeavor they’re involved in, they’re going to be good. And we’ve given them just a little bit more in terms of leadership tools to sharpen their skills to help them be successful in the future.
QUESTION: Thank you.
QUESTION: Do you know if any private sector initiative, for instance, that could facilitate funding for the private sector in Africa that are trying to create employment for these – because the programs for the most part on the U.S. – from the U.S. side is government – government initiatives. But we feel that private sector is actually more powerful or maybe just as powerful.
ASSISTANT SECRETARY THOMAS-GREENFIELD: Well, we certainly work very closely with the private sector, and in terms of promoting the capacity of businesses in Africa – when I was in Nigeria, I visited a company that was being run by a young woman that produced animal feed, and she had been a Young African Leader, a Mandela Washington Fellow, and her – she got a small grant from the African Development Foundation, used that grant to improve the packaging for her products, and her products are competing with products that are coming from overseas. And she’s doubled the number of employees in a very short, short period of time.
So sometimes it just is small investments. Similar to what is being done by the African Development Foundation, USAID supports capacity building for small companies. We have trade hubs that are in Ghana and in Kenya that support businesses that want to do business with the United States. So there are many opportunities there, but there’s – the challenges are huge and it’s going to take a lot more effort on all of our parts.
QUESTION: Thank you.
MODERATOR: We only have time for a couple of questions, so maybe Kevin and then we want to give PK a chance.
QUESTION: Okay, thanks a lot. So I’ll combine two into one, and they both relate to President Obama’s initiative regarding peacekeeping the other day. So – and the British prime minister announced that they’re going to send troops to Somalia and Sudan. Would the United States consider doing that? Specifically also, there’s always complaints by AMISOM and others that they lack airpower especially to combat Shabaab. The United States has engaged with airpower in Somalia, but could you do more? Could you supply helicopters, transport planes? And the same – in the same vein, with South Sudan, would the United States consider sending peacekeeping troops to South Sudan?
ASSISTANT SECRETARY THOMAS-GREENFIELD: I think on the – to answer your last question first, it is not something that we normally do, but we do support peacekeeping efforts quite extensively. We’re the largest funder of peacekeeping. And through our Africa training initiative, we’ve trained more than 250,000 African peacekeepers and we will continue those efforts to train. In addition to training them, we equip them. And we have provided them with airpower, and we’re looking at how we can provide additional enablers such as air to Ugandan and Kenyan and Ethiopian troops in Somalia. We’re working very, very closely with the AMISOM troops in Somalia in terms of helping to build up the capacity of the Somali national army. So we’re there as well, working to support the efforts of peacekeeping.
We were very pleased by the results of the peacekeeping conference. There were huge commitments that were made. The next step is to get those commitments honored. But again, I think this was responded to in a very serious way. And we look forward to working with these governments, particularly for myself on the continent of Africa, where we’ve had African countries that have very, very graciously and generously contributed to peacekeeping.
QUESTION: But the United States would not send troops to South Sudan?
ASSISTANT SECRETARY THOMAS-GREENFIELD: I – it’s not something that I’m aware that we have considered. But I certainly know that we will support the efforts.
QUESTION: I’d like to ask something regarding health in Africa. I’m from Ghana. Ebola never got to Ghana thankfully. And one of the things that Ebola exposed was the health structures in Africa. I’m sure you’re aware of this. In the aftermath of Ebola, if I could say that there still nothing has been done – I can speak for Ghana. And I know that the U.S. is a major contributor in terms of resources and personnel to the health systems in Africa. Do you ever get tired that you do all these things and African governments don’t respond – (laughter) – and do the updates? I mean, are you impressing on them to do something actually on the ground?
ASSISTANT SECRETARY THOMAS-GREENFIELD: Yeah. I never get tired. (Laughter.) No, let me be clear. We have worked with governments, and a lot has been done. We have signed an agreement with the African Union to help them to develop a center for disease control, an African center for disease control. CBC has also worked with African governments to support their efforts to address responses to infectious diseases. And in the case of Nigeria, where we did have Ebola cases, the Nigerians were able to control this because they had an effective CBC-like operation that they had worked over many years to develop. And we’re working with Ghana as well on developing that capacity.
