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The Porsche 914's reputation for excellent handling was somewhat marred by criticism that the original four-cylinder version was too slow, though lack of speed was never a shortcoming of the 914/6. Porsche being Porsche there was, inevitably, a competition version of the 914/6 – the 914/6GT – a small batch of which was built in 1970. The GT's engine was tuned for around 220bhp, while glassfibre panels and Plexiglas windows helped get the weight down, and dramatically flared arches accommodated wider wheels. In addition, the factory offered a GT kit that could be ordered with a regular 914/6 to be installed by designated Porsche dealers.
In 1970 Porsche entered a 914/6GT in the gruelling Le Mans 24 Hours endurance race. It finished 6th overall and won its class, a quite remarkable accomplishment. The 914/6GT's first official outing as a rally car was at the 1971 Monte Carlo Rally, Bjorn Waldegard's works entry finishing in 3rd place, after which Porsche returned to the perennial 911. The 914/6 was a relatively short-lived model with only 3,360 examples produced between 1970 and 1972.
The 914/6 GT offered here was constructed by the German team, Kremer Racing, in 1971 using a 1970 914/6 as the basis. The car was prepared and partly maintained by Kremer, being used in the International German Mountain Championship during 1972 by customers and others, including Gotthard Egerland and Hermann Neureuther. At the end of 1972 it had an accident and was sold. The original and subsequent owners are recorded in the accompanying FIA papers, while Kremer correspondence on file confirms that when they inspected the car in November 2000 it was in running order and in original condition.
Recently restored in Belgium by recognised specialists, MEC Auto around a brand new engine built by Irmgartz, the car is presented in competition trim, complete with Recaro seats, multi-point harnesses, built-in roll cage and fire extinguisher. A past participant in the Tour Auto, and eligible for other similar events, it currently displays a total of 29,932 kilometres on the odometer and is offered with German title (cancelled) and Belgian registration papers. A spare gearbox (long ratios) and two differentials are included in the sale.
Les Grandes Marques du Monde au Grand Palais
Bonhams
Sold for € 184.000
Estimated : € 180.000 - 240.000
Parijs - Paris
Frankrijk - France
February 2017
"The Parc des Buttes-Chaumont took its name from the bleak hill which occupied the site, which, because of the chemical composition of its soil, was almost bare of vegetation- it was called Chauve-mont, or bare hill. The area, just outside the limits of Paris until the mid-19th century, had a sinister reputation; it was close to the site of the Gibbet of Montfaucon, the notorious place where the bodies of hanged criminals were displayed after their executions from the 13th century until 1760. After the 1789 Revolution, it became a refuse dump, and then a place for cutting up horse carcasses and a depository for sewage. The director of public works of Paris and builder of the Park, Jean-Charles Alphand, reported that "the site spread infectious emanations not only to the neighboring areas, but, following the direction of the wind, over the entire city." Another part of the site was a former gypsum and limestone quarry mined for the construction of buildings in Paris and in the United States. That quarry also yielded Eocene mammal fossils, including Palaeotherium, which were studied by Georges Cuvier. This not-very-promising site was chosen by Baron Haussmann, the Prefet of Paris, for the site of a new public park for the recreation and pleasure of the rapidly growing population of the new 19th and 20th arrondissements of Paris, which had been annexed to the city in 1860.
The work on the park began in 1864, under the direction of Alphand, who used all the experience and lessons he had learned in making the Bois de Boulogne and the Bois de Vincennes. Two years were required simply to terrace the land. Then a railroad track was laid to bring in cars carrying two hundred thousand cubic meters of topsoil. A thousand workers remade the landscape, digging a lake and shaping the lawns and hillsides. Explosives were used to sculpt the buttes themselves and the former quarry into a picturesque mountain fifty meters high with cliffs, an interior grotto, pinnacles and arches. Hydraulic pumps were installed to lift the water from the canal of the Ourcq River up the highest point on the promontory, to create a dramatic waterfall.
The chief gardener of Paris, horticulturist Jean-Pierre Barillet-Deschamps, then went to work, planting thousands of trees, shrubs and flowers, along with sloping lawns. At the same time, the city's chief architect, Gabriel Davioud, designed the miniature Roman temple on the top of the promontory, modeled after that at Tivoli near Rome, as well as belvederes, restaurants modeled after Swiss chalets, and gatehouses like rustic cottages, completing the imaginary landscape.
The park was finally opened on April 1, 1867, coinciding with the opening of the Paris Universal Exposition, and instantly became a popular success with the Parisians."
Founded in 1852 in South Bend, IN, Brothers Clement and Henry Studebaker first made metal parts for freight wagons and later expanded into the manufacture of complete wagons. The company entered the automobile manufacturing business in 1902, first manufacturing electric cars. The company established a reputation for quality and reliability, although it went out of business in 1966.
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Petrified Forest National Park
Holbrook, Arizona
Dec 2016
In the 1950s and early 1960s, whilst the company was still building its reputation, Enzo Ferrari was still on the hunt for what he deemed to be “the Ferrari look”, which was a distinctive appearance for his cars that perfectly encapsulated the passion, heritage, and uniqueness of the Ferrari brand. As a result, Ferrari experimented with a number of different coach builders, creating countless beautiful and vastly different motor cars. At the same time, this allowed owners to customise their Ferrari exactly as they saw fit, bringing their own personality into the automobiles design, which was a process akin to having a bespoke suit constructed by a fine Italian tailor. Both owners and coach builders took enormous pride in their creations, as both parties felt that the completed automobile was the embodiment of their professional and personal accomplishments.
One such design was the 250 GT LWB Berlinetta Zagato ‘Tour De France’, of which only five were made. After being approached by two of his best Italian clients, Vladimiro Galluzi and Camillo Luglio, Ferrari was requested to supply them both with 250 LWB chassis to be sent to Zagato for custom coachwork, and this was a request to which “Il Commendatore” agreed. Zagato strived to create a design that would be lighter and more aerodynamic than other bodies on the 2,600 millimetre chassis, lending a competitive advantage to their cars. Chassis 0515GT and 0537GT would be finished in April and June of 1956, for Galluzzi and Luglio respectively. Both cars would go on to see some competition success, and two of the three Zagato-bodied TDFs that followed were also campaigned by their original owners. However, Ferrari would eventually select Pinin Farina as his coach builder of choice, leaving just six Ferraris, all five 250 GTZs and a 166 MM, to ever be bodied by Zagato before Enzo passed away in 1989.
Participants enjoy some relaxing yoga with instructor Anna at the Dowd YMCA's Taylor Swift: Reputation Party.
A mural on the side of a burned market in the back of beyond along the Salton Sea. The title of the mural is "Sesha Sand Storm". I've heard the Salton Sea referred to as "A beautiful lady with a bad reputation" and felt that phrasing also seemed to describe this snake charming skull waver in the mural. :-) www.cvindependent.com/index.php/en-US/arts-and-culture/vi...
With my reputation of being 'accident prone' it was not ideal, in order to obtain any shot, to balance rather precariously on a concrete barrier - needs must when nowt else about! Thankfully, on this occasion my dismounting didn't result in personal injury.
Colas 70813 at the head of the 6M40 Westbury - Stud Farm empty aggregates is captured passing Shrivenham.
Marmon was a US maker of luxury cars. They developed the first production V16 engine, only to be beaten to production by Cadillac who were much better financed.
Key to building the marques reputation was the Model 34.
The following text comes from am Autoweek article published in 2003:
1917 MARMON MODEL 34 TOURING CAR: WAY AHEAD OF ITS TIME
As World War I began, Indianapolis car and flour milling machinery manufacturer Nordyke & Marmon decided to expand its automobile business by making an extraordinary new model. While the company’s genius engineer, Howard Marmon, is best known for the 1931 16-cylinder model, the six-cylinder Model 34 introduced in 1916 is probably Marmon’s more innovative vehicle. The 34 projected an image of progressive luxury, combining trend-setting design with excellent performance.
The exterior styling of the Model 34—drawn by Cleveland coachbuilder Leon Rubay—championed the beginning of streamlined automobile body shapes. The car’s distinctive look was set off with bicycle-style fenders connected by a running board strengthened with a Dutch bend edge, which folded part of a sheet of the metal. The running board surface continued into each fender, a great design detail. When the 34 was shown at the 1916 New York Auto Show, public reaction was strong. The Marmon factory expanded to meet demand.
At a time when most cars were trimmed with brass or nickel, the 34’s radiator shell, windshield frame and headlight housing were painted—to resemble a sporty car. A hood without louvers, and wire wheels contributed to the visual theme of speed. There were seven standard models of the 34: The five-passenger touring car was the least expensive at $3,100. Customers wanting more choices were shown a book of 50 body styles drawn by a dozen different coachbuilders.
The 34 used a relatively compact overhead-valve, 340-cid inline six-cylinder engine placed on a 136-inch-wheelbase chassis. Cylinders and the upper half of the crankcase were a single casting of Lynite aluminum. It was the first production automobile in which the major part of the engine was aluminum. The powerplant had a nominal rating of 33.75 horsepower—hence the 34 designation—but brake horsepower was 74, the same as Packard’s V12. So much aluminum was used in the 3500-pound car that the Model 34 weighed in 1000 pounds less than other cars of the same size, giving it an excellent power-to-weight ratio.
The featured model, a rare seven-passenger touring car, has been used sparingly during its long life. The original owner drove it only several hundred miles a year, and meticulously followed the factory service manual procedures by putting the car up on blocks for the winter. Donald DePue, who lives in Eastern Pennsylvania, bought this Model 34 in 1990. He had the car completely restored. It has only 19,000 miles on the odometer.
DePue’s car can go well above 50 mph, but does so with some noise. Each year the Model 34 takes part in the Marmon Club meet—the Mighty Marmon Muster—to be held in York Beach, Maine, this September.
In this touring car, driver and passengers sit in front and rear seats stylishly divided by a cowl (which conceals a cellarette—a period euphemism for a small bar—and two jump seats). The front seat is bench-style, with a bulge in the middle of the leather seatback that indicates there is only room for two. There are four pedals on the floor of the driver’s side: The brake and the clutch protrude. Close to the driver’s seat is a small circular brass pedal. This is the accelerator. To its side is a square metal footrest.
The Marmon business was seriously damaged by the double punch of canceled war contracts and the severe recession in 1921-22. That forced the 34 to continue into the late 1920s, beyond its time, which diluted Marmon’s luxury image. As the Depression began, new investors revived Marmon with a spectacular 16-cylinder car, and the company diversified into large specialty trucks.
That did not save the automobile business. However, the trucks thrived, allowing the Marmon name to continue on motor vehicles into the 1990s.
Chassis n° AV35499
Les Grandes Marques du Monde au Grand Palais 2020
Bonhams
Parijs - Paris
Frankrijk - France
February 2020
Estimated : € 800.000 - 1.100.000
Sold for € 879.750
Talbot's reputation for producing highly effective competition cars owed a lot to the efforts of the Tolworth based motor dealership and racing preparation specialists, Fox & Nicholl, which looked after the works team from the beginning of 1930 to the end of 1932. The Fox & Nicholl Talbot 90s had dominated the 3-Litre class in prestigious international events such as the Le Mans 24-Hour race, despite displacing only 2.3 litres. For 1931, designer Georges Roesch produced a new car with a full 3-litre engine, which was lighter than its 2.3-litre predecessor and featured much larger valves in a staggered layout, giving improved breathing. This engine was fitted to a lighter and lower chassis, the new model being the AV105.
Famously registered 'GO 51' to 'GO 54' consecutively, the four Fox & Nicholl Talbot 105s enjoyed an outstanding run of successes during the 1931 and 1932 seasons. Highlights of the latter included 1st, 2nd and 3rd in class at the Brooklands 'Double Twelve' in 1931; 3rd overall at Le Mans and 1st un-supercharged car in 1931 and 1932; 1st, 2nd and 3rd in class in the Brooklands 500 in 1931 and 1st and 2nd in 1932; and 1st and 2nd in class at the TT in 1931 and 1932. There was also a glorious failure in the Mille Miglia in 1932 when a lone entry crashed after 900 miles when in 4th place overall.
In addition to its racetrack successes, the AV105 proved to be a formidable rally car. Roesch had always tested his cars in the Alps so it was no surprise when journalist Humfrey Symons borrowed an example to compete in the 1931 Coupe des Alpes (Alpine Rally). He lost no marks and won a Coupe des Glaciers, the highest possible award for a single entry.
The following year a more serious bid was mounted and a team of three tourer-bodied AV105s were prepared for the 1932 event by Fox and Nicholl. These cars were extremely successful, finishing without any penalties, and winning the Coupe des Alpes outright. Another AV105 team, this time with paired down cycle winged four-seater bodies, the famous 'BGH' cars, repeated the feat in 1934. The latter were the ultimate development of the competition Talbot and as such arguably represent the ultimate pre-war British racing sports car. By far the most developed of the three 'BGH' works cars was 'BGH 23' (sold by Bonhams in 2014) and the only other competition car that Talbot built to the same specification was 'AYL 2' offered here.
'AYL 2' was constructed at around the same time as the 'BGH' Alpine cars in 1934. It was ordered new by Dr E J H Roth, who was a leading Harley Street consultant and keen Talbot racer, having previously competed successfully with a 90 at Brooklands. Roth now wanted an even quicker Talbot to challenge for outright wins at the famed Surrey track, and saw the potential in a 'BGH'-style car. As such, the body was to the same general outline as the works Alpine team cars of 1934 but more pared down for track racing, being slightly narrower, with no hood fitted, the area this would normally reside in being panelled over. No windscreen was fitted and initially no passenger's side door, while the specification also included Zeiss headlamps, a Brooklands exhaust system, and André Telecontrol shock absorbers. As such, the car is widely regarded as a semi-works example.
Painted green with matching wheels, 'AYL 2' appeared for the first time at a Brooklands race meeting on 13th October 1934 and was raced by Roth in two races that day. Following this initial visit, Roth continued to race the car successfully at Brooklands, scoring a win in April 1935.
For the 1936 season, with Dr Roth in search of still greater performance and success at the track, 'AYL 2' was up-rated to single-seater specification with a new body manufactured by the famed ERA company of racing voiturette fame. For the BRDC 500-mile race of 1936, the car was prepared with works support to include the installation of the new 3.3-litre 110-type engine. It was driven in this, the most important Brooklands race of the year, by two of the best Brooklands drivers available, Chris Staniland (the 2nd quickest man ever to lap the circuit) and W M 'Mike' Couper. The latter was Talbot's crack 'works' Brooklands driver, famously piloting 'BGH 23' to many successes at the Surrey track. In single-seater form, 'AYL 2' never fulfilled its apparent potential; it is thought this was due to difficult handling caused by poor installation of the rear shock absorbers.
This period of the car's life, when it was fitted with the larger 110 engine, is nevertheless important, since 'AYL 2' is one of only two competition Talbots (the other being 'BGH 23') fitted with this engine in period. As a result, it is eligible today to run this larger and more powerful engine.
When 'AYL 2' was converted to a single-seater, its original sports car body was fitted in 1936 to an almost new Talbot AV105, registration number 'JJ 93'. The body would remain on this car for many years, unmodified apart from the useful addition of a passenger-side door and a windscreen.
In the 1950s, 'AYL 2', by now with its single seater body modified to two-seater configuration (and reregistered as 'JKJ 869' to take advantage of cheaper tax), passed through the trade (see advertisements on file) before being purchased by Arthur Archer, the highly respected Talbot restorer. By this time the original cylinder block was badly damaged; Archer scrapped the block but kept the rest of the car as a potential source of spares. Fortunately Archer never needed the spares and sold the car as a dismantled project to fellow Talbot specialist Ian Polson in 1975. He in turn sold the still dismantled project to John Ward, who rebuilt it using a replica body to the original pattern, as delivered to Dr Roth in 1934. Subsequently, 'AYL 2' was purchased by well-known long-term Talbot collector Nicholas Ward of Northern Ireland, Ward was able to purchase the remaining original parts that Archer had retained, and reunited the car with its original registration number.
Throughout this time the original 1934 team car-style body from 'AYL 2' had remained in good order, fitted to 'JJ 93' as mentioned above. Finally, in 2010, renowned Talbot collector and entrant John Ruston was able to purchase 'AYL 2' from Nicholas Ward and 'JJ 93' from its then owner Paul Wignall. 'AYL 2' was then reunited with its original body, as well as important original components such as road equipment and seats.
While owned by John Ruston and prepared and driven by Gareth Burnett, 'AYL 2' was again hugely successful both on road and track, exactly as its manufacturers had intended, winning two of the most highly regarded pre-war rally and race events: Plateau 1 overall at the Le Mans Classic in 2012 and the prestigious Flying Scotsman rally outright in 2013.