Still, there’s tremendous additional effort that will be required in terms of building Africa’s health infrastructure. What Ebola showed us is that infrastructure is extraordinarily fragile and any infectious disease that occurs on the continent can really force a total collapse. And we saw that collapse take place in the three Ebola countries. So we are more than engaged on trying to address these issues across the continent, because you can’t do it just in one country. You have to work in all the countries to ensure that any type of infectious disease doesn’t go – doesn’t cross borders, because they don’t recognize borders. And we certainly saw that in the case of Ebola.
But we’ve had Ebola-like diseases in Central Africa for many, many years, and it’s been kept under wraps. So there are – there is some progress being made, but I agree with you: A lot more needs to be done. But we can’t get tired, because if we get tired, we will be defeated. And I’m not prepared and I don't think our Center for Disease Control that is intensely engaged in this – that any of us are prepared to declare defeat at this point.
MODERATOR: I understand the Assistant Secretary is on a really tight schedule and I’ve been asked to go ahead and end the briefing. Thank you so much for coming. We’re so happy to have you, and it’s been a wonderful discussion.
ASSISTANT SECRETARY THOMAS-GREENFIELD: Thank you very much. And thanks to all of you.
# # #
WEDNESDAY, SEPTEMBER 30, 2015, 2:00 P.M. EDT
NEW YORK FOREIGN PRESS CENTER, 799 UNITED NATIONS PLAZA, 10TH FLOOR
Promoting solid fuel heating, Lancaster City Transport 151 (NCW 151T), a 1979 Duple bus bodied Leyland Leopard pulls into Lancaster bus station on October 6, 1987.
VENICE BIENNALE / VENEZIA BIENNIAL 2013 : BIENNALIST
www.emergencyrooms.org/biennalist.html
Biennalist is an Art Format by Thierry Geoffroy / Colonel debating with artistic tools on Biennales and other cultural managed events . Often those events promote them selves with thematics and press releases faking their aim . Biennalist take the thematics of the Biennales very seriously , and test their pertinance . Artists have questioned for decade the canvas , the pigment , the museum ... since 1989 we question the Biennales .Often Biennalist converge with Emergency Room providing a burning content that cannot wait ( today before it is too late )
please contact before using the images : Thierry Geoffroy / Colonel 1@colonel.dk
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In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile
www.emergencyrooms.org/biennalist.html
Meanwhile Thierry Geoffroy is in Copenhagen the work about todays emergencies continue at the gallery Marianne Friis on the
ULTRACONTEMPOARY WARM UP Wall established for this occasion since 6sept 2013
thierrygeoffroy.blogspot.dk/2013/09/colonel-s-warm-up-wal...
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lists of artists participating at the Venice Biennale :
Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.
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other pavilions at Venice Biennale
Andorra Artists: Javier Balmaseda, Samantha Bosque, Fiona Morrison
Commissioner: Henry Périer Deputy Commissioners: Francesc Rodríguez, Ermengol Puig, Ruth Casabella
Curators: Josep M. Ubach, Paolo De GrandisAngola Artist: Edson Chagas Commissioner: Ministry of Culture
Curators: Beyond Entropy (Paula Nascimento, Stefano Rabolli Pansera), Jorge Gumbe, Feliciano dos Santos
Argentina Artist: Nicola Costantino Commissioner: Magdalena Faillace Curator: Fernando Farina
Armenia Artist: Ararat SarkissianCurator: Arman Grogoryan /AustraliaArtist: Simryn Gill Commissioner: Simon Mordant Deputy Commissioner: Penelope Seidler Curator: Catherine de Zegher /AustriaArtist: Mathias Poledna ,Curator: Jasper Sharp /AzerbaijanArtists: Rashad Alakbarov, Sanan Aleskerov, Chingiz Babayev, Butunay Hagverdiyev, Fakhriyya Mammadova, Farid Rasulov /Commissioner: Heydar Aliyev FoundationCurator: Hervé Mikaeloff
Bahamas Artist: Tavares Strachan Commissioner: Nalini Bethel, Ministry of Tourism Curators: Jean Crutchfield, Robert HobbsDeputy Curator: Stamatina Gregory/BangladeshChhakka Artists’ Group: Mokhlesur Rahman, Mahbub Zamal, A. K. M. Zahidul Mustafa, Ashok Karmaker, Lala Rukh Selim, Uttam Kumar Karmaker. Dhali Al Mamoon, Yasmin Jahan Nupur, Gavin Rain, Gianfranco Meggiato, Charupit School/Commissioner/Curator: Francesco Elisei. , Curator: Fabio Anselmi./BahrainArtists: Mariam Haji, Waheeda Malullah, Camille Zakharia /Commissioner: Mai bint Mohammed Al Khalifa, Minister of Culture /Curator: Melissa Enders-Bhatiaa/BelgiumArtist: Berlinde De Bruyckere
Commissioner: Joke Schauvliege, Flemish Minister for Environment, Nature and Culture .Curator: J. M. Coetzee ,Deputy Curator: Philippe Van Cauteren /Bosnia and Herzegovina
Artist: Mladen Miljanovic .Commissioners: Sarita Vujković, Irfan Hošić
Brazil Artists: Hélio Fervenza, Odires Mlászho, Lygia Clark, Max Bill, Bruno Munari
Commissioner: Luis Terepins, Fundação Bienal de São Paulo,Curator: Luis Pérez-Oramas ,Deputy Curator: André Severo
CanadaArtist: Shary Boyle /Commissioner: National Gallery of Canada / Musée des beaux-arts du Canada ,Curator: Josée Drouin-Brisebois/Central AsiaArtists: Vyacheslav Akhunov, Sergey Chutkov, Saodat Ismailova, Kamilla Kurmanbekova, Ikuru Kuwajima, Anton Rodin, Aza Shade, Erlan Tuyakov
Commissioner: HIVOS (Humanist Institute for Development Cooperation)
Deputy Commissioner: Dean Vanessa Ohlraun (Oslo National Academy of the Arts/The Academy of Fine Art)
Curators: Ayatgali Tuleubek, Tiago Bom
Scientific Committee: Susanne M. Winterling
ChileArtist: Alfredo JaarCommissioner: CNCA, National Council of Culture and the Arts Curator: Madeleine Grynsztejn
ChinaArtists: He Yunchang, Hu Yaolin, Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong, Zhang Xiaotao
Commissioner: China Arts and Entertainment Group (CAEG) ,Curator: Wang Chunchen
Costa Rica Artists: Priscilla Monge, Esteban Piedra, Rafael Ottón Solís, Cinthya Soto
Commissioner: Francesco EliseiCurator: Francisco Córdoba, Museo de Arte y Diseño Contemporáneo (Fiorella Resenterra)
Croatia Artist: Kata Mijatovic ,Commissioner/Curator: Branko Franceschi.
CubaArtists: Liudmila and Nelson, Maria Magdalena Campos & Neil Leonard, Sandra Ramos, Glenda León, Lázaro Saavedra, Tonel, Hermann Nitsch, Gilberto Zorio, Wang Du, H.H.Lim, Pedro Costa, Rui Chafes, Francesca Leone ,Commissioner: Miria ViciniCurators: Jorge Fernández Torres, Giacomo Zaza
CyprusArtists: Lia Haraki, Maria Hassabi, Phanos Kyriacou, Constantinos Taliotis, Natalie Yiaxi, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister /Louli Michaelidou
Deputy Commissioners: Angela Skordi, Marika Ioannou/Curator: Raimundas Malašauskas
Czech Republic & Slovak RepublicArtists: Petra Feriancova, Zbynek Baladran ,Commissioner: Monika Palcova, Curator: Marek Pokorny /DenmarkArtist: Jesper Just in collaboration with Project ProjectsEgypt
Artists: Mohamed Banawy, Khaled Zaki
EstoniaArtist: Dénes Farkas ,Commissioner: Maria Arusoo ,Curator: Adam Budak
FinlandArtist: Antti Laitinen , Commissioner: Raija Koli , Curators: Marko Karo, Mika Elo, Harri Laakso