Following brief ownership by well-known German collector Michael Hinderer (who raced the car at the Goodwood Revival in 2015), 'AYL 2' was purchased by the current owner in 2017. A highly successful pre-war rally entrant, he wanted a car that would be equally at home on the rally stages as on the racetrack, and which was eligible for all of the world's great historic motoring events. 'AYL 2' has fitted the bill uniquely well. To ensure the car performed as well as possible, at time of purchase the engine was rebuilt around a new 110 cylinder block by Gareth Burnett. While in the vendor's ownership, the Flying Scotsman rally, Mille Miglia and Le Mans Classic were all completed successfully.
Being a man that likes his cars to drive and present as well as possible, the owner dispatched 'AYL 2' to Talbot specialist I S Polson at the end of the 2018 season with the brief to get the car running and driving on road and track to its very best capabilities. To this end the car was gone through from stem to stern. Works carried out included a complete rewire, top-end engine overhaul, remaking of the floor and associated brackets, re-fitting an original type radiator, re-plumbing the cooling system, rebuilding the seats, re-mounting the body, and overhauling the shock absorbers together with countless other smaller jobs (see invoices on file for circa £80,000). As such, the car only requires final set-up for a new owner to enjoy.
'AYL 2' is only offered for sale because a change in his plans means the owner will not be able to use the car as much as he feels an historic competition car of this quality deserves. A proven winner, this strong and successful post-Vintage thoroughbred is eligible to compete in all the world's best pre-war races and rallies, where its competition record speaks for itself. In the right hands, it is surely a car to be reckoned with, or in less skilled but equally enthusiastic hands, is a ticket for the very best the motoring world has to offer, just as it was for Dr Roth when new. Offered with current FIA HTP papers.
Tomorrow is the big day...Open Studios begins...we have been working non stop all week to get prepared..up early tomorrow..the show begins at 11:00 am. Not much time for Flickr until Monday....I do want to tell a skunk story though...when I was around thirteen I had neighbors who just loved animals...they had two sweet dogs, one a big black lab mix...well they spotted three baby skunks and decided to catch them and put them in a large rabbit hutch..well baby skunks will spray, but it isn't as potent as an adult..the big black lab mix loved little animals ( he used to snuggle with their baby rabbits) so when the owner wasn't looking we let him in the cage with the little skunks...of course when he nuzzled them, they sprayed him...direct hit...he was out of there in a hurry and rubbing his nose all over the grass...snorting and sneezing...P.S. they let them loose....
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Introduction
The word Reputation according to the dictionary means what somebody is known for.
The Greek word for reputation is φήμη
Just to mention a few translations (what somebody is known for)
French: réputation, renommée (more slang)
German: Ansehen, Ruf, Klang
Italian: reputazione, rumore, caratura
Portuguese: reputação, fama
Russian: репута́ция
Spanish: reputación
"In today′s interconnected consumer economy, the notion that an organization or a company′s reputation can be ′managed′ as an entity or a simple commodity or one–dimensional artifact is dangerously outdated. Every morsel of information no matter how trivial or seemingly innocuous has the potential to go viral in a heartbeat. Reputations that took decades to build can be destroyed in mere moments."
The Brand reputation
Brand reputation refers to how a particular brand (whether for an individual or a company) is viewed by others. A favorable brand reputation means consumers trust your company, and feel good about purchasing your goods or services. An unfavorable brand reputation, however, will cause consumers to distrust your company and be hesitant about purchasing your products or services.
According to research revealed that somehow God May Put His Own Reputation on the Line In Order To Protect and Guarantee Yours?
Moreover, there is need to protect your relationship offline and online reviews, rating and overall presence in order to remove negative thought or content in the mind of people that shows up about you in any form or offline/online because the effect can be catastrophic to your reputation talking from true life stories.
Like Celebrities may need to be watchful about the Paparazzi in newspapers and magazines. But now in the computer age or internet era where everyone with a camera on is phones or cameras with different types of devises and method of taken people photos thinks there is a journalist and knows how to take a picture or video and sell it to National Enquirer or TMZ in seconds.
Your online image arrives before you do these days and makes incredible first impression about you. Wonder why you didn’t get the interview or job or didn’t get posted as a worker in the House of Worship or Worship Centers getting up to a year or to some people now is even more than years while others are being posted to their various departments it could be what people says about you in a negative way that is really bad or Misunderstood first impression about you or false/fake rumors in mistaken you for another person/fellow or otherwise talking from a true life experiences that shouldn’t be heard in the House of Worship or Worship Centers or formed a Cabal against you! Or 83% of companies check your online reputation and over half of them admit to not hiring a candidate due to what they find or God knows why He allowed it to be so, and even knows better than we do.
Dazaifu Tenman-gū (太宰府天満宮) is a Shinto shrine in Dazaifu, Fukuoka Prefecture, Japan. It is built over the grave of Sugawara no Michizane (845–903) and is one of the main shrines dedicated to Tenjin, the deified form of Michizane.
Shrine legend
According to legend, Michizane was a gifted student who composed many poems dedicated to his favorite plum trees.[1] Said to be favored by the gods, Michizane raised the ire of the Fujiwara clan,[1] who exiled him to Kyushu.[2] Michizane spent his exile studying, and died at the age of 57.[1]
When Michizane died, his body was carried by an ox that stopped near a Buddhist monastery.[2] Unable to move the body along, Michizane was buried there by his follower, Umasake no Yasuyuki, and the shrine was built there.[2] Today, a statue of an ox stands nearby to commemorate the event.[1] It's also said that the plum tree inside the shrine flew from Kyoto to be reunited with Michizane in his death,[2] and that it is always the first plum tree to bloom in Japan.[1]
Soon after Michizane died, five members of the Fujiwara clan, the royal family involved in Michizane's exile, died, one from a lightning strike that struck the clan's castle.[2][1] Michizane, deified as Tenjin, was thus seen as a vengeful spirit.[2] When disasters struck Kyoto, the Fujiwara clan aimed to appease Michizane's spirit and, as penance, reinstated his position and rank posthumously.[1] Through this appeasement, Tenjin's reputation became associated with literature and education.[2]
The shrine's precinct spans over 3,000 acres (12 km2) and includes several structures. Its honden, or main shrine, was first built by Yasuyuki Umasake in 905, two years after the death of Michizane. A larger structure was constructed by the Fujiwara clan in 919 but was destroyed in a fire during a civil war. The Momoyama-style shrine visitors see today dates from 1591[2] and is an Important Cultural Property.[3]
The grounds also contain two ponds, a bridge and a treasure house.[4] One pond is a traditional garden style, shinji ike, named for being shaped to resemble the kanji character for "heart."[2]
As well as the main shrine dedicated to Tenjin there are auxiliary and branch shrines of many other kami.[5] The auxiliary shrine honden is an Important Cultural Property.[6]
The shrine is also known for its 6,000 ume (Asian plum) trees belonging to 167 varieties. One tree, known as Tobiume, stands directly to the right of the honden. Legend has it that after Michizane left Kyoto in exile, he yearned so much for this tree that it uprooted itself and flew to Dazaifu Tenman-gū.[2][7]
Cuisine
Umegae mochi, and the sando of Dazaifu Tenmangu shrine
Alongside the path to the shrine are shops selling umegae mochi (梅ヶ枝餅) , a grilled azuki bean cake stamped with the pattern of a plum tree flower.[8] These snacks are strongly associated with the shrine for their connection to the legend of Michizane. It is said that an elderly caretaker, Jomyoni, prepared the snacks for him, and left one as an offering when he died.[2]
The University of California, Los Angeles (UCLA) is a public research university located in the Westwood district of Los Angeles, California, United States. It became the Southern Branch of the University of California in 1919, making it the second-oldest undergraduate campus of the ten-campus system after the original University of California campus in Berkeley (1873). It offers 337 undergraduate and graduate degree programs in a wide range of disciplines. UCLA has an approximate enrollment of 30,000 undergraduate and 12,000 graduate students, and has 112,000 applicants for Fall 2015, the most applicants for any American university.
The 2016 U.S. News & World Report Best Global University Rankings report ranks UCLA 8th in the world in terms of research and international reputation. The Times Higher Education World University Rankings for 2015–2016 ranks UCLA 16th in the world for academics and 13th in the world for reputation. In 2015/16, UCLA is ranked 12th in the world (10th in North America) by the Academic Ranking of World Universities (ARWU) and 27th in the 2015/16 QS World University Rankings. In 2015, the Center for World University Rankings (CWUR) ranked the university 15th in the world based on quality of education, alumni employment, quality of faculty, publications, influence, citations, broad impact, and patents.
The university is organized into five undergraduate colleges, seven professional schools, and four professional health science schools. The undergraduate colleges are the College of Letters and Science; Henry Samueli School of Engineering and Applied Science (HSSEAS); School of the Arts and Architecture; School of Theater, Film and Television; and School of Nursing. Thirteen Nobel laureates, one Fields Medalist, and three Turing Award winners have been faculty, researchers, or alumni. Among the current faculty members, 55 have been elected to the National Academy of Sciences, 28 to the National Academy of Engineering, 39 to the Institute of Medicine, and 124 to the American Academy of Arts and Sciences. The university was elected to the Association of American Universities in 1974.
UCLA student-athletes compete as the Bruins in the Pacific-12 Conference. The Bruins have won 126 national championships, including 113 NCAA team championships. UCLA student-athletes have won 250 Olympic medals: 125 gold, 65 silver and 60 bronze. The Bruins have competed in every Olympics since 1920 with one exception (1924), and have won a gold medal in every Olympics that the United States has participated in since 1932.
en.wikipedia.org/wiki/University_of_California,_Los_Angeles
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
I lost an extensive collection of vintage 50mm Prime lenses in a house fire a few months ago, but while going through some salvaged items today, I came across this attractive vintage lens, which I had bought at some point last year and never gotten a chance to use.
Thre are very few example shots form this lens on Flickr and the internet in general. Knowing its reputation for having very interesting bubbly/swirly out-of-focus areas ("bokeh"), I decided to clean up the lens and take it out for a walk throuighg a local state park here to get some example shots.
This set has a mix of closeups, designed to maximize swirl, as well as some wider view shots in order to give an idea of overall sharpness and rendering.
IIRC, all of these were taken between f/1.8 and f/4.
Shot on a Pentax K-1 full frame DSLR with M42 to K Mount adapter. Minimally processed with basic K-1 "bright" development profile in Lightroom.
Although quiet and peaceful today Norham Castle, on the Northumberland borders of England and Scotland, has the reputation for being one of the most fought-over buildings in the UK with a suggested 13 sieges during its long history. It had long been on my ‘to do’ list.
At various times it was under the control of the palatine Bishops of Durham or the current king with its importance being its command of a major crossing point over the River Tweed and thus the approaches into England and the bishops’ northern lands.
It was first built in 1121 by Bishop Ranulf Flambard but it was captured by the Scots as soon as 1136, returned and then captured again in 1138. In 1209 King John and the Scots King William the Lion met here but that Scots king’s son, Alexander II, besieged it for 40 days unsuccessfully in 1215. English King Edward I, the ‘hammer of the Scots’ met Scots King John Balliol here in 1292. During the 14th century the Scots invaded several times but did not always attack Norham - they swerved around it.
The Scots unsuccessfully besieged it in 1318 for nearly a year and, despite getting into the outer ward, were driven out three days later. In the 15th century Norham was involved in the so-called Wars of the Roses and changed hands. The Scots largely stayed out of these wars but an unsuccessful Scots attack in 1497 saw much damage including the use of the famous Mons Meg 20-inch calibre bombard which is now housed in Edinburgh Castle.
For the 1513 Flodden campaign Norham came under a concentrated assault and was very badly damaged and finally captured. This led to an extensive Tudor rebuilding of the outer walls on all sides incorporating artillery embrasures and extensive revetment with earth on both the outside and inside. This earth was more resilient than stone to artillery. Norham continued to feature in cross-border warfare and skirmishes.There was a dusk gunfight in October of 1597 at the neighbouring ford. By 1574 it was already showing signs of decay with ships masts being used to prop up some ceilings.
As it stands today the first thing the visitor sees is the great medieval keep standing on a mount within two wards or baileys. The walls are ruinous and have been the subject of much stone robbing in antiquity but it is still possible to see how imposing it would have been in its prime. The gun embrasures on the north-western side fire directly across the Tweed to the Scottish shore. The castle is protected by a deep natural ravine to the east and north-east which drops into the Tweed with deep dry ditches on the other sides.
The original main gatehouse faced the river crossing to the west and was improved by a barbican and portcullis in medieval times. But this gate may have been a weak point. It was later partially blocked - converting to foot traffic or a sally port - with a more secure entrance facing south and flanked by copious artillery. Indeed the outer ward walls were almost completely rebuilt for artillery in the early 16th century with very little medieval material remaining visible.
The red stone keep is partly collapsed but appears to have gone through at least three stages of expansion and improvement including - at one stage - having one end demolished and rebuilt with a new circular stairwell. It is possible to see the divide between the old and new material when viewing from the south. While now free to enter my only gripe was that the lack of a site office meant no opportunity to buy a guide book but I eventually found one at another English Heritage site. There are good ‘interpretation’ boards on site but these will never replace a good guide book.
Devil's Pulpit
A strange rock with a sinister reputation lurks within the crimson waters of this Scottish glen.
Blood-red water courses through Finnich Glen, a majestic sliver of Scotland, and surges around a strange rock with a sinister reputation.
The name “the Devil’s Pulpit” originally referred to the mushroom-shaped rock that sometimes pokes above the rushing stream. Some say the rock is where the Devil stood to address his followers, the crimson current swirling at his feet. Others say Druids held secret meetings there, hidden from sight within the shadows of the gorge’s looming walls. Still more tell tales of witches using the rock as an execution block.
However, over time, many people began referring to all of Finnich Gorge as “the Devil’s Pulpit.” It’s still a fitting name, as the red water certainly gives the whole place an eerie, almost sinister aura, though its color actually isn’t the work of the Devil at all. It’s merely a result of the underlying red sandstone.
But this doesn’t make the gorge feel any less otherwordly. Climbing down the slippery steps—of course referred to at the Devil’s Steps—and entering this realm of verdant moss-covered rocks and ruby-toned water reveals an enchanting world, where thin beams of sunlight shine spotlights the gurgling stream.
The gorge also had a small role in the series Outlander as the site of Liar’s Spring.
The Maasai comprise 5 clans. They have reputation of fierce warriors. But they are traditionally seminomadic, and live off their cattle almost exclusively. The Maasai believe that all cattle belong to them and they are known to be cattle raiders. Cattle raiding used to be a common inter tribal activity. The livestock is a sign of wealth and is traditionally used to pay dowry for the wedding. Women are worth 10 cows. They consistently come from another village. Parents are the ones who negociate for the marriage. In the Maasai community, women construct the huts, collect firewood, bring water, milk the herds of cattle and cook for the family. Young boys look after the beasts while the warriors protect the clan. Older men take care of the daily operations in the community. The Maasai live in families in a Manyatta (a form of enclosed homestead), surrounded by a fence made of thorny bushes to protect them and their livestock from intruders and predators. Each Manyatta has about 10 to 20 huts known as "Inkajijik". These huts are made of tree branches, mud, grass and cow dung. If a man has more than one woman, he must build another house to welcome his second wife (to avoid rivalry). So a man who has 3 wifes must own 3 houses and therefore be rich. In the Maasai culture, the colorful ornaments are dedicated to their beauty, which is one of the most important aspects. Visual arts consist mainly of body decoration and beaded ornaments. These decorations are displayed in their dances, which are a popular art form. Women wear beaded necklaces and bangles, and men a red checked shuka (Maasai blanket). The warriors carry a spear and a ball-ended club, and paint their body with ochre. Maasai's diet includes meat, cow blood 2 times a week, and a lot of milk. The cows are bled by opening a vein in the neck with a blunt arrow or knife. The blood is then drunk on it’s own or with milk. The Maasai speak a Nilotic language, called Maa.
They believe in one God, Ngai (meaning "One Creator God"), the creator and giver of all things. They also believe in witchcraft. In each tribal group, there is a prophet who is seen as helping to cope with the endemic sorcery, by the means of protective medicines and advices for the rituals. In addition to the prophets, they also have diviners who are supposed to have the power to diagnose illnesses and causes of misfortune, and can prescribe a range of herbal medicines and ritual cures. Despite the fact that some members have moved to cities, many have kept their customs. The most distinctive feature of Maasai society is the age system for men, divided in sets and spaced apart by about fifteen years. Excision, as well as circoncision, is an initiatory ceremony that mark the passage to adulthood. Although excisions are prohibited in Kenya, it is widespread throughout the country, especially in rural areas. Only 4 ethnic groups (Luo, Luhya, Teso and Turkana) out of 42 don't practise it. According to the ethnies and regions, excisions vary considerably and range from 4.1% in the western region to 98.8% in the North-Est. They are common within the Somali (97%), Kisii (96%) and Maasai (93%) while they are less frequent among the Kikuyu (34%) and Kamba (27%). The kenyan law is rarely enforced and it sometimes lead this practice to clandestinity instead of slowing it down. For the 3 months of recovery period after excision, Maasai girls wear jewellery and chalk make-up, to show they must not be seen by men. Circumcision happens at the age of 18 in the Maasai tribes. Maasai woman are not allowed to attend the ceremony. Boys who show their pain with tears during the operation, are considered as cowards and bear this shame all his life. On the contrary, the ones who don't cry during circumcision are authorized to hunt colorful birds with their bow and arrows. Then they make a headdress indicating their new warrior's status. After the operation, boys go in their mother's hut to drink cow's fresh blood to recover their forces. The promotion of warriors to elderhood involve two distinct ceremonies. The 4 days eunoto ceremony raise the warriors to the senior warrior status. For this occasion, warriors gather in the same village. They are led by a ritual leader (olotuno). Each one of them has a part of his head shaved by his mother, which often makes them cry. It symbolizes the end of their freedom and of the bond with their mother. At the end of the ritual, the warrior can select any girl to marry. The olghesher ceremony promote them to senior elderhood thanks to which they have the power to bless and curse, and become protective leaders of the next new age-set.