FranceArtist: Anri Sala ,Curator: Christine Macel
GeorgiaArtists: Bouillon Group,Thea Djordjadze, Nikoloz Lutidze, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin, Gio Sumbadze/Commissioner: Marine Mizandari, First Deputy Minister of Culture Curator: Joanna Warsza
GermanyArtists: Ai Weiwei, Romuald Karmakar, Santu Mofokeng, Dayanita Singh Commissioner/Curator: Susanne Gaensheimer /Great BritainArtist: Jeremy Deller ,Commissioner: Andrea Rose , Curator: Emma Gifford-Mead
Holy SeeArtists: Lawrence Carroll, Josef Koudelka, Studio Azzurro ,Curator: Antonio Paolucci
Hungary , Artist: Zsolt Asztalos , Curator: Gabriella Uhl
Iceland , Artist: Katrín Sigurðardóttir ,Commissioner: Dorotheé Kirch
Curators: Mary Ceruti , Ilaria Bonacossa/IndonesiaArtists: Albert Yonathan Setyawan, Eko Nugroho, Entang Wiharso, Rahayu Supanggah, Sri Astari, Titarubi
Deputy Commissioner: Achille Bonito Oliva , Assistant Commissioner: Mirah M. Sjarif
Curators: Carla Bianpoen, Rifky Effendy
IraqArtists: Abdul Raheem Yassir, Akeel Khreef, Ali Samiaa, Bassim Al-Shaker, Cheeman Ismaeel, Furat al Jamil, Hareth Alhomaam, Jamal Penjweny, Kadhim Nwir, WAMI (Yaseen Wami, Hashim Taeeh)
Commissioner: Tamara Chalabi (Ruya Foundation for Contemporary Culture)Curator: Jonathan Watkins.
IrelandArtist: Richard MosseCommissioner, Curator: Anna O’Sullivan
Israel , Artist: Gilad Ratman , Commissioners: Arad Turgeman, Michael GovCurator: Sergio Edelstein
ItalyArtists: Francesco Arena, Massimo Bartolini, Gianfranco Baruchello, Elisabetta Benassi, Flavio Favelli, Luigi Ghirri, Piero Golia, Francesca Grilli, Marcello Maloberti, Fabio Mauri, Giulio Paolini, Marco Tirelli, Luca Vitone, Sislej Xhafa ,Commissioner: Maddalena Ragni
Curator: Bartolomeo Pietromarchi /Ivory Coast Artists: Frédéric Bruly Bouabré, Tamsir Dia, Jems Koko Bi, Franck Fanny
Commissioner: Paolo De Grandis , Curator: Yacouba Konaté
Japan ,Artist: Koki Tanaka ,Curator: Mika Kuraya
KenyaArtists: Kivuthi Mbuno, Armando Tanzini, Chrispus Wangombe Wachira, Fan Bo, Luo Ling & Liu Ke, Lu Peng, Li Wei, He Weiming, Chen Wenling, Feng Zhengjie, César MeneghettiCommissioner: Paola Poponi ,Curators: Sandro Orlandi, Paola Poponi /Korea (Republic of)Artist: Kimsooja
KosovoArtist: Petrit Halilaj ,Commissioner: Erzen Shkololli ,Curator: Kathrin Rhomberg
KuwaitArtists: Sami Mohammad, Tarek Al-Ghoussein
Commissioner: Mohammed Al-Asoussi ,Curator: Ala Younis /Latin AmericaIstituto Italo-Latino Americano
Artists:Marcos Agudelo, Miguel Alvear & Patricio Andrade, Susana Arwas, François Bucher, Fredi Casco, Colectivo Quintapata (Pascal Meccariello, Raquel Paiewonsky, Jorge Pineda, Belkis Ramírez), Humberto Díaz, Sonia Falcone, León & Cociña, Lucía Madriz, Jhafis Quintero, Martín Sastre, Guillermo Srodek-Hart, Juliana Stein, Simón Vega, Luca Vitone, David Zink Yi. /Harun Farocki & Antje Ehmann. In collaboration with: Cristián Silva-Avária, Anna Azevedo, Paola Barreto, Fred Benevides, Anna Bentes, Hermano Callou, Renata Catharino, Patrick Sonni Cavalier, Lucas Ferraço Nassif, Luiz Garcia, André Herique, Bruna Mastrogiovanni, Cezar Migliorin, Felipe Ribeiro, Roberto Robalinho, Bruno Vianna, Beny Wagner, Christian Jankowski ,Commissioner: Sylvia Irrazábal ,Curator: Alfons Hug
Deputy Curator: Paz Guevara /Latvia Artists: Kaspars Podnieks, Krišs Salmanis ,Commissioners: Zane Culkstena, Zane Onckule ,Curators: Anne Barlow, Courtenay Finn, Alise Tifentale
LithuaniaArtist: Gintaras Didžiapetris, Elena Narbutaite, Liudvikas Buklys, Kazys Varnelis, Vytaute Žilinskaite, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter SinisterCommissioners: Jonas Žokaitis, Aurime Aleksandraviciute Curator: Raimundas Malašauskas /LuxembourgArtist: Catherine LorentCommissioner: Clément Minighetti Curator: Anna Loporcaro /MexicoArtist: Ariel Guzik ,Commissioner: Gastón Ramírez Feltrín ,Curator: Itala Schmelz
Montenegro ,Artist: Irena Lagator Pejovic .Commissioner/Curator: Nataša Nikcevic
The Netherlands ,Artist: Mark Manders
Commissioner: Mondriaan Fund ,Curator: Lorenzo Benedetti
New Zealand Artist: Bill Culbert ,Commissioner: Jenny Harper ,Deputy Commissioner: Heather Galbraith ,Curator: Justin Paton /Finland: ,Artist: Terike Haapoja ,Commissioner: Raija Koli ,Curators: Marko Karo, Mika Elo, Harri Laakso
Norway:Artists: Edvard Munch, Lene Berg
Curators: Marta Kuzma, Pablo Lafuente, Angela Vettese
Paraguay Artists: Pedro Barrail, Felix Toranzos, Diana Rossi, Daniel Milessi ,Commissioner: Elisa Victoria Aquino Laterza
Deputy Commissioner: Nori Vaccari Starck , Curator: Osvaldo González Real
Poland Artist: Konrad Smolenski Commissioner: Hanna Wróblewska Curators: Agnieszka Pindera, Daniel Muzyczuk
Portugal Artist: Joana Vasconcelos Curator: Miguel Amado
RomaniaArtists: Maria Alexandra Pirici, Manuel Pelmus Commissioner: Monica Morariu Deputy Commissioner: Alexandru Damia Curator: Raluca VoineaArtists: Anca Mihulet, Apparatus 22 (Dragos Olea, Maria Farcas,Erika Olea), Irina Botea, Nicu Ilfoveanu, Karolina Bregula, Adi Matei, Olivia Mihaltianu, Sebastian MoldovanCommissioner: Monica Morariu ,Deputy Commissioner: Alexandru Damian ,Curator: Anca Mihulet
Russia Artist: Vadim Zakharov ,Commissioner: Stella Kasaeva ,Curator: Udo Kittelmann
Serbia Artists: Vladimir Peric, Miloš Tomic .Commissioner: Maja Ciric
SloveniaArtist: Jasmina CibicCommissioner: Blaž Peršin ,Curator: Tevž Logar
South Africa Commissioner: Saul Molobi ,Curator: Brenton Maart
Spain Artist: Lara Almarcegui , Commissioner/Curator: Octavio Zaya
Switzerland Artist: Valentin Carron Commissioners: Pro Helvetia - Sandi Paucic and Marianne Burki
Curator: Giovanni CarmineVenue: Pavilion at Giardini
Syrian Arab RepublicArtists: Giorgio De Chirico, Miro George, Makhowl Moffak, Al Samman Nabil, Echtai Shaffik, Giulio Durini, Dario Arcidiacono, Massimiliano Alioto, Felipe Cardena, Roberto Paolini, Concetto Pozzati, Sergio Lombardo, Camilla Ancilotto, Lucio Micheletti, Lidia Bachis, Cracking Art Group, Hannu Palosuo
Commissioner: Christian Maretti Curator: Duccio Trombadori
Taiwan Artists: Bernd Behr, Chia-Wei Hsu, Kateřina Šedá + BATEŽO MIKILU Curator: Esther Lu
Thailand Artists: Wasinburee Supanichvoraparch, Arin Rungjang
Curators: Penwadee Nophaket Manont, Worathep Akkabootara
Turkey Artist: Ali Kazma Commissioner: Istanbul Foundation for Culture and Arts Curator: Emre Baykal
Ukraine Artists: Ridnyi Mykola, Zinkovskyi Hamlet, Kadyrova Zhanna Commissioner: Victor Sydorenko
Curators: Soloviov Oleksandr, Burlaka Victoria
United Arab Emirates Artist: Mohammed Kazem /Commissioner: Dr. Lamees Hamdan Curator: Reem Fadda
Uruguay Artist: Wifredo Díaz Valdéz
Commissioner: Ricardo Pascale Curators: Carlos Capelán, Verónica Cordeiro
USA Artist: Sarah Sze Commissioners/Curators: Carey Lovelace, Holly Block
Venezuela Colectivo de Artistas Urbanos Venezolanos , Commissioner: Edgar Ernesto González Curator: Juan Calzadilla
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Encyclopedic Palace is curated by Massimiliano Gioni
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Other Biennales (Biennials ) : Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
(See the actual size of this tiny weed flower compared to the head of a paper match below.)