During one of the ceremonies, maasai girls accompany their lover to the ceremonial dance. Pearl neacklaces and headbands follow the rhythm. This is the sole moment when girls can choose freely 3 lovers among the warriors.Traditionally, as long as the father was alive, no son has final control over his cattle nor over his choice in marriage. At marriage, the bride is allocated a herd of cattle, from which all her sons will build up herds of their own. In any case, women are raised to accept her submission to her future husband.
© Eric Lafforgue
Modèle : Coralie
Lieux : Gap ; Hautes-Alpes
Page Facebook : www.facebook.com/pages/LgPhotographer/284884081577961
Online Reputation Management panel at sempdx searchfest 2009, including presentations from:
Martin Bowling (not in attendance?)
Todd Freisen (filling in for martin bowling?) - Search - Simpsons' Style - 2009
a Reputation Monitoring Dashboard Product and related blog post: How
to Build a Reputation Monitoring Dashboard
moderated by anne kennedy of beyond ink
copyright © 2009 sean dreilinger
view slide - msn keyword mutation detection tool - Online Reputation Management - sempdx searchfest 2009 - _MG_9342 on a black background.
The introduction of the Fulvia saloon in 1963 maintained Lancia's reputation for innovation in automobile design. Designed by Antonio Fessia, the boxy-styled Appia replacement featured an all-new, narrow-angle, V4, overhead-camshaft engine; front wheel drive; independent front suspension by double wishbones; and disc brakes all round. The Fulvia was described as 'a precision motor car, an engineering tour de force', and was lauded by motoring journalists as a jewel of engineering and forward thinking design, as well as being delightful to drive.
A 2+2 coupé on a shorter wheelbase was launched in 1965. Though mechanically similar, the beautiful newcomer had all the visual presence its progenitor lacked and came with a 1.216 cc engine producing 80 bhp. In 1967 the model was up-rated with the 1.298 cc, 85bhp engine, becoming the Fulvia Rallye 1.3. Tuned, lightweight 'HF' versions provided increased performance and formed the basis of the Squadra Corse works team's highly successful rally programme that saw the Fulvia HF 1600 secure Lancia's first Manufacturers' World Championship in 1972. Although their symbol was a galloping elephant, these cars were true paragons of lightness and efficiency. Producing 101 bhp at 6.400 rpm, the Rallye 1.3 HF's engine was the most powerful 1.300 cc unit used in a Fulvia. There were only 882 cars made, compared with 1.258 Fulvia Rallye 1.6 HFs produced between 1969 and 1970, and these rarer early 1,3-litre cars are becoming more sought after than the 1.600 cc versions.
This Fulvia Rallye 1.3 HF Coupé was delivered new to France in 1968. The car changed hands in 1971, moving to the Montpellier region, and from then onwards stayed with the same French owner until 2008, being kept in excellent and notably original condition. It is recorded on file that in the early 1980s the car had covered only 15.000 kilometres (believed the correct total from new). After an engine rebuilt around that same time, the odometer was zeroed and only some 7.700 km were covered subsequently, making the total distance from new approximately 22.000 km.
Changing hands in 2008, the Fulvia was then cosmetically restored to the highest possible standards by well-known Dutch Lancia specialist, Franke in The Hague (Den Haag). The engine was overhauled again, unnecessarily as it turned out, while other mechanical works carried out at that time included overhauling the brakes, clutch, starter motor, etc.
Boasting beautiful paintwork, the car remains highly original and we have been advised that it retains full matching numbers, including those of the body panels. This car's quality was recognised at the Paleis Het Loo Concours d'Élégance in 2010 where it was a prize-winner in its class 'Cuore Sportivo'. In addition to the concours prize, the car comes with an instruction manual; Dutch registration papers; a copy of the old French (second-owner) Carte Grise; old French number plates; a photographic record of all Franke's 2008 work; and invoices for the last sympathetic restoration totalling over € 30.000.
Original and unmolested Fulvia 1.3 HFs being hard to find, this car represents a rare opportunity to acquire a superb example of this desirable model, offered in wonderful and highly original condition by only its third owner.
Bonhams : the Zoute Sale
Sold for € 51.750
Zoute Grand Prix 2017
Knokke - Zoute
België - Belgium
October 2017
Thousands of Google employees have signed an open letter asking the internet giant to stop working on a project for the US military.
Project Maven involves using artificial intelligence to improve the precision of military drone strikes.
Employees fear Google's involvement will "irreparably damage" its brand.
"We believe that Google should not be in the business of war," says the letter, which is addressed to Google chief executive Sundar Pichai.
"Therefore we ask that Project Maven be cancelled, and that Google draft, publicise and enforce a clear policy stating that neither Google nor its contractors will ever build warfare technology."
No military projects
The letter, which was signed by 3,100 employees - including "dozens of senior engineers", according to the New York Times - says that staff have already raised concerns with senior management internally. Google has more than 88,000 employees worldwide.
In response to concerns raised, the head of Google's cloud business, Diane Greene, assured employees that the technology would not be used to launch weapons, nor would it be used to operate or fly drones.
However, the employees who signed the letter feel that the internet giant is putting users' trust at risk, as well ignoring its "moral and ethical responsibility".
"We cannot outsource the moral responsibility of our technologies to third parties," the letter says.
"Google's stated values make this clear: every one of our users is trusting us. Never jeopardise that. Ever.
"Building this technology to assist the US government in military surveillance - and potentially lethal outcomes - is not acceptable."
'Non-offensive purposes'
Google confirmed that it was allowing the Pentagon to use some of its image recognition technologies as part of a military project, following an investigative report by tech news site Gizmodo in March.
A Google spokesperson told the BBC: "Maven is a well-publicised Department of Defense project and Google is working on one part of it - specifically scoped to be for non-offensive purposes and using open-source object recognition software available to any Google Cloud customer.
"The models are based on unclassified data only. The technology is used to flag images for human review and is intended to save lives and save people from having to do highly tedious work.
"Any military use of machine learning naturally raises valid concerns. We're actively engaged across the company in a comprehensive discussion of this important topic and also with outside experts, as we continue to develop our policies around the development and use of our machine learning technologies."
The internet giant is working on developing policies for the use of its artificial intelligence technologies.
The reputation of Leyland Motors was still riding high in 1967, when this advert for the rear-engined PSUR1 Panther appeared in Commercial Motor. The calamitous acquisition of British Motor Holdings changed all that from the following year, when British Leyland came into existence.
The Leyland Panther was launched in 1964 and had a common chassis design with the AEC Swift/Merlin: Leyland had acquired AEC in 1962, so a greater degree of commonality could be expected with new bus and truck ranges.
Both the Panther and the Swift have gained reputations as unreliable products. The complex drive-line could be problematic, but the Panther was a reasonable sales success, with over 600 being sold in the UK market up to 1972, with other sales successes in Australia plus a batch of 200 supplied to Stockholm in 1967 to help achieve the rule-of-the-road change.
Sales of the Leyland Panther began to tail off when the better-regarded Bristol RE became available in the open market, and when one-person operation of double-deckers was allowed. Preston Corporation was the final customer.
The Beatles were an English rock band formed in Liverpool in 1960. The group, whose best-known line-up comprised John Lennon, Paul McCartney, George Harrison and Ringo Starr, are regarded as the most influential band of all time. They were integral to the development of 1960s counterculture and popular music's recognition as an art form. Rooted in skiffle, beat and 1950s rock and roll, their sound incorporated elements of classical music and traditional pop in innovative ways; the band later explored music styles ranging from ballads and Indian music to psychedelia and hard rock. As pioneers in recording, songwriting and artistic presentation, the Beatles revolutionised many aspects of the music industry and were often publicised as leaders of the era's youth and sociocultural movements.
Led by primary songwriters Lennon and McCartney, the Beatles built their reputation playing clubs in Liverpool and Hamburg over three years from 1960, initially with Stuart Sutcliffe playing bass. The core trio of Lennon, McCartney and Harrison, together since 1958, went through a succession of drummers, including Pete Best, before asking Starr to join them in 1962. Manager Brian Epstein moulded them into a professional act, and producer George Martin guided and developed their recordings, greatly expanding their domestic success after their first hit, "Love Me Do", in late 1962. As their popularity grew into the intense fan frenzy dubbed "Beatlemania", the band acquired the nickname "the Fab Four", with Epstein, Martin and other members of the band's entourage sometimes given the informal title of "fifth Beatle".
By early 1964, the Beatles were international stars, leading the "British Invasion" of the United States pop market and breaking numerous sales records. They soon made their film debut with A Hard Day's Night (1964). From 1965 onwards, they produced records of greater complexity, including the albums Rubber Soul (1965), Revolver (1966) and Sgt. Pepper's Lonely Hearts Club Band (1967), and enjoyed further commercial success with The Beatles (also known as "the White Album", 1968) and Abbey Road (1969). In 1968, they founded Apple Corps, a multi-armed multimedia corporation that continues to oversee projects related to the band's legacy. After the group's break-up in 1970, all four members enjoyed success as solo artists. Lennon was shot and killed in December 1980, and Harrison died of lung cancer in November 2001. McCartney and Starr remain musically active.
The Beatles are the best-selling music act of all time, with estimated sales of over 800 million units worldwide.[4] They are the best-selling act in the US, with certified sales of 183 million units. They hold the record for most number-one albums on the UK Albums Chart, most number-one hits on the Billboard Hot 100 chart, and most singles sold in the UK. The group were inducted into the Rock and Roll Hall of Fame in 1988, and all four main members were inducted individually between 1994 and 2015. In 2008, the group topped Billboard's list of the all-time most successful artists on the Billboard Hot 100. The band received seven Grammy Awards, four Brit Awards, an Academy Award (for Best Original Song Score for the 1970 film Let It Be) and fifteen Ivor Novello Awards. Time magazine named them among the 20th century's 100 most important people.
Apologies to Mummi for spelling his nickname wrong and Orcid too :( I was sat to the very side of the screen so I was listening rather than watching the slides!
British postcard by Heroes Publishing Ltd., London, no SFC 3025.
American actor Leonardo DiCaprio (1974) has often played unconventional parts, particularly in biopics and period films. His role in the blockbuster Titanic (1998) cemented DiCaprio's reputation as a teen heartthrob. He became one of the biggest movie stars thanks to his films with the directors Martin Scorsese, Christopher Nolan, and Quentin Tarantino. He won an Oscar and a Golden Globe Award for The Revenant (2015) as well as two other Golden Globes for The Aviator (2004) and The Wolf of Wall Street (2013).
Leonardo Wilhelm DiCaprio was born in Los Angeles, in 1974. He is the only child of Irmelin (née Indenbirken), a legal secretary, and George DiCaprio, an underground comix writer, publisher, and distributor of comic books. His parents separated when he was a year old. When his older stepbrother earned $50,000 for a television commercial, DiCaprio, fascinated with this, decided to become an actor. At age 14, he began his career by appearing in television commercials such as for Matchbox cars by Mattel, which he considered his first role. In 1989, he played the role of Glen in two episodes of the television show The New Lassie. Leo played recurring roles in various television series, such as the sitcom Parenthood (1990-1991) based on the successful comedy film of the same name. He made his film debut as the stepson of an evil landlord in the low-budget horror direct-to-video film Critters 3 (Kristine Peterson, 1991). He was handpicked by Robert De Niro out of 400 young actors to play the lead role in the biographical coming-of-age drama This Boy's Life (Michael Caton-Jones, 1993) with De Niro as his stepfather, and Ellen Barkin as his mother. In 1993, DiCaprio co-starred as the intellectually disabled brother of Johnny Depp's character in What's Eating Gilbert Grape (Lasse Hallström, 1993), a comic-tragic odyssey of a dysfunctional Iowa family. The film became a critical success, earning DiCaprio a National Board of Review Award for Best Supporting Actor and nominations for an Oscar and a Golden Globe. His next films were the Western film The Quick and the Dead (Sam Raimi, 1995) with Sharon Stone, the biopic The Basketball Diaries (Scott Kalvert, 1995) in which he played a teenage Jim Carroll as a drug-addicted high school basketball player and writer, and the erotic drama Total Eclipse (Agnieszka Holland, 1995), a fictionalised account of the homosexual relationship between Arthur Rimbaud (DiCaprio) and Paul Verlaine (David Thewlis). In 1996, DiCaprio appeared opposite Claire Danes in Baz Luhrmann's Romeo + Juliet, an abridged modernisation of William Shakespeare's romantic tragedy of the same name. The project grossed $147 million worldwide and earned DiCaprio a Silver Bear for Best Actor at the 1997 Berlin International Film Festival. DiCaprio then achieved international fame as a star in the epic romance Titanic (James Cameron, 1997), opposite Kate Winslet. Against expectations, Titanic went on to become the highest-grossing film to that point, eventually grossing more than $2.1 billion in box-office receipts worldwide. DiCaprio turned into a superstar, resulting in intense adoration among teenage girls and young women in general that became known as "Leo-Mania"
Leonardo DiCaprio played a self-mocking role in a small appearance in Woody Allen's caustic satire of the fame industry, Celebrity (1998). That year, he also starred in the dual roles of the villainous King Louis XIV and his secret, sympathetic twin brother Philippe in The Man in the Iron Mask (Randall Wallace, 1998). The film received mixed to negative response, but became a box office success, grossing $180 million internationally. DiCaprio was awarded a Golden Raspberry Award for Worst Screen Couple for both incarnations the following year. Leonardo starred in two successful features in 2002. The first was the biographical crime drama Catch Me If You Can (Steven Spielberg, 2002), based on the life of Frank Abagnale Jr., who before his 19th birthday committed check fraud to make millions in the 1960s. The film received favourable reviews and was an international success, becoming DiCaprio's highest-grossing release since Titanic with a total of $351 million worldwide. The second was the historical drama Gangs of New York (Martin Scorsese, 2002) with Cameron Diaz and Daniel Day-Lewis. It marked his first of many collaborations with director Martin Scorsese. Gangs of New York earned a total of $193 million worldwide and received mostly positive reviews. DiCaprio played Howard Hughes in The Aviator (Martin Scorsese, 2004), which DiCaprio also co-produced. In 2005, he was named the commander of the Ordre des Arts et des Lettres for his contributions to the arts. DiCaprio was a mercenary in the political thriller Blood Diamond (Edward Zwick, 2006). He received acclaim for his role opposite Jack Nicholson in the crime drama The Departed (Martin Scorsese, 2006). Budgeted at $90 million, the film grossed $291 million and emerged as DiCaprio and Scorsese's highest-grossing collaboration to date. He reunited with Kate Winslet in the romantic drama Revolutionary Road (Sam Mendes, 2008). DiCaprio is the founder of Appian Way Productions—a production company that has produced some of his films and the documentary series Greensburg (2008–2010)—and the Leonardo DiCaprio Foundation, a non-profit organization devoted to promoting environmental awareness.