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From my set "Best Weed Flower Micros:"
www.flickr.com/photos/motorpsiclist/sets/72157626023965740/
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Some of these photographs appear to be close-ups of regular-sized flowers; they are not. All of these photos are micro (macro) photographs of the super-tiny blooms that blossom on common weeds.
Weed flowers...wild flowers...whichever appellation you want to bestow on them nonetheless these almost microscopic beauties are the flowers that bloom on the weeds in my yard.
Most of these flowers when measured petal tip to petal tip at their widest diameters measure 1/4" (6mm) across…or less...the entire bloom is that small. But the smallest weed flower I've shot yet is a small ring of flowers that measured less than 1/32" (.7mm) in diameter which encircled a spire which measured about 1/64" (0.3mm) in diameter.
For some photos I’ve included references to common objects such as the head of a paper match. On some others I’ve listed a description of the actual size of each object in the photo.
So far I've made over 600 photographs of over 48 varieties of weed flowers; this set represents the best of the best.
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My photographs and videos and any derivative works are my private property and are copyright © by me, John Russell (aka “Zoom Lens”) and ALL my rights, including my exclusive rights, are reserved. ANY use without my permission in writing is forbidden by law.
At the CD Talk - Promoting Women's Financial Inclusion - The Role of the IMF's Financial Access Survey, Esha Chhabra and Eric Duflos speak about the insights gained from the recent research survey at the IMF Headquarters during the 2019 IMF/World Bank Annual Meetings, October 17, 2019 in Washington, DC. IMF Photograph/Joshua Roberts
This is a photograph from the East of Ireland Marathon Series Marathon which was held in Longwood Village, Co. Meath, Ireland on Saturday 25th January 2014 at 09:00. There were 75 participants in the marathon which completed 8 loops of a 5KM route (and a additional 2KM) with Longwood GAA club acting as Race Headquarters, Start, Finish, and refreshments area. The weather turned particularly nasty for about an hour and the participants were lashed with gale-force winds, severe hailstones, and then rain. However this didn't stop everyone enjoying the day. Thanks to the folks at Longwood GAA who provided excellent hospitality and facilities for all participants. There was a great atmosphere at the race and everyone enjoyed another trip to the countryside for an EOIM.
Despite the weather there were a few PBs and fast inidividual times. The course is a nice fast flat 5KM loop. It is used every year as the Longwood GAA 5KM Road Race (see links below). The marathon loop followed the reverse of the race route for safety reasons as the roads were fully opened for the EOIM event. There is a total elevation gain of 20ft and an elevation loss of 23ft. The sources of elevation gain are only very small rises on the road and aren't really noticeable. Part of the route includes a kilometer on a boreen which is nicely sheltered and with good road surface. The road surface is excellent for the entire route. There were some puddles and mud on the boreen section of the route due to agricultural traffic.
Thanks must be extended to the Longwood GAA club and committee for the use of their fine facilities which allowed participants to have some refreshments afterwards and hot showers and changing rooms were also available.
This is the second East of Ireland Marathon Series race which has been held outside Dublin. The previous race which was held outside Dublin was held in Stapelstown, Co. Kildare in September 2013. (See links to pictures on Flickr from that race). Whilst Longwood is a rural venue it is easily accessible from all parts of Ireland due to it's close proximity to the N4 and the M4 Motorways.
We have an extensive set of photographs from today's event on the following Flickr Photoset Page: http://www.flickr.com/photos/peterm7/sets/72157640099311556/
Tell me more about the East of Ireland Marathon Series
This race event was part of the East of Ireland Marathon Series. The East Of Ireland Marathon Series aims to make marathons affordable and convienient for the runners of Ireland. The series organisers aim to promote marathon running and to make the process as stress free and enjoyable as possible. All courses are measured to full AAI standards and have a minimum of 10 Entrants. The marathons are self sufficent to a degree although there are limited supplies of water available on the day of the race. There will be no extra frills like chip timing and finish gantrys. However all finishing times are accurately and officially recorded and each marathon counts as an official marathon. Overall, this approach to marathon organisation helps to keep the price down and allows these races to be run in as an economically affordable manner as possible. The East of Ireland Marathon series is all inclusive and welcomes runners who are new to marathon running as well as experienced veterans. So if you are thinking of your 1st marathon, your 10th marathon, or your 100th the East of Ireland Marathon Series will provide a very friendly and low-cost environment for to become part of Ireland's marathon running community.
Viewing this on a smartphone device?
If you would like to see a larger version of this photograph and if you are viewing this Flickr set on a smartphone: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".
Some useful Internet links
East of Ireland Marathons Facebook Group Page: www.facebook.com/groups/130592073780072/ (you will need a Facebook account to view this)
East of Ireland Marathons Website: www.eastofirelandmarathons.com/
Race Website with Route Description: www.peterm7.com/longwood/
Garmin GPS Trace of the Marathon Route (main loop) connect.garmin.com/activity/401171615
East of Ireland Marathon Series - Stapelstown, Co. Kildare - September 2013: www.flickr.com/photos/peterm7/sets/72157635665725976/
We use Creative Commons Licensing
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
How can I get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
This is a photograph from the East of Ireland Marathon Series Marathon which was held in Longwood Village, Co. Meath, Ireland on Saturday 25th January 2014 at 09:00. There were 75 participants in the marathon which completed 8 loops of a 5KM route (and a additional 2KM) with Longwood GAA club acting as Race Headquarters, Start, Finish, and refreshments area. The weather turned particularly nasty for about an hour and the participants were lashed with gale-force winds, severe hailstones, and then rain. However this didn't stop everyone enjoying the day. Thanks to the folks at Longwood GAA who provided excellent hospitality and facilities for all participants. There was a great atmosphere at the race and everyone enjoyed another trip to the countryside for an EOIM.
Despite the weather there were a few PBs and fast inidividual times. The course is a nice fast flat 5KM loop. It is used every year as the Longwood GAA 5KM Road Race (see links below). The marathon loop followed the reverse of the race route for safety reasons as the roads were fully opened for the EOIM event. There is a total elevation gain of 20ft and an elevation loss of 23ft. The sources of elevation gain are only very small rises on the road and aren't really noticeable. Part of the route includes a kilometer on a boreen which is nicely sheltered and with good road surface. The road surface is excellent for the entire route. There were some puddles and mud on the boreen section of the route due to agricultural traffic.
Thanks must be extended to the Longwood GAA club and committee for the use of their fine facilities which allowed participants to have some refreshments afterwards and hot showers and changing rooms were also available.
This is the second East of Ireland Marathon Series race which has been held outside Dublin. The previous race which was held outside Dublin was held in Stapelstown, Co. Kildare in September 2013. (See links to pictures on Flickr from that race). Whilst Longwood is a rural venue it is easily accessible from all parts of Ireland due to it's close proximity to the N4 and the M4 Motorways.