Leonardo DiCaprio continued to collaborate with Martin Scorsese in the psychological thriller film Shutter Island (Martin Scorsese, 2010), based on the novel of the same name by Dennis Lehane. The film was a commercial success, grossing $294 million worldwide. DiCaprio starred in the science fiction thriller Inception (Christopher Nolan, 2010), in which he enters the dreams of others to obtain information that is otherwise inaccessible. DiCaprio earned $50 million from the film, becoming his highest payday yet. He was an executive producer for George Clooney's political drama The Ides of March, an adaptation of Beau Willimon's play Farragut North (George Clooney, 2011) with Ryan Gosling. In 2012, DiCaprio starred as a plantation owner, Calvin Candie, in Quentin Tarantino's Spaghetti Western, Django Unchained (2012). DiCaprio's next role was as the millionaire Jay Gatsby in Baz Luhrmann's The Great Gatsby (2013), an adaptation of F. Scott Fitzgerald's 1925 novel of the same name. That year he also starred in the biopic The Wolf of Wall Street (Martin Scorsese, 2013), based on the life of stockbroker Jordan Belfort, who was arrested in the late 1990s for securities fraud and money laundering. The film earned him a Golden Globe and Oscar nominations for Best Actor and Best Picture. DiCaprio was an executive producer on Virunga (Orlando von Einsiedel, 2014), a British documentary film about four people fighting to protect the world's last mountain gorillas from war and poaching. The film was nominated for an Academy Award for Best Documentary Feature. In 2015, DiCaprio produced and played fur trapper Hugh Glass in Alejandro G. Iñárritu's survival drama The Revenant. Built on a budget of $135 million, the well-received film earned $533 million worldwide. The film earned him numerous awards, including an Academy Award, a Golden Globe, a BAFTA, a SAG and a Critic's Choice Award for Best Actor. For the next three years, DiCaprio narrated documentaries and served as a producer for films. DiCaprio returned to acting following a break of four years in Quentin Tarantino's comedy-drama Once Upon a Time in Hollywood (2019), opposite Brad Pitt. He received nominations for an Oscar, a Golden Globe and a BAFTA Award for Best Actor. The film earned a total of $374 million against its $90-million budget. DiCaprio's personal life is the subject of widespread media attention. He rarely gives interviews and is reluctant to discuss his private life. Among his former girlfriends are Brazilian model Gisele Bündchen, Israeli model Bar Refaeli, and German model Toni Garrn.
Sources: Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
Participants enjoy an intense arms/abs workout with instructor Holly at the Dowd YMCA's Taylor Swift: Reputation Party.
From Paradise lost, 1695, by John Milton (1608-1674)
Paradise Lost was the major work which solidified Milton’s reputation as one of the greatest English poets. This early edition of the first illustrated version contains stunning engravings by the Dutch artist Jean Baptist Medina. Milton defined the purpose of his biblical epic as to ‘justify the ways of God to men.’ Paradise Lost has been an inspiration for some of the finest and most startling illustrations of hell. Centuries later Milton’s work continues to inspire writers. Phillip Pullman’s successful epic His Dark Materials is a version of Paradise Lost, that draws on Milton’s plot, themes and method of characterization.
Paradise lost : a poem in twelve books / John Milton, the author ; to which is prefix'd an account of his life.
John Milton 1608-1674.
London : Printed for the Company of Stationers, 1739
Cadbury Research Library r PR3560
birmingham-primo.hosted.exlibrisgroup.com/primo-explore/f...
Participants enjoy some relaxing yoga with instructor Anna at the Dowd YMCA's Taylor Swift: Reputation Party.
Chassis n° AV35499
Les Grandes Marques du Monde au Grand Palais 2020
Bonhams
Parijs - Paris
Frankrijk - France
February 2020
Estimated : € 800.000 - 1.100.000
Sold for € 879.750
Talbot's reputation for producing highly effective competition cars owed a lot to the efforts of the Tolworth based motor dealership and racing preparation specialists, Fox & Nicholl, which looked after the works team from the beginning of 1930 to the end of 1932. The Fox & Nicholl Talbot 90s had dominated the 3-Litre class in prestigious international events such as the Le Mans 24-Hour race, despite displacing only 2.3 litres. For 1931, designer Georges Roesch produced a new car with a full 3-litre engine, which was lighter than its 2.3-litre predecessor and featured much larger valves in a staggered layout, giving improved breathing. This engine was fitted to a lighter and lower chassis, the new model being the AV105.
Famously registered 'GO 51' to 'GO 54' consecutively, the four Fox & Nicholl Talbot 105s enjoyed an outstanding run of successes during the 1931 and 1932 seasons. Highlights of the latter included 1st, 2nd and 3rd in class at the Brooklands 'Double Twelve' in 1931; 3rd overall at Le Mans and 1st un-supercharged car in 1931 and 1932; 1st, 2nd and 3rd in class in the Brooklands 500 in 1931 and 1st and 2nd in 1932; and 1st and 2nd in class at the TT in 1931 and 1932. There was also a glorious failure in the Mille Miglia in 1932 when a lone entry crashed after 900 miles when in 4th place overall.
In addition to its racetrack successes, the AV105 proved to be a formidable rally car. Roesch had always tested his cars in the Alps so it was no surprise when journalist Humfrey Symons borrowed an example to compete in the 1931 Coupe des Alpes (Alpine Rally). He lost no marks and won a Coupe des Glaciers, the highest possible award for a single entry.
The following year a more serious bid was mounted and a team of three tourer-bodied AV105s were prepared for the 1932 event by Fox and Nicholl. These cars were extremely successful, finishing without any penalties, and winning the Coupe des Alpes outright. Another AV105 team, this time with paired down cycle winged four-seater bodies, the famous 'BGH' cars, repeated the feat in 1934. The latter were the ultimate development of the competition Talbot and as such arguably represent the ultimate pre-war British racing sports car. By far the most developed of the three 'BGH' works cars was 'BGH 23' (sold by Bonhams in 2014) and the only other competition car that Talbot built to the same specification was 'AYL 2' offered here.
'AYL 2' was constructed at around the same time as the 'BGH' Alpine cars in 1934. It was ordered new by Dr E J H Roth, who was a leading Harley Street consultant and keen Talbot racer, having previously competed successfully with a 90 at Brooklands. Roth now wanted an even quicker Talbot to challenge for outright wins at the famed Surrey track, and saw the potential in a 'BGH'-style car. As such, the body was to the same general outline as the works Alpine team cars of 1934 but more pared down for track racing, being slightly narrower, with no hood fitted, the area this would normally reside in being panelled over. No windscreen was fitted and initially no passenger's side door, while the specification also included Zeiss headlamps, a Brooklands exhaust system, and André Telecontrol shock absorbers. As such, the car is widely regarded as a semi-works example.
Painted green with matching wheels, 'AYL 2' appeared for the first time at a Brooklands race meeting on 13th October 1934 and was raced by Roth in two races that day. Following this initial visit, Roth continued to race the car successfully at Brooklands, scoring a win in April 1935.
For the 1936 season, with Dr Roth in search of still greater performance and success at the track, 'AYL 2' was up-rated to single-seater specification with a new body manufactured by the famed ERA company of racing voiturette fame. For the BRDC 500-mile race of 1936, the car was prepared with works support to include the installation of the new 3.3-litre 110-type engine. It was driven in this, the most important Brooklands race of the year, by two of the best Brooklands drivers available, Chris Staniland (the 2nd quickest man ever to lap the circuit) and W M 'Mike' Couper. The latter was Talbot's crack 'works' Brooklands driver, famously piloting 'BGH 23' to many successes at the Surrey track. In single-seater form, 'AYL 2' never fulfilled its apparent potential; it is thought this was due to difficult handling caused by poor installation of the rear shock absorbers.
This period of the car's life, when it was fitted with the larger 110 engine, is nevertheless important, since 'AYL 2' is one of only two competition Talbots (the other being 'BGH 23') fitted with this engine in period. As a result, it is eligible today to run this larger and more powerful engine.
When 'AYL 2' was converted to a single-seater, its original sports car body was fitted in 1936 to an almost new Talbot AV105, registration number 'JJ 93'. The body would remain on this car for many years, unmodified apart from the useful addition of a passenger-side door and a windscreen.
In the 1950s, 'AYL 2', by now with its single seater body modified to two-seater configuration (and reregistered as 'JKJ 869' to take advantage of cheaper tax), passed through the trade (see advertisements on file) before being purchased by Arthur Archer, the highly respected Talbot restorer. By this time the original cylinder block was badly damaged; Archer scrapped the block but kept the rest of the car as a potential source of spares. Fortunately Archer never needed the spares and sold the car as a dismantled project to fellow Talbot specialist Ian Polson in 1975. He in turn sold the still dismantled project to John Ward, who rebuilt it using a replica body to the original pattern, as delivered to Dr Roth in 1934. Subsequently, 'AYL 2' was purchased by well-known long-term Talbot collector Nicholas Ward of Northern Ireland, Ward was able to purchase the remaining original parts that Archer had retained, and reunited the car with its original registration number.
Throughout this time the original 1934 team car-style body from 'AYL 2' had remained in good order, fitted to 'JJ 93' as mentioned above. Finally, in 2010, renowned Talbot collector and entrant John Ruston was able to purchase 'AYL 2' from Nicholas Ward and 'JJ 93' from its then owner Paul Wignall. 'AYL 2' was then reunited with its original body, as well as important original components such as road equipment and seats.
While owned by John Ruston and prepared and driven by Gareth Burnett, 'AYL 2' was again hugely successful both on road and track, exactly as its manufacturers had intended, winning two of the most highly regarded pre-war rally and race events: Plateau 1 overall at the Le Mans Classic in 2012 and the prestigious Flying Scotsman rally outright in 2013.
Following brief ownership by well-known German collector Michael Hinderer (who raced the car at the Goodwood Revival in 2015), 'AYL 2' was purchased by the current owner in 2017. A highly successful pre-war rally entrant, he wanted a car that would be equally at home on the rally stages as on the racetrack, and which was eligible for all of the world's great historic motoring events. 'AYL 2' has fitted the bill uniquely well. To ensure the car performed as well as possible, at time of purchase the engine was rebuilt around a new 110 cylinder block by Gareth Burnett. While in the vendor's ownership, the Flying Scotsman rally, Mille Miglia and Le Mans Classic were all completed successfully.
Being a man that likes his cars to drive and present as well as possible, the owner dispatched 'AYL 2' to Talbot specialist I S Polson at the end of the 2018 season with the brief to get the car running and driving on road and track to its very best capabilities. To this end the car was gone through from stem to stern. Works carried out included a complete rewire, top-end engine overhaul, remaking of the floor and associated brackets, re-fitting an original type radiator, re-plumbing the cooling system, rebuilding the seats, re-mounting the body, and overhauling the shock absorbers together with countless other smaller jobs (see invoices on file for circa £80,000). As such, the car only requires final set-up for a new owner to enjoy.
'AYL 2' is only offered for sale because a change in his plans means the owner will not be able to use the car as much as he feels an historic competition car of this quality deserves. A proven winner, this strong and successful post-Vintage thoroughbred is eligible to compete in all the world's best pre-war races and rallies, where its competition record speaks for itself. In the right hands, it is surely a car to be reckoned with, or in less skilled but equally enthusiastic hands, is a ticket for the very best the motoring world has to offer, just as it was for Dr Roth when new. Offered with current FIA HTP papers.
Robert Hooke FRS (/hʊk/; 28 July [O.S. 18 July] 1635 – 3 March 1703) was an English natural philosopher, architect and polymath.
His adult life comprised three distinct periods: as a scientific inquirer lacking money; achieving great wealth and standing through his reputation for hard work and scrupulous honesty following the great fire of 1666, but eventually becoming ill and party to jealous intellectual disputes. These issues may have contributed to his relative historical obscurity.
He was at one time simultaneously the curator of experiments of the Royal Society and a member of its council, Gresham Professor of Geometry and a Surveyor to the City of London after the Great Fire of London, in which capacity he appears to have performed more than half of all the surveys after the fire. He was also an important architect of his time – though few of his buildings now survive and some of those are generally misattributed – and was instrumental in devising a set of planning controls for London whose influence remains today. Allan Chapman has characterised him as "England's Leonardo".[1]
Robert Gunther's Early Science in Oxford, a history of science in Oxford during the Protectorate, Restoration and Age of Enlightenment, devotes five of its fourteen volumes to Hooke.
Hooke studied at Wadham College during the Protectorate where he became one of a tightly knit group of ardent Royalists led by John Wilkins. Here he was employed as an assistant to Thomas Willis and to Robert Boyle, for whom he built the vacuum pumps used in Boyle's gas law experiments. He built some of the earliest Gregorian telescopes and observed the rotations of Mars and Jupiter. In 1665 he inspired the use of microscopes for scientific exploration with his book, Micrographia. Based on his microscopic observations of fossils, Hooke was an early proponent of biological evolution.[2][3] He investigated the phenomenon of refraction, deducing the wave theory of light, and was the first to suggest that matter expands when heated and that air is made of small particles separated by relatively large distances. He performed pioneering work in the field of surveying and map-making and was involved in the work that led to the first modern plan-form map, though his plan for London on a grid system was rejected in favour of rebuilding along the existing routes. He also came near to an experimental proof that gravity follows an inverse square law, and hypothesised that such a relation governs the motions of the planets, an idea which was subsequently developed by Isaac Newton.[4] Much of Hooke's scientific work was conducted in his capacity as curator of experiments of the Royal Society, a post he held from 1662, or as part of the household of Robert Boyle.
Much of what is known of Hooke's early life comes from an autobiography that he commenced in 1696 but never completed. Richard Waller mentions it in his introduction to The Posthumous Works of Robert Hooke, M.D. S.R.S., printed in 1705. The work of Waller, along with John Ward's Lives of the Gresham Professors and John Aubrey's Brief Lives, form the major near-contemporaneous biographical accounts of Hooke.
Robert Hooke was born in 1635 in Freshwater on the Isle of Wight to John Hooke and Cecily Gyles. Robert was the last of four children, two boys and two girls, and there was an age difference of seven years between him and the next youngest.[5] Their father John was a Church of England priest, the curate of Freshwater's Church of All Saints,[6] and his two brothers (Robert's uncles) were also ministers. Robert Hooke was expected to succeed in his education and join the Church. John Hooke also was in charge of a local school, and so was able to teach Robert, at least partly at home perhaps due to the boy's frail health. He was a Royalist and almost certainly a member of a group who went to pay their respects to Charles I when he escaped to the Isle of Wight. Robert, too, grew up to be a staunch monarchist.
As a youth, Robert Hooke was fascinated by observation, mechanical works, and drawing, interests that he would pursue in various ways throughout his life. He dismantled a brass clock and built a wooden replica that, by all accounts, worked "well enough", and he learned to draw, making his own materials from coal, chalk and ruddle (iron ore).
On his father's death in 1648, Robert was left a sum of forty pounds[5][7] that enabled him to buy an apprenticeship; with his poor health throughout his life but evident mechanical facility his father had it in mind that he might become a watchmaker or limner (a decorator of illuminated manuscripts), though Hooke was also interested in painting. Hooke was an apt student, so although he went to London to take up an apprenticeship, and studied briefly with Samuel Cowper and Peter Lely, he was soon able to enter Westminster School in London, under Dr. Richard Busby. Hooke quickly mastered Latin and Greek,[7] made some study of Hebrew, and mastered Euclid's Elements.[7] Here, too, he embarked on his lifelong study of mechanics.
It appears that Hooke was one of a group of students whom Busby educated in parallel to the main work of the school. Contemporary accounts say he was "not much seen" in the school, and this appears to be true of others in a similar position. Busby, an ardent and outspoken Royalist (he had the school observe a fast-day on the anniversary of the King's beheading), was by all accounts trying to preserve the nascent spirit of scientific inquiry that had begun to flourish in Carolean England but which was at odds with the literal Biblical teachings of the Protectorate. To Busby and his select students the Anglican Church was a framework to support the spirit of inquiry into God's work, those who were able were destined by God to explore and study His creation, and the priesthood functioned as teachers to explain it to those who were less able. This was exemplified in the person of George Hooper, the Bishop of Bath and Wells, whom Busby described as "the best scholar, the finest gentleman and will make the completest bishop that ever was educated at Westminster School".
In 1653, Hooke (who had also undertaken a course of twenty lessons on the organ) secured a chorister's place at Christ Church, Oxford.[8] He was employed as a "chemical assistant" to Dr Thomas Willis, for whom Hooke developed a great admiration. There he met the natural philosopher Robert Boyle, and gained employment as his assistant from about 1655 to 1662, constructing, operating, and demonstrating Boyle's "machina Boyleana" or air pump.[9] He did not take his Master of Arts until 1662 or 1663. In 1659 Hooke described some elements of a method of heavier-than-air flight to Wilkins, but concluded that human muscles were insufficient to the task.
Hooke himself characterised his Oxford days as the foundation of his lifelong passion for science, and the friends he made there were of paramount importance to him throughout his career, particularly Christopher Wren. Wadham was then under the guidance of John Wilkins, who had a profound impact on Hooke and those around him. Wilkins was also a Royalist, and acutely conscious of the turmoil and uncertainty of the times. There was a sense of urgency in preserving the scientific work which they perceived as being threatened by the Protectorate. Wilkins' "philosophical meetings" in his study were clearly important, though few records survive except for the experiments Boyle conducted in 1658 and published in 1660. This group went on to form the nucleus of the Royal Society. Hooke developed an air pump for Boyle's experiments based on the pump of Ralph Greatorex, which was considered, in Hooke's words, "too gross to perform any great matter."[10]
It is known that Hooke had a particularly keen eye, and was an adept mathematician, neither of which applied to Boyle. Gunther suggests that Hooke probably made the observations and may well have developed the mathematics of Boyle's law. Regardless, it is clear that Hooke was a valued assistant to Boyle and the two retained a mutual high regard.
A chance surviving copy of Willis' pioneering De anima brutorum, a gift from the author, was chosen by Hooke from Wilkins' library on his death as a memento at John Tillotson's invitation. This book is now in the Wellcome Library. The book and its inscription in Hooke's hand are a testament to the lasting influence of Wilkins and his circle on the young Hooke.
The Royal Society was founded in 1660, and in April 1661 the society debated a short tract on the rising of water in slender glass pipes, in which Hooke reported that the height water rose was related to the bore of the pipe (due to what is now termed capillary action). His explanation of this phenomenon was subsequently published in Micrography Observ. issue 6, in which he also explored the nature of "the fluidity of gravity". On 5 November 1661, Sir Robert Moray proposed that a Curator be appointed to furnish the society with Experiments, and this was unanimously passed with Hooke being named. His appointment was made on 12 November, with thanks recorded to Dr. Boyle for releasing him to the Society's employment.
In 1664, Sir John Cutler settled an annual gratuity of fifty pounds on the Society for the founding of a Mechanick Lecture, and the Fellows appointed Hooke to this task. On 27 June 1664 he was confirmed to the office, and on 11 January 1665 was named Curator by Office for life with an additional salary of £30 to Cutler's annuity.[11]
Hooke's role at the Royal Society was to demonstrate experiments from his own methods or at the suggestion of members. Among his earliest demonstrations were discussions of the nature of air, the implosion of glass bubbles which had been sealed with comprehensive hot air, and demonstrating that the Pabulum vitae and flammae were one and the same. He also demonstrated that a dog could be kept alive with its thorax opened, provided air was pumped in and out of its lungs, and noting the difference between venous and arterial blood. There were also experiments on the subject of gravity, the falling of objects, the weighing of bodies and measuring of barometric pressure at different heights, and pendulums up to 200 ft long (61 m).
Instruments were devised to measure a second of arc in the movement of the sun or other stars, to measure the strength of gunpowder, and in particular an engine to cut teeth for watches, much finer than could be managed by hand, an invention which was, by Hooke's death, in constant use.[12]
In 1663 and 1664, Hooke produced his microscopy observations, subsequently collated in Micrographia in 1665.
On 20 March 1664, Hooke succeeded Arthur Dacres as Gresham Professor of Geometry. Hooke received the degree of "Doctor of Physic" in December 1691.
There is a widely reported story that Dr. Hooke corresponded with Thomas Newcomen in connection with Newcomen's invention of the steam engine. This story was discussed by Rhys Jenkins, a past President of the Newcomen Society, in 1936.[14] Jenkins traced the origin of the story to an article "Steam Engines" by Dr. John Robison (1739–1805) in the third edition of the "Encyclopaedia Britannica”, which says There are to be found among Hooke's papers, in the possession of the Royal Society, some notes of observations, for the use of Newcomen, his countryman, on Papin's boasted method of transmitting to a great distance the action of an mill by means of pipes and that Hooke had dissuaded Newcomen from erecting a machine on this principle. Jenkins points out a number of errors in Robison's article, and questions whether the correspondent might in fact have been Newton, who Hooke is known to have corresponded with, the name being misread as Newcomen. A search by Mr. H W Dickinson of Hooke's papers held by the Royal Society, which had been bound together in the middle of the 18th century, i.e. before Robison's time, and carefully preserved since, revealed no trace of any correspondence between Hooke and Newcomen. Jenkins concluded ... this story must be omitted from the history of the steam engine, at any rate until documentary evidence is forthcoming.
In the intervening years since 1936 no such evidence has been found, but the story persists. For instance, in a book published in 2011 it is said that in a letter dated 1703 Hooke did suggest that Newcomen use condensing steam to drive the piston.
Hooke was irascible, at least in later life, proud, and prone to take umbrage with intellectual competitors, though he was by all accounts also a staunch friend and ally and was loyal always to the circle of ardent Royalists with whom he had his early training at Wadham College, particularly Christopher Wren. His reputation suffered after his death and this is popularly attributed to a dispute with Isaac Newton over credit for his work on gravitation, the planets and to a lesser degree light. His dispute with Oldenburg about whether Oldenburg had leaked or passed on details of Hooke's watch escapement to others is another well-known example.
Newton, as President of the Royal Society, did much to obscure Hooke, including, it is said, destroying (or failing to preserve) the only known portrait of the man. It did not help that the first life of Wren, Parentalis, was written by Wren's son, and tended to exaggerate Wren's work over all others. Hooke's reputation was revived during the twentieth century through studies of Robert Gunther and Margaret 'Espinasse. After a long period of relative obscurity he has now been recognised as one of the most important scientists of his age.[16]
Hooke was apt to use ciphers and guard his ideas. As curator of Experiments to the Royal Society he was responsible for demonstrating many ideas sent in to the Society, and there is evidence that he would subsequently assume some credit for these ideas. Hooke also was immensely busy and thus unable – or in some cases unwilling, pending a way of profiting from the enterprise via letters patent – to develop all of his own ideas. This was a time of immense scientific progress, and numerous ideas were developed in several places simultaneously.
None of this should distract from Hooke's inventiveness, his remarkable experimental facility, and his capacity for hard work. His ideas about gravitation, and his claim of priority for the inverse square law, are outlined below. He was granted a large number of patents for inventions and refinements in the fields of elasticity, optics, and barometry. The Royal Society's Hooke papers (recently discovered after disappearing when Newton took over) will open up a modern reassessment.
Much has been written about the unpleasant side of Hooke's personality, starting with comments by his first biographer, Richard Waller, that Hooke was "in person, but despicable" and "melancholy, mistrustful, and jealous."[12] Waller's comments influenced other writers for well over two centuries, so that a picture of Hooke as a disgruntled, selfish, anti-social curmudgeon dominates many older books and articles. For example, Arthur Berry said that Hooke "claimed credit for most of the scientific discoveries of the time."[17] Sullivan wrote that Hooke was "positively unscrupulous" and possessing an "uneasy apprehensive vanity" in dealings with Newton.[18] Manuel used the phrase "cantankerous, envious, vengeful" in his description.[19] More described Hooke having both a "cynical temperament" and a "caustic tongue."[20] Andrade was more sympathetic, but still used the adjectives "difficult", "suspicious", and "irritable" in describing Hooke.[21]
The publication of Hooke's diary in 1935[22] revealed other sides of the man that 'Espinasse, in particular, has detailed carefully. She writes that "the picture which is usually painted of Hooke as a morose and envious recluse is completely false."[23] Hooke interacted with noted craftsmen such as Thomas Tompion, the clockmaker, and Christopher Cocks (Cox), an instrument maker. Hooke often met Christopher Wren, with whom he shared many interests, and had a lasting friendship with John Aubrey. Hooke's diaries also make frequent reference to meetings at coffeehouses and taverns, and to dinners with Robert Boyle. He took tea on many occasions with his lab assistant, Harry Hunt. Within his family, Hooke took both a niece and a cousin into his home, teaching them mathematics.
Robert Hooke spent his life largely on the Isle of Wight, at Oxford, and in London. He never married, but his diary shows that he was not without affections, and more, for others. On 3 March 1703, Hooke died in London, having amassed a sizable sum of money, which was found in his room at Gresham College. He was buried at St Helen's Bishopsgate, but the precise location of his grave is unknown.
In 1660, Hooke discovered the law of elasticity which bears his name and which describes the linear variation of tension with extension in an elastic spring. He first described this discovery in the anagram "ceiiinosssttuv", whose solution he published in 1678 as "Ut tensio, sic vis" meaning "As the extension, so the force." Hooke's work on elasticity culminated, for practical purposes, in his development of the balance spring or hairspring, which for the first time enabled a portable timepiece – a watch – to keep time with reasonable accuracy. A bitter dispute between Hooke and Christiaan Huygens on the priority of this invention was to continue for centuries after the death of both; but a note dated 23 June 1670 in the Hooke Folio (see External links below), describing a demonstration of a balance-controlled watch before the Royal Society, has been held to favour Hooke's claim.
It is interesting from a twentieth-century vantage point that Hooke first announced his law of elasticity as an anagram. This was a method sometimes used by scientists, such as Hooke, Huygens, Galileo, and others, to establish priority for a discovery without revealing details.
Hooke became Curator of Experiments in 1662 to the newly founded Royal Society, and took responsibility for experiments performed at its weekly meetings. This was a position he held for over 40 years. While this position kept him in the thick of science in Britain and beyond, it also led to some heated arguments with other scientists, such as Huygens (see above) and particularly with Isaac Newton and the Royal Society's Henry Oldenburg. In 1664 Hooke also was appointed Professor of Geometry at Gresham College in London and Cutlerian Lecturer in Mechanics.[25]
On 8 July 1680, Hooke observed the nodal patterns associated with the modes of vibration of glass plates. He ran a bow along the edge of a glass plate covered with flour, and saw the nodal patterns emerge.[26][27] In acoustics, in 1681 he showed the Royal Society that musical tones could be generated from spinning brass cogs cut with teeth in particular proportions.
While many of his contemporaries believed in the aether as a medium for transmitting attraction or repulsion between separated celestial bodies, Hooke argued for an attracting principle of gravitation in Micrographia of 1665. Hooke's 1666 Royal Society lecture "On gravity"[29] added two further principles – that all bodies move in straight lines till deflected by some force and that the attractive force is stronger for closer bodies. Dugald Stewart, in his Elements of the Philosophy of the Human Mind,[30] quoted Hooke's own words on his system of the world.
"I will explain," says Hooke, in a communication to the Royal Society in 1666, "a system of the world very different from any yet received. It is founded on the following positions. 1. That all the heavenly bodies have not only a gravitation of their parts to their own proper centre, but that they also mutually attract each other within their spheres of action. 2. That all bodies having a simple motion, will continue to move in a straight line, unless continually deflected from it by some extraneous force, causing them to describe a circle, an ellipse, or some other curve. 3. That this attraction is so much the greater as the bodies are nearer. As to the proportion in which those forces diminish by an increase of distance, I own I have not discovered it...."
Hooke's 1670 Gresham lecture explained that gravitation applied to "all celestial bodies" and added the principles that the gravitating power decreases with distance and that in the absence of any such power bodies move in straight lines.
Hooke published his ideas about the "System of the World" again in somewhat developed form in 1674, as an addition to "An Attempt to Prove the Motion of the Earth from Observations".[31] Hooke clearly postulated mutual attractions between the Sun and planets, in a way that increased with nearness to the attracting body.
Hooke's statements up to 1674 made no mention, however, that an inverse square law applies or might apply to these attractions. Hooke's gravitation was also not yet universal, though it approached universality more closely than previous hypotheses.[32] Hooke also did not provide accompanying evidence or mathematical demonstration. On these two aspects, Hooke stated in 1674: "Now what these several degrees [of gravitational attraction] are I have not yet experimentally verified" (indicating that he did not yet know what law the gravitation might follow); and as to his whole proposal: "This I only hint at present", "having my self many other things in hand which I would first compleat, and therefore cannot so well attend it" (i.e. "prosecuting this Inquiry").[31]
In November 1679, Hooke initiated a remarkable exchange of letters with Newton[33] (of which the full text is now published).[34] Hooke's ostensible purpose was to tell Newton that Hooke had been appointed to manage the Royal Society's correspondence.[35] Hooke therefore wanted to hear from members about their researches, or their views about the researches of others; and as if to whet Newton's interest, he asked what Newton thought about various matters, giving a whole list, mentioning "compounding the celestial motions of the planetts of a direct motion by the tangent and an attractive motion towards the central body", and "my hypothesis of the lawes or causes of springinesse", and then a new hypothesis from Paris about planetary motions (which Hooke described at length), and then efforts to carry out or improve national surveys, the difference of latitude between London and Cambridge, and other items. Newton's reply offered "a fansy of my own" about a terrestrial experiment (not a proposal about celestial motions) which might detect the Earth's motion, by the use of a body first suspended in air and then dropped to let it fall. The main point was to indicate how Newton thought the falling body could experimentally reveal the Earth's motion by its direction of deviation from the vertical, but he went on hypothetically to consider how its motion could continue if the solid Earth had not been in the way (on a spiral path to the centre). Hooke disagreed with Newton's idea of how the body would continue to move.[36] A short further correspondence developed, and towards the end of it Hooke, writing on 6 January 1679|80 to Newton, communicated his "supposition ... that the Attraction always is in a duplicate proportion to the Distance from the Center Reciprocall, and Consequently that the Velocity will be in a subduplicate proportion to the Attraction and Consequently as Kepler Supposes Reciprocall to the Distance."[37] (Hooke's inference about the velocity was actually incorrect)[38]
In 1686, when the first book of Newton's 'Principia' was presented to the Royal Society, Hooke claimed that Newton had had from him the "notion" of "the rule of the decrease of Gravity, being reciprocally as the squares of the distances from the Center". At the same time (according to Edmond Halley's contemporary report) Hooke agreed that "the Demonstration of the Curves generated therby" was wholly Newton's.[34]
A recent assessment about the early history of the inverse square law is that "by the late 1660s," the assumption of an "inverse proportion between gravity and the square of distance was rather common and had been advanced by a number of different people for different reasons".[39] Newton himself had shown in the 1660s that for planetary motion under a circular assumption, force in the radial direction had an inverse-square relation with distance from the center.[40] Newton, faced in May 1686 with Hooke's claim on the inverse square law, denied that Hooke was to be credited as author of the idea, giving reasons including the citation of prior work by others before Hooke.[34] Newton also firmly claimed that even if it had happened that he had first heard of the inverse square proportion from Hooke, which it had not, he would still have some rights to it in view of his mathematical developments and demonstrations, which enabled observations to be relied on as evidence of its accuracy, while Hooke, without mathematical demonstrations and evidence in favour of the supposition, could only guess (according to Newton) that it was approximately valid "at great distances from the center".[34]
On the other hand, Newton did accept and acknowledge, in all editions of the 'Principia', that Hooke (but not exclusively Hooke) had separately appreciated the inverse square law in the solar system. Newton acknowledged Wren, Hooke and Halley in this connection in the Scholium to Proposition 4 in Book 1.[41] Newton also acknowledged to Halley that his correspondence with Hooke in 1679–80 had reawakened his dormant interest in astronomical matters, but that did not mean, according to Newton, that Hooke had told Newton anything new or original: "yet am I not beholden to him for any light into that business but only for the diversion he gave me from my other studies to think on these things & for his dogmaticalness in writing as if he had found the motion in the Ellipsis, which inclined me to try it."[34]
One of the contrasts between the two men was that Newton was primarily a pioneer in mathematical analysis and its applications as well as optical experimentation, while Hooke was a creative experimenter of such great range, that it is not surprising to find that he left some of his ideas, such as those about gravitation, undeveloped. This in turn makes it understandable how in 1759, decades after the deaths of both Newton and Hooke, Alexis Clairaut, mathematical astronomer eminent in his own right in the field of gravitational studies, made his assessment after reviewing what Hooke had published on gravitation. "One must not think that this idea ... of Hooke diminishes Newton's glory", Clairaut wrote; "The example of Hooke" serves "to show what a distance there is between a truth that is glimpsed and a truth that is demonstrated"
Hooke made tremendously important contributions to the science of timekeeping, being intimately involved in the advances of his time; the introduction of the pendulum as a better regulator for clocks, the balance spring to improve the timekeeping of watches, and the proposal that a precise timekeeper could be used to find the longitude at sea.
In 1655, according to his autobiographical notes, Hooke began to acquaint himself with astronomy, through the good offices of John Ward. Hooke applied himself to the improvement of the pendulum and in 1657 or 1658, he began to improve on pendulum mechanisms, studying the work of Giovanni Riccioli, and going on to study both gravitation and the mechanics of timekeeping.
Henry Sully, writing in Paris in 1717, described the anchor escapement as an admirable invention of which Dr. Hooke, formerly professor of geometry in Gresham College at London, was the inventor.[44] William Derham also attributes it to Hooke.
Hooke recorded that he conceived of a way to determine longitude (then a critical problem for navigation), and with the help of Boyle and others he attempted to patent it. In the process, Hooke demonstrated a pocket-watch of his own devising, fitted with a coil spring attached to the arbour of the balance. Hooke's ultimate failure to secure sufficiently lucrative terms for the exploitation of this idea resulted in its being shelved, and evidently caused him to become more jealous of his inventions. There is substantial evidence to state with reasonable confidence, as Ward, Aubrey, Waller and others all do, that Hooke developed the balance spring independently of and some fifteen years before Christiaan Huygens, who published his own work in Journal de Scavans in February 1675.
In 1665 Hooke published Micrographia, a book describing observations made with microscopes and telescopes, as well as some original work in biology. Hooke coined the term cell for describing biological organisms, the term being suggested by the resemblance of plant cells to cells of a honeycomb.[46] The hand-crafted, leather and gold-tooled microscope he used to make the observations for Micrographia, originally constructed by Christopher White in London, is on display at the National Museum of Health and Medicine in Washington, DC.
Micrographia also contains Hooke's, or perhaps Boyle and Hooke's, ideas on combustion. Hooke's experiments led him to conclude that combustion involves a substance that is mixed with air, a statement with which modern scientists would agree, but that was not widely understood, if at all, in the seventeenth century. Hooke went on to conclude that respiration also involves a specific component of the air.[47] Partington even goes so far as to claim that if "Hooke had continued his experiments on combustion it is probable that he would have discovered oxygen".
One of the observations in Micrographia was of fossil wood, the microscopic structure of which he compared to ordinary wood. This led him to conclude that fossilised objects like petrified wood and fossil shells, such as Ammonites, were the remains of living things that had been soaked in petrifying water laden with minerals.[49] Hooke believed that such fossils provided reliable clues to the past history of life on earth, and, despite the objections of contemporary naturalists like John Ray who found the concept of extinction theologically unacceptable, that in some cases they might represent species that had become extinct through some geological disaster.[50]
Charles Lyell wrote the following in his Principles of Geology (1832).
'The Posthumous Works of Robert Hooke M.D.,'... appeared in 1705, containing 'A Discourse of Earthquakes'... His treatise... is the most philosophical production of that age, in regard to the causes of former changes in the organic and inorganic kingdoms of nature. 'However trivial a thing,' he says, 'a rotten shell may appear to some, yet these monuments of nature are more certain tokens of antiquity than coins or medals, since the best of those may be counterfeited or made by art and design, as may also books, manuscripts, and inscriptions, as all the learned are now sufficiently satisfied has often been actually practised,' &c.; 'and though it must be granted that it is very difficult to read them and to raise a chronology out of them, and to state the intervals of the time wherein such or such catastrophes and mutations have happened, yet it is not impossible.
One of the more-challenging problems tackled by Hooke was the measurement of the distance to a star (other than the Sun). The star chosen was Gamma Draconis and the method to be used was parallax determination. After several months of observing, in 1669, Hooke believed that the desired result had been achieved. It is now known that Hooke's equipment was far too imprecise to allow the measurement to succeed.[51] Gamma Draconis was the same star James Bradley used in 1725 in discovering the aberration of light.
Hooke's activities in astronomy extended beyond the study of stellar distance. His Micrographia contains illustrations of the Pleiades star cluster as well as of lunar craters. He performed experiments to study how such craters might have formed.[52] Hooke also was an early observer of the rings of Saturn,[53] and discovered one of the first observed double-star systems, Gamma Arietis, in 1664.
A lesser-known contribution, however one of the first of its kind, was Hooke's scientific model of human memory. Hooke in a 1682 lecture to the Royal Society proposed a mechanistic model of human memory, which would bear little resemblance to the mainly philosophical models before it.[55] This model addressed the components of encoding, memory capacity, repetition, retrieval, and forgetting—some with surprising modern accuracy.[56] This work, overlooked for nearly 200 years, shared a variety of similarities with Richard Semon's work of 1919/1923, both assuming memories were physical and located in the brain.[57][58][59] The model's more interesting points are that it (1) allows for attention and other top-down influences on encoding; (2) it uses resonance to implement parallel, cue-dependent retrieval; (3) it explains memory for recency; (4) it offers a single-system account of repetition and priming, and (5) the power law of forgetting can be derived from the model's assumption in a straightforward way.[56] This lecture would be published posthumously in 1705 as the memory model was unusually placed in a series of works on the nature of light. It has been speculated that this work saw little review as the printing was done in small batches in a post-Newtonian age of science and was most likely deemed out of date by the time it was published. Further interfering with its success was contemporary memory psychologists' rejection of immaterial souls, which Hooke invoked to some degree in regards to the processes of attention, encoding and retrieval.
Hooke was Surveyor to the City of London and chief assistant to Christopher Wren, in which capacity he helped Wren rebuild London after the Great Fire in 1666, and also worked on the design of London's Monument to the fire, the Royal Greenwich Observatory, Montagu House in Bloomsbury, and the infamous Bethlem Royal Hospital (which became known as 'Bedlam'). Other buildings designed by Hooke include The Royal College of Physicians (1679), Ragley Hall in Warwickshire, Ramsbury Manor in Wiltshire[60] and the parish church of St Mary Magdalene at Willen in Milton Keynes, Buckinghamshire. Hooke's collaboration with Christopher Wren also included St Paul's Cathedral, whose dome uses a method of construction conceived by Hooke. Hooke also participated in the design of the Pepys Library, which held the manuscripts of Samuel Pepys' diaries, the most frequently cited eyewitness account of the Great Fire of London.[61]
Hooke and Wren both being keen astronomers, the Monument was designed to serve a scientific function as a telescope for observing transits, though Hooke's characteristically precise measurements after completion showed that the movement of the column in the wind made it unusable for this purpose. The legacy of this can be observed in the construction of the spiral staircase, which has no central column, and in the observation chamber which remains in place below ground level.
In the reconstruction after the Great Fire, Hooke proposed redesigning London's streets on a grid pattern with wide boulevards and arteries, a pattern subsequently used in the renovation of Paris, Liverpool, and many American cities. This proposal was thwarted by arguments over property rights, as property owners were surreptitiously shifting their boundaries. Hooke was in demand to settle many of these disputes, due to his competence as a surveyor and his tact as an arbitrator.
For an extensive study of Hooke's architectural work, see the book by Cooper.
No authenticated portrait of Robert Hooke exists. This situation has sometimes been attributed to the heated conflicts between Hooke and Newton, although Hooke's biographer Allan Chapman rejects as a myth the claims that Newton or his acolytes deliberately destroyed Hooke's portrait. German antiquarian and scholar Zacharias Conrad von Uffenbach visited the Royal Society in 1710 and his account of his visit specifically mentions him being shown the portraits of 'Boyle and Hoock' (which were said to be good likenesses), but while Boyle's portrait survives, Hooke's has evidently been lost.[63] In Hooke's time, the Royal Society met at Gresham College, but within a few months of Hooke's death Newton became the Society's president and plans were laid for a new meeting place. When the move to new quarters finally was made a few years later, in 1710, Hooke's Royal Society portrait went missing, and has yet to be found.
www.emergencyrooms.org/biennalist.html
www.emergencyrooms.org/formats.html
more here about the Biennale :
Ralph Rugoff has declared: «May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).»
ALBANIA
Maybe the cosmos is not so extraordinary
Commissioner: Ministry of Culture Republic of Albania. Curator: Alicia Knock.
Exhibitor: Driant Zeneli.
ALGERIA***
Time to shine bright
Commissioner/Curator: Hellal Mahmoud Zoubir, National Council of Arts and Letters Ministry of Culture. Exhibitors: Rachida Azdaou, Hamza Bounoua, Amina Zoubir, Mourad Krinah, Oussama Tabti.
Venue: Fondamenta S. Giuseppe, 925
ANDORRA
The Future is Now / El futur és ara
Commissioner: Eva Martínez, “Zoe”. Curators: Ivan Sansa, Paolo De Grandis.
Exhibitor: Philippe Shangti.
Venue: Istituto Santa Maria della Pietà, Castello 3701
ANTIGUA & BARBUDA
Find Yourself: Carnival and Resistance
Commissioner: Daryll Matthew, Minister of Sports, Culture, National Festivals and the Arts. Curator: Barbara Paca with Nina Khrushcheva. Exhibitors: Timothy Payne, Sir Gerald Price, Joseph Seton, and Frank Walter; Intangible Cultural, Heritage Artisans and Mas Troup.
Venue: Centro Culturale Don Orione Artigianelli, Dorsoduro 919
ARGENTINA
El nombre de un país / The name of a country
Commissioner: Sergio Alberto Baur Ambasciatore. Curator: Florencia Battiti. Exhibitor: Mariana Telleria.
Venue: Arsenale
ARMENIA (Republic of)
Revolutionary Sensorium
Commissioner: Nazenie Garibian, Deputy Minister. Curator: Susanna Gyulamiryan.
Exhibitors: "ArtlabYerevan" Artistic Group (Gagik Charchyan, Hovhannes Margaryan, Arthur Petrosyan, Vardan Jaloyan) and Narine Arakelian.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
AUSTRALIA
ASSEMBLY
Commissioner: Australia Council for the Arts. Curator: Juliana Engberg. Exhibitor: Angelica Mesiti.
Venue: Giardini
AUSTRIA
Discordo Ergo Sum
Commissioner: Arts and Culture Division of the Federal Chancellery of Austria.
Curator: Felicitas Thun-Hohenstein. Exhibitor: Renate Bertlmann.
Venue: Giardini
AZERBAIJAN (Republic of )
Virtual Reality
Commissioner: Mammad Ahmadzada, Ambassador of the Republic of Azerbaijan.
Curators: Gianni Mercurio, Emin Mammadov. Exhibitors: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva.
Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949
BANGLADESH (People’s Republic of)
Thirst
Commissioner: Liaquat Ali Lucky. Curators: Mokhlesur Rahman, Viviana Vannucci.
Exhibitors: Bishwajit Goswami, Dilara Begum Jolly, Heidi Fosli, Nafis Ahmed Gazi, Franco Marrocco, Domenico Pellegrino, Preema Nazia Andaleeb, Ra Kajol, Uttam Kumar karmaker.
Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596
BELARUS (Republic of)
Exit / Uscita
Commissioner: Siarhey Kryshtapovich. Curator: Olga Rybchinskaya. Exhibitor: Konstantin Selikhanov.
Venue: Spazio Liquido, Sestiere Castello 103, Salizada Streta
BELGIUM
Mondo Cane
Commissioner: Fédération Wallonie-Bruxelles. Curator: Anne-Claire Schmitz.
Exhibitor: Jos de Gruyter & Harald Thys.
Venue: Giardini
BOSNIA and HERZEGOVINA
ZENICA-TRILOGY
Commissioner: Senka Ibrišimbegović, Ars Aevi Museum for Contemporary Art Sarajevo.
Curators: Anja Bogojević, Amila Puzić, Claudia Zini. Exhibitor: Danica Dakić.
Venue: Palazzo Francesco Molon Ca’ Bernardo, San Polo 2184/A
BRAZIL
Swinguerra
Commissioner: José Olympio da Veiga Pereira, Fundação Bienal de São Paulo.
Curator: Gabriel Pérez-Barreiro. Exhibitor: Bárbara Wagner & Benjamin de Burca.
Venue: Giardini
BULGARIA
How We Live
Commissioner: Iaroslava Boubnova, National Gallery in Sofia. Curator: Vera Mlechevska.
Exhibitors: Rada Boukova , Lazar Lyutakov.
Venue: Palazzo Giustinian Lolin, San Marco 2893
CANADA
ISUMA
Commissioner: National Gallery of Canada. Curators: Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer, Candice Hopkins. Exhibitors: Isuma (Zacharias Kunuk, Norman Cohn, Paul Apak, Pauloosie Qulitalik).
Venue: Giardini
CHILE
Altered Views
Commissioner: Varinia Brodsky, Ministry of Cultures, Arts and Heritage.
Curator: Agustín Pérez. Rubio. Exhibitor: Voluspa Jarpa.
Venue: Arsenale
CHINA (People’s Republic of)
Re-睿
Commissioner: China Arts and Entertainment Group Ltd. (CAEG).
Curator: Wu Hongliang. Exhibitors: Chen Qi, Fei Jun, He Xiangyu, Geng Xue.
Venue: Arsenale
CROATIA
Traces of Disappearing (In Three Acts)
Commissioner: Ministry of Culture of the Republic of Croatia. Curator: Katerina Gregos.
Exhibitor: Igor Grubić.
Venue: Calle Corner, Santa Croce 2258
CUBA
Entorno aleccionador (A Cautionary Environment)
Commissioner: Norma Rodríguez Derivet, Consejo Nacional de Artes Plásticas.
Curator: Margarita Sanchez Prieto. Exhibitors: Alejandro Campins, Alex Hérnandez, Ariamna Contino and Eugenio Tibaldi. Venue: Isola di San Servolo
CYPRUS (Republic of)
Christoforos Savva: Untimely, Again
Commissioner: Louli Michaelidou. Curator: Jacopo Crivelli Visconti. Exhibitor: Christoforos Savva.
Venue: Associazione Culturale Spiazzi, Castello 3865
CZECH (Republic) and SLOVAK (Republic)
Stanislav Kolíbal. Former Uncertain Indicated
Commissioner: Adam Budak, National Gallery Prague. Curator: Dieter Bogner.
Exhibitor: Stanislav Kolibal.
Venue: Giardini
DOMINICAN (Republic) *
Naturaleza y biodiversidad en la República Dominicana
Commissioner: Eduardo Selman, Minister of Culture. Curators: Marianne de Tolentino, Simone Pieralice, Giovanni Verza. Exhibitors: Dario Oleaga, Ezequiel Taveras, Hulda Guzmán, Julio Valdez, Miguel Ramirez, Rita Bertrecchi, Nicola Pica, Marraffa & Casciotti.
Venue: Palazzo Albrizzi Capello, Cannaregio 4118 – Sala della Pace
EGYPT
khnum across times witness
Commissioner: Ministry of Culture. Curator: Ahmed Chiha.
Exhibitors: Islam Abdullah, Ahmed Chiha, Ahmed Abdel Karim.
Venue: Giardini
ESTONIA
Birth V
Commissioner: Maria Arusoo, Centre of Contemporary Arts of Estonia. Curators: Andrew Berardini, Irene Campolmi, Sarah Lucas, Tamara Luuk. Exhibitor: Kris Lemsalu.
Venue: c/o Legno & Legno, Giudecca 211
FINLAND (Alvar Aalto Pavilion)
A Greater Miracle of Perception
Commissioner: Raija Koli, Director Frame Contemporary Art Finland.
Curators: Giovanna Esposito Yussif, Bonaventure Soh Bejeng Ndikung, Christopher Wessels. Exhibitors: Miracle Workers Collective (Maryan Abdulkarim, Khadar Ahmed, Hassan Blasim, Giovanna Esposito Yussif, Sonya Lindfors, Bonaventure Soh Bejeng Ndikung, Outi Pieski, Leena Pukki, Lorenzo Sandoval, Martta Tuomaala, Christopher L. Thomas, Christopher Wessels, Suvi West).
Venue: Giardini
FRANCE
Deep see blue surrounding you / Vois ce bleu profond te fondre
Commissioner: Institut français with the Ministry for Europe and Foreign Affairs and the Ministry of Culture. Curator: Martha Kirszenbaum. Exhibitor: Laure Prouvost.
Venue: Giardini
GEORGIA
REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation
Commissioner: Ana Riaboshenko. Curator: Margot Norton. Exhibitor: Anna K.E.
Venue: Arsenale
GERMANY
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office, Germany. Curator: Franciska Zólyom. Exhibitor: Natascha Süder Happelmann.
Venue: Giardini
GHANA ***
Ghana Freedom
Commissioner: Ministry of Tourism, Arts and Culture. Curator: Nana Oforiatta Ayim.
Exhibitors: Felicia Abban, John Akomfrah, El Anatsui, Lynette Yiadom Boakye, Ibrahim Mahama, Selasi Awusi Sosu.
Venue: Arsenale
GREAT BRITAIN
Cathy Wilkes
Commissioner: Emma Dexter. Curator: Zoe Whitley. Exhibitor: Cathy Wilkes.
Venue: Giardini
GREECE
Mr Stigl
Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan Organization of Museums of Visual Arts of Thessaloniki - MOMus).
Curator: Katerina Tselou. Exhibitors: Panos Charalambous, Eva Stefani, Zafos Xagoraris.
Venue: Giardini
GRENADA
Epic Memory
Commissioner: Susan Mains. Curator: Daniele Radini Tedeschi.
Exhibitors: Amy Cannestra, Billy Gerard Frank, Dave Lewis, Shervone Neckles, Franco Rota Candiani, Roberto Miniati, CRS avant-garde.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
GUATEMALA
Interesting State
Commissioner: Elder de Jesús Súchite Vargas, Minister of Culture and Sports of Guatemala. Curator: Stefania Pieralice. Exhibitors: Elsie Wunderlich, Marco Manzo.
Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118
HAITI
THE SPECTACLE OF TRAGEDY
Commissioner: Ministry of Culture and Communication.
Curator: Giscard Bouchotte. Exhibitor: Jean Ulrick Désert.
Venue: Circolo Ufficiali Marina, Calle Seconda de la Fava, Castello 2168
HUNGARY
Imaginary Cameras
Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.
Curator: Zsuzsanna Szegedy-Maszák. Exhibitor: Tamás Waliczky.
Venue: Giardini
ICELAND
Chromo Sapiens – Hrafnhildur Arnardóttir / Shoplifter
Commissioner: Eiríkur Þorláksson, Icelandic Ministry of Education, Science and Culture.
Curator: Birta Gudjónsdóttir. Exhibitor: Hrafnhildur Arnardóttir / Shoplifter.
Venue: Spazio Punch, Giudecca 800
INDIA
Our time for a future caring
Commissioner: Adwaita Gadanayak National Gallery of Modern Art.
Curator: Roobina Karode, Director & Chief Curator, Kiran Nadar Museum of Art. Exhibitors: Atul Dodiya, Ashim Purkayastha, GR Iranna, Jitish Kallat, Nandalal Bose, Rummana Hussain, Shakuntala Kulkarni.
Venue: Arsenale
INDONESIA
Lost Verses
Commissioner: Ricky Pesik & Diana Nazir, Indonesian Agency for Creative Economy.
Curator: Asmudjo Jono Irianto. Exhibitors: Handiwirman Saputra and Syagini Ratna Wulan.
Venue: Arsenale
IRAN (Islamic Republic of)
of being and singing
Commissioner: Hadi Mozafari, General Manager of Visual Arts Administration of Islamic Republic of Iran. Curator: Ali Bakhtiari.
Exhibitors: Reza Lavassani, Samira Alikhanzadeh, Ali Meer Azimi.
Venue: Fondaco Marcello, San Marco 3415
IRAQ
Fatherland
Commissioner: Fondazione Ruya. Curators: Tamara Chalabi, Paolo Colombo.
Exhibitor: Serwan Baran.
Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052
IRELAND
The Shrinking Universe
Commissioner: Culture Ireland. Curator: Mary Cremin. Exhibitor: Eva Rothschild.
Venue: Arsenale
ISRAEL
Field Hospital X
Commissioner: Michael Gov, Arad Turgeman. Curator: Avi Lubin. Exhibitor: Aya Ben Ron.
Venue: Giardini
ITALY
Commissioner: Federica Galloni, Direttore Generale Arte e Architettura Contemporanee e Periferie Urbane, Ministero dei Beni e delle Attività Culturali. Curator: Milovan Farronato.
Exhibitors: Enrico David, Liliana Moro, Chiara Fumai.
Venue: Padiglione Italia, Tese delle Vergini, Arsenale
IVORY COAST
The Open Shadows of Memory
Commissioner: Henri Nkoumo. Curator: Massimo Scaringella. Exhibitors: Ernest Dükü, Ananias Leki Dago, Valérie Oka, Tong Yanrunan.
Venue: Castello Gallery, Castello 1636/A
JAPAN
Cosmo-Eggs
Commissioner: The Japan Foundation. Curator: Hiroyuki Hattori. Exhibitors: Motoyuki Shitamichi, Taro Yasuno, Toshiaki Ishikura, Fuminori Nousaku.
Venue: Giardini
KIRIBATI
Pacific Time - Time Flies
Commissioner: Pelea Tehumu, Ministry of Internal Affairs. Curators: Kautu Tabaka, Nina Tepes. Exhibitors: Kaeka Michael Betero, Daniela Danica Tepes, Kairaken Betio Group; Teroloang Borouea, Neneia Takoikoi, Tineta Timirau, Teeti Aaloa, Kenneth Ioane, Kaumai Kaoma, Runita Rabwaa, Obeta Taia, Tiribo Kobaua, Tamuera Tebebe, Rairauea Rue, Teuea Kabunare, Tokintekai Ekentetake, Katanuti Francis, Mikaere Tebwebwe, Terita Itinikarawa, Kaeua Kobaua, Raatu Tiuteke, Kaeriti Baanga, Ioanna Francis, Temarewe Banaan, Aanamaria Toom, Einako Temewi, Nimei Itinikarawa, Teniteiti Mikaere, Aanibo Bwatanita, Arin Tikiraua.
Venue: European Cultural Centre, Palazzo Mora, Strada Nuova 3659
KOREA (Republic of)
History Has Failed Us, but No Matter
Commissioner: Arts Council Korea. Curator: Hyunjin Kim. Exhibitors: Hwayeon Nam, siren eun young jung, Jane Jin Kaisen.
Venue: Giardini
KOSOVO (Republic of)
Family Album
Commissioner: Arta Agani. Curator: Vincent Honore. Exhibitor: Alban Muja.
Venue: Arsenale
LATVIA
Saules Suns
Commissioner: Dace Vilsone. Curators: Valentinas Klimašauskas, Inga Lāce.
Exhibitor: Daiga Grantiņa.
Venue: Arsenale
LITHUANIA
Sun & Sea (Marina)
Commissioner: Rasa Antanavičıūte. Curator: Lucia Pietroiusti.
Exhibitors: Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite.
Venue: Magazzino No. 42, Marina Militare, Arsenale di Venezia, Fondamenta Case Nuove 2738c
LUXEMBOURG (Grand Duchy of)
Written by Water
Commissioner: Ministry of Culture of Luxembourg.
Curator: Kevin Muhlen. Exhibitor: Marco Godinho.
Venue: Arsenale
NORTH MACEDONIA (Republic of )
Subversion to Red
Commissioner: Mira Gakina. Curator: Jovanka Popova. Exhibitor: Nada Prlja.
Venue: Palazzo Rota Ivancich, Castello 4421
MADAGASCAR ***
I have forgotten the night
Commissioner: Ministry of Communication and Culture of the Republic of Madagascar. Curators: Rina Ralay Ranaivo, Emmanuel Daydé.
Exhibitor: Joël Andrianomearisoa.
Venue: Arsenale
MALAYSIA ***
Holding Up a Mirror
Commissioner: Professor Dato’ Dr. Mohamed Najib Dawa, Director General of Balai Seni Negara (National Art Gallery of Malaysia), Ministry of Tourism, Arts and Culture of Malaysia. Curator: Lim Wei-Ling. Exhibitors: Anurendra Jegadeva, H.H.Lim, Ivan Lam, Zulkifli Yusoff.
Venue: Palazzo Malipiero, San Marco 3198
MALTA
Maleth / Haven / Port - Heterotopias of Evocation
Commissioner: Arts Council Malta. Curator: Hesperia Iliadou Suppiej. Exhibitors: Vince Briffa, Klitsa Antoniou, Trevor Borg.
Venue: Arsenale
MEXICO
Actos de Dios / Acts of God
Commissioner: Gabriela Gil Verenzuela. Curator: Magalí Arriola. Exhibitor: Pablo Vargas Lugo.
Venue: Arsenale
MONGOLIA
A Temporality
Commissioner: The Ministry of Education, Culture, Science and Sports of Mongolia.
Curator: Gantuya Badamgarav. Exhibitor: Jantsankhorol Erdenebayar with the participation of traditional Mongolian throat singers and Carsten Nicolai (Alva Noto).
Venue: Bruchium Fermentum, Calle del Forno, Castello 2093-2090
MONTENEGRO
Odiseja / An Odyssey
Commissioner: Nenad Šoškić. Curator: Petrica Duletić. Exhibitor: Vesko Gagović.
Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE (Republic of)
The Past, the Present and The in Between
Commissioner: Domingos do Rosário Artur. Curator: Lidija K. Khachatourian.
Exhibitors: Gonçalo Mabunda, Mauro Pinto, Filipe Branquinho.
Venue: Palazzo Mora, Strada Nova, 3659
NETHERLANDS (The)
The Measurement of Presence
Commissioner: Mondriaan Fund. Curator: Benno Tempel. Exhibitors: Iris Kensmil, Remy Jungerman. Venue: Giardini
NEW ZEALAND
Post hoc
Commissioner: Dame Jenny Gibbs. Curators: Zara Stanhope and Chris Sharp.
Exhibitor: Dane Mitchell.
Venue: Palazzina Canonica, Riva Sette Martiri
NORDIC COUNTRIES (FINLAND - NORWAY - SWEDEN)
Weather Report: Forecasting Future
Commissioner: Leevi Haapala / Museum of Contemporary Art Kiasma / Finnish National Gallery, Katya García-Antón / Office for Contemporary Art Norway (OCA), Ann-Sofi Noring / Moderna Museet. Curators: Leevi Haapala, Piia Oksanen. Exhibitors: Ane Graff, Ingela Ihrman, nabbteeri.
Venue: Giardini
PAKISTAN ***
Manora Field Notes
Commissioner: Syed Jamal Shah, Pakistan National Council of the Arts, PNCA.
Curator: Zahra Khan. Exhibitor: Naiza Khan.
Venue: Tanarte, Castello 2109/A and Spazio Tana, Castello 2110-2111
PERU
“Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle
Commissioner: Armando Andrade de Lucio. Curator: Gustavo Buntinx. Exhibitors: Christian Bendayán, Otto Michael (1859-1934), Manuel Rodríguez Lira (1874-1933), Segundo Candiño Rodríguez, Anonymous popular artificer.
Venue: Arsenale
PHILIPPINES
Island Weather
Commissioner: National Commission for Culture and the Arts (NCCA) / Virgilio S. Almario.
Curator: Tessa Maria T. Guazon. Exhibitor: Mark O. Justiniani.
Venue: Arsenale
POLAND
Flight
Commissioner: Hanna Wroblewska. Curators: Łukasz Mojsak, Łukasz Ronduda.
Exhibitor: Roman Stańczak.
Venue: Giardini
PORTUGAL
a seam, a surface, a hinge or a knot
Commissioner: Directorate-General for the Arts. Curator: João Ribas. Exhibitor: Leonor Antunes.
Venue: Fondazione Ugo e Olga Levi Onlus, Palazzo Giustinian Lolin, San Marco 2893
ROMANIA
Unfinished Conversations on the Weight of Absence
Commissioner: Attila Kim. Curator: Cristian Nae. Exhibitor: Belu-Simion Făinaru, Dan Mihălțianu, Miklós Onucsán.
Venues: Giardini and New Gallery of the Romanian Institute for Culture and Humanistic Research (Campo Santa Fosca, Palazzo Correr, Cannaregio 2214)
RUSSIA
Lc 15:11-32
Commissioner: Semyon Mikhailovsky. Curator: Mikhail Piotrovsky. Exhibitors: Alexander Sokurov, Alexander Shishkin-Hokusai.
Venue: Giardini
SAN MARINO (Republic of)
Friendship Project International
Commissioner: Vito Giuseppe Testaj. Curator: Vincenzo Sanfo. Exhibitors: Gisella Battistini, Martina Conti, Gabriele Gambuti, Giovanna Fra, Thea Tini, Chen Chengwei, Li Geng, Dario Ortiz, Tang Shuangning, Jens W. Beyrich, Xing Junqin, Xu de Qi, Sebastián.
Venue: Palazzo Bollani, Castello 3647; Complesso dell’Ospedaletto, Castello 6691
SAUDI ARABIA
After Illusion بعد توهم
Commissioner: Misk Art Insitute. Curator: Eiman Elgibreen. Exhibitor: Zahrah Al Ghamdi.
Venue: Arsenale
SERBIA
Regaining Memory Loss
Commissioner: Vladislav Scepanovic. Curator: Nicoletta Lambertucci. Exhibitor: Djordje Ozbolt.
Venue: Giardini
SEYCHELLES (Republic of)
Drift
Commissioner: Galen Bresson. Curator: Martin Kennedy.
Exhibitors: George Camille and Daniel Dodin.
Venue: Palazzo Mora, Strada Nova, 3659
SINGAPORE
Music For Everyone: Variations on a Theme
Commissioner: Rosa Daniel, Chief Executive Officer, National Arts Council (NAC).
Curator: Michelle Ho. Exhibitor: Song-Ming Ang.
Venue: Arsenale
SLOVENIA (Republic of)
Here we go again... SYSTEM 317
A situation of the resolution series
Commissioner: Zdenka Badovinac, Director Moderna galerija / Museum of Modern Art, Ljubljana. Curator: Igor Španjol. Exhibitor: Marko Peljhan.
Venue: Arsenale
SOUTH AFRICA (Republic of)
The stronger we become
Commissioner: Titi Nxumalo, Console Generale. Curators: Nkule Mabaso, Nomusa Makhubu. Exhibitors: Dineo Seshee Bopape, Tracey Rose, Mawande Ka Zenzile.
Venue: Arsenale
SPAIN
Perforated by Itziar Okariz and Sergio Prego
Commissioner: AECID Agencia Espanola de Cooperacion Internacional Para El Desarrollo. Ministerio de Asuntos Exteriores, Union Europea y Cooperacion. Curator: Peio Aguirre.
Exhibitors: Itziar Okariz, Sergio Prego.
Venue: Giardini
SWITZERLAND
Moving Backwards
Commissioner: Swiss Arts Council Pro-Helvetia: Marianne Burki, Sandi Paucic, Rachele Giudici Legittimo. Curator: Charlotte Laubard. Exhibitors: Pauline Boudry/Renate Lorenz.
Venue: Giardini
SYRIAN ARAB (Republic)
Syrian Civilization is still alive
Commissioner/Curator: Emad Kashout. Exhibitors: Abdalah Abouassali, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia, Giuseppe Biasio.
Venue: Isola di San Servolo; Chiesetta della Misericordia, Campo dell'Abbazia, Cannaregio
THAILAND
The Revolving World
Commissioner: Vimolluck Chuchat, Office of Contemporary Art and Culture, Ministry of Culture, Thailand. Curator: Tawatchai Somkong. Exhibitors: Somsak Chowtadapong, Panya Vijinthanasarn, Krit Ngamsom.
Venue: In Paradiso 1260, Castello
TURKEY
We, Elsewhere
Commissioner: IKSV. Curator: Zeynep Öz. Exhibitor: İnci Eviner.
Venue: Arsenale
UKRAINE
The Shadow of Dream cast upon Giardini della Biennale
Commissioner: Svitlana Fomenko, First Deputy Minister of Culture. Curators: Open group (Yurii Biley, Pavlo Kovach, Stanislav Turina, Anton Varga). Exhibitors: all artists of Ukraine.
Venue: Arsenale
UNITED ARAB EMIRATES
Nujoom Alghanem: Passage
Commissioner: Salama bint Hamdan Al Nahyan Foundation.
Curators: Sam Bardaouil and Till Fellrath. Exhibitor: Nujoom Alghanem.
Venue: Arsenale
UNITED STATES OF AMERICA
Martin Puryear: Liberty
Commissioner/Curator: Brooke Kamin Rapaport. Exhibitor: Martin Puryear.
Venue: Giardini
URUGUAY
“La casa empática”
Commissioner: Alejandro Denes. Curators: David Armengol, Patricia Bentancur.
Exhibitor: Yamandú Canosa.
Venue: Giardini
VENEZUELA (Bolivarian Republic of)
Metaphore of three windows
Venezuela: identity in time and space
Commissioner/Curator: Oscar Sottillo Meneses. Exhibitors: Natalie Rocha Capiello, Ricardo García, Gabriel López, Nelson Rangelosky.
Venue: Giardini
ZIMBABWE (Republic of)
Soko Risina Musoro (The Tale without a Head)
Commissioner: Doreen Sibanda, National Gallery of Zimbabwe. Curator: Raphael Chikukwa. Exhibitors: Georgina Maxim, Neville Starling , Cosmas Shiridzinomwa, Kudzanai Violet Hwami.
Venue: Istituto Provinciale per L’infanzia “Santa Maria Della Pietà”. Calle della Pietà Castello n. 3701 (ground floor)
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invited artist :
Lawrence Abu Hamdan (Jordan / Beirut)
Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),
Darren Bader (USA),Nairy Baghramian (Iran / Germany,
Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,
Christoph Büchel (Switzerland / Iceland,
Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA
Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,
Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)
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other Biennale :(Biennials ) :Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale
Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art
وینس Venetsiya
art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
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Thierry Geoffroy / Colonel
Equipe Nationale Belge
Chassis n° 550-0082
Zoute Sale - Bonhams
Estimated : € 3.400.000 - 3.9000.000
Sold for € 2.530.000
Zoute Grand Prix 2024
Knokke - Zoute
België - Belgium
October 2024
24 Hrs du Mans 1957
Equipe Nationale Belge
n° 60
Result : Disqualified
Engine : 1.498 cc - Flat 4
Claude Dubois (B)
Georges Hacquin (B)
Porsche has a rich and legendary history in motorsport, marked by victories in the world's most prestigious races. Since its inception in the 1950s, the German marque has become synonymous with performance, technical innovation, and reliability, quickly earning a reputation as a manufacturer capable of competing with the very best.
Porsche's first successful competition cars were lightweight developments of its first road car, the 356, one of which took class honours at Le Mans in 1951. The firm's first purpose-built sports-racer arrived two years later in the form of the 500 Spyder, a mid-engined prototype built and campaigned successfully by Porsche's Frankfurt distributor, Walter Glöckler. In 1954 the 550 Spyder was upgraded with the Ernst Führmann-designed Type 547 quad-cam engine, which was carried over to the successor Type 550A (spaceframe) model and then the replacement 718 RSK Spyder. Intended primarily for racing, Führmann's new engine featured a roller-bearing crankshaft; dry-sump lubrication; twin-plug ignition; and twin downdraught carburettors and produced around 110bhp, which was some going for 1½-litre in the early 1950s.
The 550 Spyder's external skin was formed in one-piece welded aluminium sheet which, being fitted rigidly to the ladder frame chassis, contributed to the car's structural rigidity. The dash panel provided a further structural element in being welded rigidly to the bodyshell. Front suspension was independent by twin trailing arms and lateral torsion bars. An anti-roll bar was incorporated. At the rear a swing-axle system was used, controlled by trailing arms operating lateral tubular torsion bars. Drum brakes were fitted front and rear and early 550 Spyders weigh some 550kg (1,212lb) which figure was later increased to around 590kg (1,300lb). The 550 Spyder was claimed to be capable of 200km/h (138mph) with 0-60mph occupying only 10 seconds. With this outstanding pedigree, the Porsche 550 Spyder RS (Rennsport) racing version soon established itself as a consistent winner in international sports car racing's small-capacity classes. This remarkable 550 quickly established its dominance with impressive performances at prestigious events such as the Carrera Panamericana, the 24 Hours of Le Mans, the Mille Miglia, and the Targa Florio. Today the Porsche 550 RS Spyder is one of the most coveted sports-racers of its era.
Chassis number '0082' is among the final examples of the 90 Porsche 550 RS Spyders produced. This car was ordered by Porsche's Belgian Distributor D'Ieteren Frères in Brussels. Completed in March 1956, the Spyder was delivered new to the Équipe Nationale Belge (Belgium's national racing team) finished in their distinctive yellow livery with a black interior. While there, '0082' was raced by many noted Belgian 'gentleman drivers': Claude Dubois, Christian Goethalsm Georges Harris, Freddy Rousselle, Georges Hacquin, Alain Dechangy, Yves Tassin, as well as the celebrated lady competitor, Gilberte Thirion.
The car's competition history is exceptionally well documented for the 1956 and 1957 seasons when it competed for Équipe Nationale Belge. '0082' competed in no fewer than six races in 1956, achieving multiple podium finishes including 3rd place in its class at the 12 Hours of Reims. The Spyder's best result of the season was a class win at the 1,000 km of Paris at Montlhéry where it finished 20 seconds behind Phil Hill and Alfonso de Portago in a Ferrari 857 S. The races it participated in during 1956 with its competitor number are as follows:
La Roche Hill climb 25th March
Spa-Francorchamps GP 13th May Start no.1
Montlhery 1000 km de Paris 10th June Start no.42
12 Heures de Reims 29th June Start no.33
Rouen-Les Essarts GP 8th July Start no.12
GP Sweden Kristianstad 12th August Start no.41
The car's most significant event was the aforementioned 1957, 24 Hours of Le Mans, making it one of only ten 550 Spyders to ever contest the celebrated race. Sadly, its race ended in disqualification following a breach of the rules. In 1957, the Spyder is known to have participated in at least the following races:
La Roche Hill climb 31st March
Grand Prix de Spa 12th May Start no.1
1000km Nurburgring 26th May Start no.31
Grand Prix des Frontières, Chimay 9th June Start no.4
24 Heures du Mans 26th June Start no.60
Rouen-Les Essarts GP 7th July
GP Sweden Rabelof 11th August Start no.22
Spa-Francorchamps GP 25th August Start no.32
Silverstone GP 14th September Start no.34
Best result of the season was 2nd place at the Grand Prix de Frontières, Chimay, and '0082' also finished 3rd at both the Grand Prix de Spa and the Nürburgring 1,000 km.
Following the end of its career with Équipe Nationale Belge, '0082' was raced in hill climbs, minor races and rallies by Jacques Thenaers. Correspondence on file suggests that the Spyder was re-bodied by Apal as a coupé in the 1960s and fitted with a 2.0-litre Porsche Carrera engine at around the same time. The Porsche had been purchased from Écurie Francorchamps by Edmond Pery around 1965 and was next owned by Belgian racing driver Pierre Bonvoisin. It was raced in coupé configuration for the next few years before passing to a Mr Michaelis of Embourg, Belgium in 1970. By this time the Carrera engine had been replaced with a Super 90 unit. Off the road in storage for the next 20-or-so years, the car was acquired in March 1989 by Corrado Cupellini from Bergamo, Italy. At this time, both the non-original Super 90 engine and Apal bodywork were removed to restore the car as closely as possible to its original configuration and a new aluminium body fabricated. The car was later sold to Philippe Jegher, who entrusted Porsche in Germany with the final refinements of the restoration.
The Spyder's next known owner was Bruno Ferracin (from May 1995) who was followed by Peter Ludwig in January 2000. A comprehensive restoration was then embarked upon, which included rectifying the new bodywork so as to be exactly like the original body on 082, sourcing a correct Führmann-type engine and transmission. Particularly worthy of note are the rare aluminium/steel wheels designed specifically for use at Le Mans. The rebuild was carried out by Porsche Zentrum Würzburg at a cost of €100,000 (invoices and photographs on file). Following the rebuild's completion, '0082' participated in the Mille Miglia Storica in 2001, Two years later the engine was rebuilt again.
For a close on 70 year old competition car '0082' is exceptionally well documented. Its accompanying history occupies five folders containing photographs, mostly of its participation in the Mille Miglia; two folders detailing its competition record for the 1956 and 1957 seasons; photocopies of service invoices from 1957 onwards; ownership history from 1956 onwards; several folders containing correspondence between previous owners; maintenance invoices for the year 2000; a German title; and its original key.
Boasting a most impressive and well documented in-period competition history, including Le Mans participation in 1957 and being one of a mere ten examples of the 550 model to do so, this Porsche 550 RS Spyder, now presented in a yellow wrap livery, used by the Belgian National racing team during the 1956 and 1957 seasons, is eligible for the most prestigious international events including the Le Mans Classic and Mille Miglia Storica. An exciting prospect for the fortunate next owner.
Lucas was a brilliant businessman who rose to the top of his industry through his cunning and ruthless tactics. He had a reputation for being a master of deception and manipulation, always telling people what they wanted to hear, regardless of the truth.
As the CEO of his company, Lucas was in charge of making important decisions that affected the lives of thousands of employees and the financial success of the company. However, his habit of lying and manipulating soon caught up with him.
Lucas would make promises to investors, clients, and employees that he knew he couldn't keep. He would exaggerate the company's successes and downplay its failures. He would take credit for other people's work and blame others when things went wrong.
Despite his reputation for lying, Lucas managed to maintain his position for years, thanks to his ability to charm and manipulate others. But as the company's financial situation started to decline, people began to question his leadership. Employees were frustrated with the lack of transparency, and investors were losing faith in the company's future.
As the situation worsened, Lucas continued to lie and deceive, making bold promises to turn things around. However, his lies were finally exposed when the company's finances were audited, and it was revealed that he had been cooking the books to hide the true extent of the company's losses....but he just get the next job and all workers lost their jobs.....
Further enhancing the Cadillac Motor Car Company's reputation for engineering leadership, the introduction of the innovative new eight-cylinder Model 51 marked Cadillac's first application of the V8 in standard production, mass-produced vehicle. Since that debut, the V8 engine has continued to remain as Cadillac's standard powerplant since, for an ‘unbroken span of more than 65 years'.
Cadillac chose to replace its outdated four-cylinder Model 30 with the 1915 V-8 Type 51. The model 30 had been running for four years and it was considered by some to be outdated, though it had an outstanding reputation for both durability and reliability. In 1914 sales for Cadillac plummeted, possibly due to other luxury makers were running with sixes. The Model 51 V8 was introduced by Cadillac founder Henry M. Leyland and featured an amazing 70 hp and a water-cooled V8 engine.
As the Edwardian Era was coming to a close, the elegance and innocence of that time was manufactured into the 'Landaulette' model. The stylish transformable coupe made the Model 51 a legend as it featured sophistication and style. Cadillac advertised the Model 51 as 'The Penalty of Leadership' in an ad campaign that wowed consumers. The Model 51 was produced in significant numbers and became a Cadillac trademark for decades.
For years Leyland had been experimenting with a variety of engine types, and as a result of all of his hard research, he came to the conclusion that V8 would be much more popular than a six. The compact nature of the v-type design also appealed to Leyland and in some instance the long crankshaft that characterized the inline sixes had a tendency to ‘whip at high rpm'. At the time, most luxury models had moved on to much more powerful six-cylinder engines, but Cadillac continued to sport its mundane four cylinder engine. The Model 51 was then debuted by the luxury department, powered by eight cylinders that wowed the public.
The V8 was a strange and unique design for those days, and many people hadn't even seen such an engine. Two French manufacturers had developed V8's more than a decade previously and had utilized them to power racing machines. In America, as early as 1906 Howard Marmon had demonstrated an air-cooled V8. In 1910 the French firm of DeDion had marketed a production V8. The Cadillac Model 51 offered the first commercially available V8 engine in 1914.
The Model 30 was the original vehicle that included an all-new Delco system and an electric start. No more were drivers concerned with jamming a thumb or breaking a limb when cranking their cars. Unfortunately, though the Model 51 was impressive, but it paled deeply when placed alongside the 1912 Cadillac Model 30. This top-of-the-line Cadillac was the most expensive vehicle that GM produced, and at 1921, the Model 51 was priced at $5,190.
During the 1915 model year alone, Cadillac produced more than 13,000 units of the Model 51, which was a very impressive number for the first year on the market. The Cadillac Roadster, the four-passenger Cadillac Salon, the five-passenger touring car, and the Cadillac Seven-Passenger vehicle were all priced at $1,975, while the Cadillac Coupe was priced at $2,500, the Sedan for five-passengers at $2,800, the standard Cadillac Limousine was priced at $3,450 and the top-line vehicle, the formal 'Berlin Limousine' was sold at $3,600.
[Text taken from Conceptcarz.com]
www.conceptcarz.com/vehicle/z16349/Cadillac-Model-51.aspx
This Lego miniland-scale 1915 Cadillac Type 51 Tourer has been created for Flickr LUGNuts' 88th Build Challenge, - "Let's go Break Some records", - for vehicles that set the bar (high or low) for any number of vehicles statistics or records. Or for a vehicle which achieves a notable first. In the case of the Cadillac Type 51 - this model was the first production car V8 engine.
The word ‘miniature’ describes a technique of painting in watercolour rather than the size of a painting. Miniature painting developed as a separate art in the 16th century and in Britain it became predominantly a portrait art.
Samuel Cooper had first set up established his independent miniature practice in London in 1642, the year that civil war broke out and King Charles I abandoned London for the safety of York. Cooper was not untouched personally by the years of war leading to the execution of Charles I in 1649. The poet Alexander Pope, the nephew of Cooper’s wife Christina, wrote that she ‘had three Brothers, one of whom was kill’d, another died in the service of King Charles’. Professionally, however, Cooper flourished, and during the Commonwealth period he was employed by Oliver Cromwell, the Lord Protector. At the Restoration of the monarchy in 1660 Cooper’s reputation as the foremost artist in England secured him the patronage of the returned royal family, to which he responded with an enriched style. His flesh painting became more full bodied, noticeably so to contemporaries such as Samuel Pepys, who thought ‘the colouring of the flesh to be a little forced’.
Today, albeit with fading, this portrait of the Duke of York does not seem unnaturally sanguine. Overall the effect is less austere than Cooper’s style during the Commonwealth period, the lighting less dramatic and so the relief of the sitter’s features is less marked. Its softer, lighter style, however, does not lessen the dignity and presence of the sitter. The Duke particularly retains a serious reserve appropriate for the second son of the ‘martyred’ Charles I.
Samuel Cooper (c. 1609-5 May 1672 in Covent Garden), English. Portrait painted in 1660-61, watercolor on vellum.
Height: 80 mm (3.15 in.)
Width: 64 mm (2.52 in.)
V&A Museum, South Kensington, London (P.45-1955)
On one of the walls of one of the buildings at CineCitta are a lot of images from films made there, one of which was Gangs of New York directed by Martin Scorsese.
I love Gangs Of New York. I think it is far greater than its reputation.
I love the world Scorsese recreates, & the rich history he explores. All these gangs & criminal activies, the corruption make these huge sets all feel lived in & alive.
The revenge story, I think is far more nuanced & complex than something like Gladiator, which is paper thin cliche stuff we've seen dozens of times (it is an enjoyable film, but all the same things internet "experts" rag Avatar for can be applied to Gladiator), & Amsterdam's inner conflict about being loyal to his father & his feelings for Bill The Butcher is fascinating to me.
Leo & Cameron get a lot of unfair flack for not having thick Irish accents, but their characters are not Irish immigrants. They are Irish Americans. It is hinted by dialogue that Amsterdam lost his accent in the asylum at Hell's Gate (the young Amsterdam at the beginning doesn't have a thick Irish accent either), & during Jenny's dialogue about how she came close to the Butcher, it is probable that she was either very very young as a child when she came to America, or was born to Irish parents that moved to America. They are both fine in their roles.
Everyone gets so focused on Daniel Day-Lewis's amazing performance as Bill The Butcher that people think Leo & Cameron are supposed to have thick accents as well.
I think the film is vastly misunderstood, & the erroneous "bad accents" issue is one of them.
As amazing as Daniel Day-Lewis is, there are still so much things to admire in the film.
Dante Ferretti's large scale sets built at CineCitta Studios in Rome look & feel lived in. There are so many details that add to that (like the wagon dispensing a treatment for cholera), & Michael Ballhaus's cinematography is simply beautiful.
The browns & the yellowish colour tint really make it feel the period, & the textures of details help add to the immersion (like all these closeups of bill posters & newspapers).
I think people misunderstand the point of the ending with the end battle being disrupted by the response to the draft riots.
Scorsese was exploring how these characters are stuck in their own world & rivalry, while the rest of the city, & America, were progressing. The changes New York was going through caught up into this area where Bill The Butcher & Amsterdam were feuding in, & when the cannon fire ends the battle before it could begin, it didn't matter which side they were on, nor did their feud matter.
Amsterdam's desire to avenge his father's death, & Bill's desire to take out his nemesis's son didn't matter. New York was changing whether they liked it or not.
That is one of the key reasons for Bill's final line in the film (which was a paraphrasing of what the real person that inspired his character said on his death bed).
The ending montage of New York's skyline changing over the decades, as the graves of Bill The Butcher & Priest Vallon decay & eventually disappear is one of the most moving endings in a Scorsese film.
Something else I find moving about the ending is while the graves of Bill The Butcher & Priest Vallon just decay, I think about some of these other characters throughout the film (like McGloin, Shang, Johnny, Happy Jack etc), who probably didn't get graves like Bill or Vallon, & they are also forgotten to time.
Gangs of New York is my fourth favourite Scorsese behind Goodfellas, Raging Bull & Taxi Driver.
I am in the minority, but The Departed & The Wolf of Wall Street, while very good, I don't think are among his best, which they usually considered to be.
I think Gangs of New York is vastly greater than those films, but I think even a "weaker" Scorsese film like New York New York are still fairly decent.
Scorsese is one of the most consistent directors. Gangs of New York was also the first of three of his films to get 10 Oscar nominations & lose in every category, with The Irishman & Killers of the Flower Moon also losing in all 10 nominations.
Nikon F4. Nikkor 50mm F1.2 lens. Lomochrome Color '92 400 35mm C41 film.
High above the check-in area of Baltimore Washington International Airport (BWI) is this finely detailed replica of a Pan American Airways Clipper flying boat. The aircraft depicted is NC14716, a Martin M-130, named ‘China Clipper’. It first flew in 1934 and as one of three built for Pan American Airways, it inaugurated the first US-Transpacific air mail service.
Pan American’s flying boats gained a reputation for providing a luxurious flying experience, and this reputation was burnished still further after 1945. The company embraces the jet age as the launch customer for the Boeing 707 and later the Boeing 747. Unfortunately, it faced financial difficulties as competition intensified from the late 1970s, The company was in a financial death spiral by the time I had to use it between 1988-91. Each flight seemed worse than the previous one, with tatty planes, surly and demotivated staff and nasty, lousy food. I raised a cheer when Pan Am finally went out of business in December 1991.
Looe (Cornish: Logh, meaning deep water inlet) is a small coastal town, fishing port and civil parish in the former Caradon district of south-east Cornwall, England, with a population of 5,280 (2001 census). Looe is divided in two by the River Looe, East Looe (Cornish: Logh and West Looe (Cornish: Porthbyhan, meaning little cove) being connected by a bridge. The town is approximately 20 miles (32 km) west of the city of Plymouth and seven miles (11 km) south of Liskeard.
The town is situated around a small harbour and along the steep-sided valley of the River Looe which flows between East and West Looe to the sea beside a sandy beach.
Looe remains a fishing town, and several fish dealers operate from the docks of East Looe. With its fleet of small fishing boats returning their catches to port daily, Looe has a reputation for producing excellent fresh fish. The town is also a centre for shark fishing, and is the home of the Shark Angling Club of Great Britain.
Looe's main business today is, however, tourism, with much of the town given over to hotels, guest houses and holiday homes, along with a large number of pubs, restaurants, and shops selling beach equipment, ice cream and Cornish pasties. Inland from Looe lie many camping and caravan sites, as well as a famous Woolly monkey sanctuary. (Excerpts from Wikepedia)