We have an extensive set of photographs from today's event on the following Flickr Photoset Page: http://www.flickr.com/photos/peterm7/sets/72157640099311556/
Tell me more about the East of Ireland Marathon Series
This race event was part of the East of Ireland Marathon Series. The East Of Ireland Marathon Series aims to make marathons affordable and convienient for the runners of Ireland. The series organisers aim to promote marathon running and to make the process as stress free and enjoyable as possible. All courses are measured to full AAI standards and have a minimum of 10 Entrants. The marathons are self sufficent to a degree although there are limited supplies of water available on the day of the race. There will be no extra frills like chip timing and finish gantrys. However all finishing times are accurately and officially recorded and each marathon counts as an official marathon. Overall, this approach to marathon organisation helps to keep the price down and allows these races to be run in as an economically affordable manner as possible. The East of Ireland Marathon series is all inclusive and welcomes runners who are new to marathon running as well as experienced veterans. So if you are thinking of your 1st marathon, your 10th marathon, or your 100th the East of Ireland Marathon Series will provide a very friendly and low-cost environment for to become part of Ireland's marathon running community.
Viewing this on a smartphone device?
If you would like to see a larger version of this photograph and if you are viewing this Flickr set on a smartphone: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".
Some useful Internet links
East of Ireland Marathons Facebook Group Page: www.facebook.com/groups/130592073780072/ (you will need a Facebook account to view this)
East of Ireland Marathons Website: www.eastofirelandmarathons.com/
Race Website with Route Description: www.peterm7.com/longwood/
Garmin GPS Trace of the Marathon Route (main loop) connect.garmin.com/activity/401171615
East of Ireland Marathon Series - Stapelstown, Co. Kildare - September 2013: www.flickr.com/photos/peterm7/sets/72157635665725976/
We use Creative Commons Licensing
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
How can I get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
A fire scar promotes the regrowth of grass, Ponderosa pines and other plants below surviving trees in the U.S. Department of Agriculture (USDA) Forest Service (FS) Apache-Sitgreaves National Forests, where the Heber Wild Horse Territory is home to many feral horses in the high central Arizona area, on Sept. 26, 2019. Work has begun to draft proposed actions that balance the feral horse, wildlife, and land management of the forest and private cattle operations. The wildlife in this area also includes elk, mule deer, pronghorn sheep, javelina, mountain lions, and black bear. Of these, horse are the only ones who are not prey to the mountain lion and black bears, and cannot currently be culled as are elk. Also, cattle, elk and horses graze on the same type of grass, a challenge to manage the animals who feed on it, and also for the grass which also needs water in an increasingly drought-prone area. The horse population has increased the demand for water from these sites that did not originally account for them. For more information about the Wild Horse and Burro program, please go to fs.fed.us/wild-horse-burro.
USDA Photo by Lance Cheung.
LOS ANGELES - The Los Angeles Fire Department gathered on April 21, 2023 to honor the achievements of fifty-three LAFD uniformed and civilian members who successfully completed the demanding process of promoting in rank or status within the Department.
Expressing her pride in their accomplishments, City of Los Angeles Fire Chief Kristin M. Crowley oversaw the formal promotion ceremony at the LAFD Frank Hotchkin Memorial Training Center in Elysian Park.
Individually honored at the event were:
Joseph Bannan
Daniel Barrera
Roland Bonada
Michael Campana
Victor Chavez
Justin Draeger
Christopher Dupertuis
Ricardo Garcia
Javier Gonzalez
Thomas Griffith
Andrew Guzzard
Eldon Karrati
Matthew Kasparian
Carlos Limon
Arturo Martinez
Luis Ochoa
Gage Oetgen
Michael Pellegrini
Brant Pulliam
Ian VanGerpen
Alan Almaguer
Amanda Avery
Ellery Beltran
Manuel Castaneda III
Michael Contreras
Justin Dettorre
Christopher Elguea
Joel Fien
Jacob Fryer
Borys Gudiel
Cody Hass
Justin Lahr
Christopher Napper
Calvin Ngo
Robert Price
Taylor Rappaport
Jeffrey Rodner
Gregory Zaccaro
Jason Teter
Greg Whitmore
Adam Blasey
Gregory Brown
Lenora Caldera
Mercedes Orellana-Farias
Tom Hoang
Maria Lozano
Brittany Medina
Nam Nguyen
William Nguyen
Mauricio Ramirez
Arman Serobyan
Amabel Torres
John Warner
Photo Use Permitted via Creative Commons - Credit LAFD
LAFD Event 042123 - Promotion Ceremony
Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk