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sooc.
It's so insane how much Aliya and Sahar look like twins when in reality they're just best friends.
Sunflareee <3
Augmented reality technology is interactive and it drives engagement of customer towards products and businesses. AR helps in attracting customers with digital content information media such as image, animation, videos. To get more information about the AR technology, visit @ yeppar.com/
what is reality ? .
is it just a thought in our heads ? .. or are we just a part of something well defined and out of our reach ?
p.s. you can also find me at - [photo-soulz.blogspot.com/]
As you wander through the enchanting garden behind the cottage, you'll discover a kaleidoscope of colors – from vibrant flowers to a whimsical stage. Each step is a photographic opportunity waiting to be seized. Whether you're an amateur enthusiast or a seasoned photographer, The Climbing Sheep Cafe offers an array of picturesque scenes to frame in your lens.
When you arrange things, sometimes you forget how they will impact your life.
I mean, when I booked to go on the railtour, I didn't realise it would mean 20 hours spent travelling. And then having booked to go on an orchid site visit the day after the railtour I would drive over four hours back to Wales, and then on Monday drove the hour to the site, then have nearly six hours to drive home.
In the school holidays. And with traffic chaos in and around Dover still.
That was my choice.
THe reality was that there would be little time for rest, always on the move. Although on the railtour I would be sitting for the duration of the trip, looking out the window, so not doing anything other than looking for things to photograph, but 90 minutes driving before and after it.
So, Sunday morning.
And we had the chores we failed to do Friday and Saturday: washing, shopping, clearing up, before I would leave at one in the afternoon. One thing I learned for JOols is to prepare, so when she went to the beach for a swim, I had a shower, then packed my overnight bag, wrote down postcodes, directions and details of my stopovers, charged camera batteries.
The car was running on fumes, so we went out at ten to fill it up, now costs £90 from empty. And get wild bird food.
Back home for lunch of caprese, I had even made time to make a small focaccia loaf, which I popped in the oven, so come midday it was done and we could listen to Desert Island Discs while eating. It was Kate Moss, the model, and well, her life seemed so shallow. Name dropping inbetween tales of how she was exploited. She seems to have found happiness, which I guess is what we all deserve.
So, at one I packed the car and set off, having to get through the traffic chaos. In fact it wasn't too bad, but I still avoinded the port and Townwall Street, driving towards Whitfield before heading down the Alkham Valley. I only just made the turn as a lorry had sideswiped a Nissan Micra, and blocked the rest of the roundabout.
I turned off, unaffected, and was soon enjoying the open road driving towards Folkestone. THe on ramp to the A20 was open, and no traffic to really hold me up. On the other carriageway, no cars were allowed on the motorway after Maidstone Services, all traffic being sent down the A20, and that road was at a standstill. My worries already were of the journey back on Monday.
NO problems in etting to the top of the motorway before turning west and the M25. Traffic was heavy, and slow in places, bbut I had a layover planned, and a meet up with a fellow orchidist to see a new species for me.
There are between 50 and 60 orchid species, and I have seen many of them, so the weekend was offering me the chance to see two new species. The first of which was the one we had looked for the weekend before, Narrow Lipped Heleborine.
I turned off the motorway and was soon heading down leafy lanes, which partially hid what used to be called the stockbroker belt houses; huge mansions with electronic gateways, where money buys you privacy in a country mansion. The villages were pretty enough, and the chuches, none of which I had time to stop and look at. Nor the wooden village water well I passed either, even if it looked photogenic and ancient.
I had agreed to meet with Richard between half two and three, so after finding the car park for the reserve, I tried to call him, but turned out his phone had no signals. So I tried to make sense of my scrawled directions, with no luck.
I was in the process of calling other friends who had visited, when Richard called back.
He would come and meet me, he confirmed which path to take, so I wandered off and straight away came to a what was clearly an orchid rich area under huge beech trees and deep in leaf litter. Small orchid spikes dotted the woodland floor, and these were the Narrow Lipped Helleborines.
Richard came and showed me the best spikes, the hot weather had fried many of the others, but there were more than enough to snap.
We carried on walking, and came to a clearing where there were a good few Braod Leaved Helleborines, some were partially baked, but still had flowers, and were being visited by drunken wasps.
Time was getting on, so I had to say my goodbyes to Richard and make my way back to the car.
-------------------------------------------
The Narrow-lipped Helleborine is difficult to spot and its occurence may well be under-reported. In the British Isles it is thought to be confined to southern England, and even there it is localised and scarce. This species, which favours dark, shady spots and seems to be intolerant of bright sunlight, is found only in chalk or limestone woodland habitats, predominantly in beechwoods although it is also associated with yew and with hazel coppice. Epipactis leptochila has a short flowering time, between mid July and mid August, and the number of plants appearing each year is very variable. Once thought to be endemic to Britain, this orchid has since been found on the European mainland, where its range extends from Denmark in the north, south to Italy and eastwards across much of Central Europe.
Plant: 15 to 60cm tall, occasionally to 70cm; stem green and hairy in the upper part. Plants are normally single-stemmed, but occasionally up to 5 or 6 stems can arise from a single rootstock.
Leaves: up to 7 semi-erect bright-green opposite leaves in two rows on the stem; they are rather limp in appearance.
Bracts: narrow and pointed; on the lower part of the stem they are longer than the flowers and hang noticeably downwards; higher up they are shorter.
Flowers: up to 35 on a lax, one-sided inflorescence; fresh green to yellowish, they are relatively large and pendulous. The sepals are triangular with extended tips, pale green on the outer surface and whiter on the inside. Petals are similar but smaller and whiter, sometimes flushed pink with darker veining. The lip is divided into two sections. The inner part (hypochile) is pale green on the outside with pink flushing, and pale on the inside with a dark reddish-brown centre that contains nectar. The outer part (epichile) is white to green, arrow-shaped with a distinctively long tip. Two small smooth bosses at the base of the lip are flushed pink or purple.
Subspecies: none.
Varieties: Epipactis leptochila var. cleistogama has been reported from Gloucestershire, but it may now be extinct. Epipactis leptochila var. cordata is characterised by a shorter, heart-shaped lip, but this variety has also not been recorded for some years.
Hybrids: none.
www.hardyorchidsociety.org.uk/HOS%201012/orchidphotos/epi...
Handmade prototype, one of the first "virual reality" displays ever built. Developed in 1985 by Jim Humphries and Mike McGreevy at NASA's Ames Research Center
Taken at the National Air and Space Museum Steven F. Udvar-Hazy Center: James S. McDonnell Space Hangar in Dulles, VA.
Visit ideonexus.com for daily science news links and fascination.
St. Peter's clean and dirty. There is always scaffolding up, they are always working on cleaning the old buildings.
11/22/2004 - Monday: in Rome Roma, the Vatican, train to Florence Firenze
tags: italy
Monday Reality
Left hotel a bit late...not too bad. Tried to get on the subway but there was a line up the stairs. We were going to take a bus, but then we got a cab. 10 euros to take a cab two metro stops...I sort of think that wasn't strictly kosher...but maybe it was. it was still fun. We got to go under a tunnel that we saw yesterday during our ordeal march of being lost.
the idea was to catch the capucin crypts on the way to the vatican. But they were closed...still. so we slipped down back into the subway. We had used our single use tickets when we were turned back by the line at the Termini station, but we decided that the moral constraints were met, so we slipped through and re-used the tickets to get to the vatican. AFter all, we had gone through the gate, but we hadn't gotten on a train...
so the train left at 4:48ish, maybe 4:47...basically right on time ...
Off we rushed to the Vatican museum. We arrived at 10:00...and the english tour was at 10:30, so just enough time to get oriented and rest a bit before the ordeal by marbel floor!
We had a nice tour guide. First she showed us a sort of parchement view of the sistine chapel-two rulls of text and pictures with details of the different scenes. She would wind it down to get the next view.
This was fascinating...I am phenomenally underinformed of art and cultural matters...it is almost a cliche to say that, but egads it it true.
on the other hand, there are things we know today that were unknown 200 years ago. Amazingly...apparantly the whole forum area was under dirt until 18-something. So much dirt that only the tops of the columns were exposed. and even now much remains.
The archeologists cringe over the techniques used to clear what is now exposed. There have been several recent archeological 'campaigns' among the ruins of palatine hill that have excavated pre-roman huts. one of the write ups discussed the findings of 27 flakes of flint, indicating tool maing. So infering thngs based on bits of things found...which is the whole point of archeology.
And it made me realize that they are not done excavating Rome Roma...an odd thing to realize, since only a moment's consideration would reveal how obvious that is! There are Indian mounds that the archeologists are intentionally leaving alone for now, with the expressed plan of letting future archeologists examine them when they have better techniques.
my ears are popping...and the gps lost its lock...I then look out and realize we are going through a tunnel. ah...sense is made.
maybe...perhaps it wasn't a tunnel...I can't tell. several more episodes of pressure changes are occuring.
There are sliding head rests on the cabin walls in back of the seats. they are padded and have vertical supports so that you can lean on them to sleep without falling into the window, or onto your neighbor. they slide up and down to allow you to adjust to your preferences.
We didn't see the capucini crypt, because it was closed, and it was getting dark as we got on the train, but we are doing pretty well.
The vatican tour took two hours...and it seemed that we were moving much of the time. they have these slick radio receivors so you can hear the tour guide even if you are in the next room back.
I had a strong response to a tapestry depicting the slaughter of the chilidren by herod. One baby is being held, barely, by its mother and a soldier has a dagger to the child's heart. The baby is about to die. Other mother's are using their bodies to shield their infants. it is truly horrible.
damn! the pressure changes are really frequent, and amazingly annoying.
I downloaded a bunch of stuff from 'hex'-a friend of Jo and Schuyler's. I'm reading
how to build a reality that doesn't fall apart two days later...file:///Users/admin/wa/web/downlode.org/etext/how_to_build.html
I'm on the train...fighting sleep. I need to pee, but to do that I worry I'll have to wake the gentleman seated in front of the door to our compartment.
passing through orte...at 5:27:00---possibly even got a track point. I had a signal for a moment.
well..more than a moment, but not too long. there is crying in the hall....
The GPS showed us going 115 mph, for a bit. not just one observation. interesting. fast.
The hall of maps was cool because I realized it was, or could have been, not about art and instead was about the simple matter of managing an empire.
I enjoyed the museum, duh, and the Sistine chapel...and then we climbed the dome! I loved that! I truly loved it. We got to the top and I could see radio vatican and the quiet parts of the vatican and various 'stuff.' I don't know why, but seeing vatican radio made me happy.
We descended...heather waited while i ran about St. Peter's one more time. I went back into the catecombs...and reflected again at st. peter's grave, and the crypts of the popes. different passageway's were open from last time...you went in and out on different sides. Saturday we went through more passageways, past bits of monuments, even broken bits, supposedly the memorials for past popes there had been recovered via archeological digs and the like...little rooms, with gates, and some stones mounted on the walls.
Today I looked through a grate and down at a compartment that seemed to be set up as a small chapel. maybe a particularly holy pope was buried there.
When they embalm a pope, or remove anything from one, they send the bits to a particular church in room so the bits don't become relics.
I was struck by how clean and non-catacomb like the area was that we were allowed to tour. There were passageways that looked like they might get more 'creepy' small and twisty, but it was all clean...I guess marble does that for you.
Heather was whipped. We walked the .4 miles to cafe ruggio (is that it? The antipasto bar place by gellati millenium. it is in the Rick steve's book. We tried for it Saturday, but it was still closed, and we tried today, but closed Monday. Both faux paws (sic) could have been avoided if we had looked at the book and actually _read_ that listign first.
I have so many books and things that I don't really need...
Well Heather felt really crappy...but we ate at the little place by millenium gellati. It was great. The woman dished me up two plates. First a bowl of pasta, and then a plate with veal, mushrooms, zucchine, and peas with ham. It was in little bowls and I got to pick...heather had a panini. I was jsut positive that I was suffering eyes bigger than my head syndRome Roma, but
(and here the laptop powered down, I was writing on the train, and now it is the next day and some, 1:20 am on the 24th) I ate everything, and had a gellato after. And we went to the big 'M.' We found the M, but there was no metro...it was up another block. We metroed to the train station. Identified a train time, then grabbed our stuff at the hotel.
We spent time at the internet cafe DSC_4285.JPG, DSC_4286.JPG, DSC_4287.JPG ... They didn't support ssh! well I finally did send an email to folks via the webmail at work.
Then the train! The train was great. And we whisked into Florence Firenze. We wandered streets for a bit, then I got lock on the GPS, and knew we were .15 miles, and we wandered. I didn't remember the street name (via nazzionale, #10), but when we stumbled onto it Heather identified it. And we were a half block away.
Check in went smoothly. We fooled around, and then took to the streets. We ate at trattoria Sostanza-Troia (see p285 of Rick Steves). There were tour de france pictures on the walls, and signed photos dating back. We enjoyed it! A bottle of table wine. Tortellini with a house sauce, and then pot roast with beans. Heather had a bean salad and a salad.
Then we wandered back and bought a bottle of wine and some chocolate. Heather studied our books, and I sort of watched the Tony Gatuf movie Swing. I think it was in Italian with French subtitles. After all of that Art, and trying to read the pictures, I watched it in a different way. Paying attention to the cultural signifiers and all of that jazz. Having thoughts like 'why did he frame that shot that way? What does that use of open space say?" etc...
Belinda ,Un Reality Sobre Mi Vida - Capitulo 1 ...
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Belinda con Dj Flex - Te Quiero
Desde que te conocieron te aman, quieren cantar canciones al oido. Belinda junto al Dj Flex a los mandos de Te quiero, baby, te quiero.
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Belinda Peregrín Schüll (Madrid, España, 15 de agosto de 1989) es una actriz y cantautora mexicana, de origen español.
Belinda (álbum de Belinda) - Carpe diem - Utopía - Cómplices al rescate
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Babis looking at me.
( Babis is like a mad saint... He has forgotten the content of
every kind of prayer he once knew. He is totally alone into his self-made
universe.
His fragile thought falls apart night by night... Nobody could ever
immagine his previous face, years before - not even me, that
I know and love him...)
LOS ANGELES, CA - NOVEMBER 04: (L-R) Dinner Chairs Susan Smalley, Paula Reiser, Nina Kotick and Erin Stein attend Equality Now presents Make Equality Reality at Montage Hotel on November 4, 2013 in Los Angeles, California. (Photo by Mike Windle/Getty Images for Equality Now)
Parallel Realities
Everything you experience as solid and "real" is a vibration of energy – held, or locked in place, by belief systems. If, for a moment, you could set aside all mental programs about your reality, you would experience an entirely different perspective of what you call reality.
We would like you to receive the idea that there are several realities, several outcomes, several parallel realities that could always manifest.... You and others are broadcasting energy in the form of your thoughts, your emotions, and your beliefs at all times. As you send the energy forth, several realities are always possible. The reality that manifests is the one you have focused more of your energy on.
We are encouraging you to.... embrace the countless realities that are only a frequency, a vibration away.
~ Morning Messages
The Boca Raton Resort & Club will become part of the Waldorf-Astoria Collection in Spring 2009. Situated on 356 acres in fabled South Florida, Boca Raton Resort & Club carefully combines a fresh look and modern amenities, while embracing the purpose and design of the original vision of renowned architect Addison Mizner. This eclectic, private village offers the best of all worlds: a renowned spa, championship golf and tennis, expansive beach and luxury marina - all just steps from the guestroom door. Exquisite accommodations within this captivating Boca Raton hotel are presented within five distinct settings ranging from the ultra-luxe Beach Club to the sleek, contemporary Bungalows. With deep roots in the past, this completely unique Boca Raton Florida hotel is truly a destination for the future.
I am standing on the Hillsboro Street Bridge and looking north along the intracoastal several miles to get the pink tower building in the far distance. Enlarged and cropped, in reality the pink tower is only a speck to my naked eye. I used to be a member of this club, it is a great and historic place.
This is an augmented reality project created for Burlington, Vermont's Dark Arts Gallery (curated by Deidre Healy).
AR artist, Gahlord Dewald, is modelling it here for us. And he looks crazy.
Great and refreshing morning walk in Singapore. As part of the Nordic-Baltic business & network bridging.
Co-creating communities for flourishing societies. With the FUTURE of Education, Start North, with exponential positive impact solutions good for people, planet and prosperity.
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Sridhar Sunkad, CEO EON Reality Singapore
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All my photography celebrates the physics of light! The McGucken Principle of the fourth expanding dimension: The fourth dimension is expanding at the rate of c relative to the three spatial dimensions: dx4/dt=ic .
Lao Tzu--The Tao: Nature does not hurry, yet everything is accomplished.
Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Unifying Physical Reality of the Fourth Expanding Dimensionsion dx4/dt=ic !: geni.us/Fa1Q
"Between every two pine trees there is a door leading to a new way of life." --John Muir
Epic Stoicism guides my fine art odyssey and photography: geni.us/epicstoicism
“The clearest way into the Universe is through a forest wilderness.” --John Muir
Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey
“The mountains are calling and I must go.” --John Muir
Epic Art & 45EPIC Gear exalting golden ratio designs for your Hero's Odyssey:
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Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
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All art is but imitation of nature.-- Seneca (Letters from a Stoic - Letter LXV: On the First Cause)
The universe itself is God and the universal outpouring of its soul. --Chrysippus (Quoted by Cicero in De Natura Deorum)
Season of mists and mellow fruitfulness
Close bosom-friend of the maturing sun
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eves run;
To bend with apples the moss'd cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,
Until they think warm days will never cease,
For Summer has o'er-brimm'd their clammy cells. --To Autumn. by John Keats
I made this postcard for the "alternate reality" swap and then misplaced it, so I sent the other one first. Then when this re-appeared, I sent it along as well.
Background is from kid's "The Sun" book. Various people and a few animals are having exotic dreams on this ancient planet where the snowflakes are bigger than the trees.
Swapbot: Alternate Reality (Creative Collage group)
the Olympic flame cauldron/sculpture designed by Thomas Heatherwick.
I am American expatriate living in England, married to an Irish citizen, our children were born here in Britain. We have friends from around the world...one of whom was an athlete at this years games...who performed brilliantly even though he did not win a medal, but he is not upset about that because he bested his own personal performance and set a new national record and raised the standard for his country. While people around the world are tearing themselves apart (particularly in places like Syria) and losing their lives over vital issues like food, water, and the right to live free...we are celebrating a thing that is above all of that for at least a moment in time. Looking past the aesthetic design of the cauldron to the concept and the emotion.....the Olympic spirit of beauty and unity...acting as a beacon to the athletes and people of the world. It is a pity that it was not visible to those outside the Olympic stadium, but that was not my choice. The Olympic games mean so much to so many everywhere....here in Britain after the games are over and the last Olympians and Paralympians have returned home....the hard reality of life in the UK during a serious economic recession, with wars and natural disasters causing suffering,pain and death on a global level will catch up with us all too soon and the "high" from the games will fade away. If only we could take that feeling and hang on to it to get us through the darkness...letting that flame shine on somehow. I have been very fortunate to have seen many of the sporting events and competitions from the games on TV and the internet (it was addictive), and even more fortunate to have attended two events in person. I have witnessed incredible respect and unity because of these games between the spectators and the athletes. I have seen a mostly British crowd cheering for a Ukrainian athlete, encouraging him to cross the finish line and giving him a standing ovartion when he finally did. I have heard a BBC announcer praising an Irish athlete for his good form and positive attitude...almost hoping he would win a medal even though he was competing with a British athlete in the event. I have seen a disapponted Chinese athlete weep bittterly because he did not win a gold medal for his country while the bronze medalist was overjoyed to have even won a medal at all. I have watched as athletes from different nations embraced and congratulated one another for winning after being defeated in competition. I have seen people of all nations and walks of life jump out of their seats and embrace one another as Mo Farah and Usain Bolt broke records in the stadium, and families and friends of athletes literally weep with joy as they saw their family member victorious in an event or sport (whether they medalled or not). It is all about your perspective, and state of mind. The cauldron is merely a symbol of what we all have within us, an eternal spark...a burning desire to be more and achieve more than we think we are capable of. It is not only possible to be the best you can possibly be, but to also pass on that feeling...that spirit to others....if we only reach inside ourselves first and nurture that flame, let it grow until it consumes us and what we do will become a beacon to others. This flame is only phsically present for 18 days then it goes away for 4 years until it begins at the sacred ceremony at Mount Olympus stadium again . The actual Spirit never dies though....so if any of you who see this photo or read these words have been a part of the Olympic or Paralympic games in any capacity...remember to take it with you...take that feeling of joy and pride, that wonder and awe, the appreciation for all the tears and hard work, the reward and small victories that everyone witness...take it all with you... then go out and
inspire someone who needs inspiration. No one can do it alone, and no one wins alone. When the Olympians win, it is a victory for us all.
For some articels in the press about the cauldron click on theses links:
www.guardian.co.uk/sport/2012/jul/29/betty-cauldron-olymp...
www.guardian.co.uk/sport/2012/jul/30/london-2012-olympic-...
Collaboration beetween Biennalist and Ultracontemporay
Art Format
www.emergencyrooms.org/formats.html
Documenta From Wikipedia,
The Fridericianum during documenta (13)
documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time.[1] It was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, documenta (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At documenta (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the documenta (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. documenta IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
TitleDateDirectorExhibitorsExhibitsVisitors
documenta16 July – 18 September 1955Arnold Bode148670130,000
II. documenta11 July – 11 October 1959Arnold Bode, Werner Haftmann3381770134,000
documenta III27 June – 5 October 1964Arnold Bode, Werner Haftmann3611450200,000
4. documenta27 June – 6 October 196824-strong documenta council1511000220,000
documenta 530 June – 8 October 1972Harald Szeemann218820228,621
documenta 624 June – 2 October 1977Manfred Schneckenburger6222700343,410
documenta 719 June – 28 September 1982Rudi Fuchs1821000378,691
documenta 812 June – 20 September 1987Manfred Schneckenburger150600474,417
documenta IX12 June – 20 September 1992Jan Hoet1891000603,456
documenta X21 June – 28 September 1997Catherine David120700628,776
documenta118 June – 15 September 2002Okwui Enwezor118450650,924
documenta 1216 June – 23 September 2007Roger M. Buergel/Ruth Noack[19]114over 500754,301
documenta (13)9 June – 16 September 2012Carolyn Christov-Bakargiev187[20]904,992[21]
documenta 148 April – 16 July 2017 in Athens, Greece;
10 June – 17 September 2017 in KasselAdam Szymczykmore than 1601500339.000 in Athens
891.500 in Kassel
documenta fifteen18 June 2022 – 25 September 2022 in Kasselruangrupa[22]
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[23]
Venues
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal.[24] At documenta (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at documenta IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[25] For documenta (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).
documenta archive
The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from the files and materials of the documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer.
Management
Visitors
In 1992, on the occasion of documenta IX, for the first time in the history of the documenta, more than half a million people traveled to Kassel.[26] The 2002 edition of documenta attracted 650,000 visitors, more than triple Kassel's population.[27] In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of the visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous.[28] In 2012, documenta (13) had 904,992 visitors.[21]
References
Adrian Searle (June 11, 2012), "Documenta 13: Mysteries in the mountain of mud", The Guardian.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Arnold Bode coined this phrase for the first time in the prologue of the first volume of the catalogue: documenta III. Internationale Ausstellung; Catalogue: Volume 1: Painting and Sculpture; Volume 2: Sketches; Volume 3: Industrial Design, Print; Kassel/Köln 1964; p. XIX
Kimpel, Harald: documenta, Mythos und Wirklichkeit. Köln 1997, ISBN 3-7701-4182-2
Alice Rawsthorn (June 3, 2012), A Symbol Is Born The New York Times.
The documenta IV Exhibition in Kassel (1968) German History in Documents and Images (GHDI).
Helen Chang (June 22, 2007), "Catching the Next Wave In Art at Documenta", The Wall Street Journal.
Roberta Smith (September 7, 2007), "Documenta 5" The New York Times.
Gimeno-Martinez, Javier; Verlinden, Jasmijn (2010). "From Museum of Decorative Arts to Design Museum: The Case of the Design museum Gent". Design and Culture. 2 (3).
dX 1997 Archived 2013-06-14 at the Wayback Machine, documenta XII.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale The New York Times.
Roberta Smith (June 14, 2012), Art Show as Unruly Organism The New York Times.
Kelly Crow (June 8, 2012), A Party, Every Five Years, for 750,000 Guests The Wall Street Journal.
Jerry Saltz (June 15, 2012), Jerry Saltz: "Eleven Things That Struck, Irked, or Awed Me at Documenta 13" New York Magazine.
Michael Brenson (June 15, 1987), "Documenta 8, Exhibition In West Germany", The New York Times.
Michael Kimmelman (July 5, 1992) "At Documenta, It's Survival Of the Loudest", The New York Times.
Jackie Wullschlager (May 19, 2012) Vertiginous doubt Financial Times.
Julia Halperin, Gareth Harris (July 18, 2014) How much are curators really paid? Archived July 20, 2014, at the Wayback Machine The Art Newspaper.
Holland Cotter (22 June 2007). "Asking Serious Questions in a Very Quiet Voice". The New York Times. Retrieved 2014-08-29.
Ulrike Knöfel (8 June 2012). "What the 13th Documenta Wants You to See". Der Spiegel.
"904,992 people visit documenta (13) in Kassel". documenta und Museum Fridericianum Veranstaltungs-GmbH. 16 September 2012. Archived from the original on 25 February 2014. Retrieved 8 August 2013.
Russeth, Andrew (2019-02-22). "Ruangrupa Artist Collective Picked to Curate Documenta 15". ARTnews.com. Retrieved 2020-01-05.
"In Germany, Disguising Documentary As Art". The Huffington Post. Retrieved 2015-09-28.
Stephan Valentin (June 12, 2007), An art show in Kassel, Germany, rivals Venice Biennale International Herald Tribune.
Roberta Smith (June 22, 1992), A Small Show Within an Enormous One The New York Times.
d9 1992 Archived 2014-02-22 at the Wayback Machine, documenta XII.
Adrian Searle (June 19, 2007), 100 days of ineptitude The Guardian.
Catherine Hickley (September 24, 2007), "Documenta Contemporary Art Show Draws Record 754,000 to Kassel", Bloomberg.
Carly Berwick (May 17, 2007), "Documenta 'Mystery' Artists Are Revealed; Buzz Strategy Fizzles", Bloomberg.
Rachel Donado (April 5, 2017), German Art Exhibition Documenta Expands Into Athens, The New York Times.
Catherine Hickley (November 27, 2017), Documenta manager to leave post after budget overruns The Art Newspaper.
Further reading
Hickley, Catherine (2021-06-18). "This Show Sets the Direction of Art. Its Past Mirrored a Changing World". The New York Times.
Nancy Marmer, "Documenta 8: The Social Dimension?" Art in America, vol. 75, September 1987, pp. 128–138, 197–199.
other biennales :
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
lumbung
Short concept by ruangrupa for documenta 15
"We want to create a globally oriented, cooperative, interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach aims at a different kind of collaborative model of resource use—economically, but also in terms of ideas, knowledge, programs, and innovation."
ruangrupa’s central curatorial approach for documenta fifteen is based on the principles of collectivity, resource building, and equal sharing. They aim to appeal not just to an art audience but to a variety of communities, and to promote local commitment and participation. Their approach is based on an international network of local, community-based organizations from the art and other cultural contexts and can be outlined by the Indonesian term lumbung. lumbung, directly translatable as “rice barn,” is a collective pot or accumulation system used in rural areas of Indonesia, where crops produced by a community are stored as a future shared common resource and distributed according to jointly determind criteria. Using lumbung as a model, documenta fifteen is a collective resource pot, operating under the logics of the commons. It is an agglomeration of ideas, stories, (wo)manpower, time, and other shareable resources. At the center of lumbung is the imagination and the building of these collective, shared resources into new models of sustainable ideas and cultural practices. This will be fostered by residencies, assemblies, public activities, and the development of tools.
Interdisciplinarity is key in this process. It is where art meets activism, management, and networking to gather support, understand environments, and identify local resources. These elements then create actions and spaces, intertwine social relations and transactions; they slowly grow and organically find a public form. This is a strategy “to live in and with society.” It imagines the relations an art institution has with its community by being an active constituent of it. Strategies are then developed based on proximity and shared desires.
The main principles of the process are:
• Providing space to gather and explore ideas
• Collective decision making
• Non-centralization
• Playing between formalities and informalities
• Practicing assembly and meeting points
• Architectural awareness
• Being spatially active to promote conversation
• A melting pot for and from everyone’s thoughts, energies, and ideas
#documentakassel
#documenta
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#rundebate
#thierrygeoffroy
#Colonel
#CriticalRun
#venicebiennale
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#biennalist
#ultracontemporary art
protestart
May 7, 2010
Porto Koufo, Greece
Northern bluefin tuna (Thunnus thynnus) butchered and prepared for sale by local fishermen.
This photo portrays reality in a sense of way of how housing can be clustered. In addition, an ordinary home would have less meters than that outside. I dont like this photo merely because it's not eye-catching or doesn't have anything relevant shown. I like how I can say a lot about it and tell you my beliefs. This picture reminds me of a home in a third-world country since they don't have the technological advances to have everything easily accessible or just one meter for everything. The studium is a boy watching over his home. You can tell that he can't wait to leave home since he's still wearing his PJ's, assuming that he just woke up. It shows how life at home for him is and how he anticipates the day by looking out the window. The punctum would be the four holes on the upper right corner of the photo. I choose this because it made me wonder what's the use of it? Is it a ventilation? The white threaded substance is blocking a hole. Is it preventing something from entering?
Photographer : Marius Samoila
Ttile: [ untitled ]
Date taken: 8-4-05
Prague
Stalin's index finger and the laughter of Václav Havel
The "Museum of Communism" in Prague was founded by an American and shows the sabre-rattling Matryoshka dolls or the blazing blue-shirt-demonstrators. Does it trivialize history for this reason?
After the American director Philip Kaufman had filmed Milan Kundera's novel "The Unbearable Lightness of Being" in 1984, the writer immediately dissociated himself from the adaptation - it was cliché-laden. However, as hundreds of thousands of filmgoers with the large, frightened eyes of Juliette Binoche saw the penetration of the Soviet tanks into the city and thus probably for the first time got an idea of the tragedy of August 21, 1968, is waiting for museum visitors of today a discovery: in the "Museum of Communism". It was founded near the Wenceslas Square by an American. The English name of the memorial is just as much attributable to him as the posters, which show a sabre-rattling Matryoshka doll or blazing blue-shirt-demonstrators provided with the image line "But the shiniest were in the uranium mines".
Trivialization of history? Not necessarily. It is rather the case that in the appearing gloom exhibition rooms the scandal of the communist human experiment is presented in an effective way. The historical dimension is by no means omitted: the foundation of Czechoslovakia in 1918 is documented as well as the Western treason of Munich in 1938 and Hitler's subsequent invasion. Also the liberation of Prague by the Red Army in May 1945 is not withheld. But then, starting with the Communist Seizure of Power 1948, the visitors in the rooms "Reality" and "Nightmare" is awaiting an oppressive exhibit show: original faithfully reproduced prison cells from the time of the Stalinist Show Trials, causing goosebumps radio recordings of malignant fizzling prosecutors, in addition the dubious oil paintings of Socialist Realism on which country women as blond as bread roll throw red carnations to resolutely looking soldiers, or Josef Stalin exhorting the pointing finger.
Kafka, Marx and the soldier Svejk
The fact that totalitarianism differentiated itself exactly here from traditional dictatorships that it did not suppress the people clumsily but turned those people into brainwashed complices of its domination exercise - it is a lesson, which is here sensually comprehensible and is conveyed completely en passant in the literal sense. Many of the young tourists who go through the exhibition in neat, foolish "Czech it" or beer-stein-Kafka-und-Schwejk T-shirts get the first impression of the Communist system and which for a while even cast a spell over a few naive Westerners. Even if, for example, the path of Marx's theories to the crimes of the regime were somewhat shortened, the fascinating intellectual environment of the Prague Spring might have been represented a bit more in detail: whoever sees the historical TV recordings of the protesters who are at Wenceslas Square fearlessly facing the Soviet tanks with the red star is by no means emotionally manipulated but catches an impression of the essence.
Thus, the museum can be visited in two ways: with the curious eyes of an upcoming generation born around the year 1989, as well as with the eye of the contemporary, who is regarding very critical if the complex history has been given the due attentiveness. Is it not a standard formula of the repressers from Prague to East Berlin, in the last years of its existence, the Party regime had become more moderate and was then peacefully imploded? But now the museum shows pictures of pre-military youth education from the eighties, shows - in pictures of the Austrian television - pictures of one of the numerous arrests of Václav Havel and in addition police, who yet in November 1989 were bashing up demonstrators and dragging students on the hair over the pavement - again on the Wenceslas square near the museum.
In a free word
Even who knows all this is shattered, and must not be ashamed at the end of the exhibition of his emotion when he finally sees the freedom triumphant on the screens and monitors. On November 24, 1989, Alexander Dubcek and Václav Havel stand laughing and arm in arm on the balcony of the publishing house Svobodné Slovo (The Free Word) and talk to the demonstrators who finally now can be what they have dreamed for so long: free citizens of a city that begins to breathe again.
"Museum of Communism", Prague, Na Príkope 10, open daily from 9 am to 9 pm.
Prag
Stalins Zeigefinger und das Lachen von Václav Havel
Das „Museum of Communism“ in Prag wurde von einem Amerikaner gegründet und zeigt zähnefletschende Matrjoschka-Puppen oder strahlende Blauhemden-Demonstranten. Trivialisiert es deswegen die Geschichte?
Nachdem 1984 der amerikanische Regisseur Philip Kaufman Milan Kunderas Prag-Roman "Die unerträgliche Leichtigkeit des Seins" verfilmt hatte, distanzierte sich der Schriftsteller sogleich von der Adaption - sie sei klischeebeladen. Doch so, wie inzwischen Hunderttausende Kinozuschauer mit den großen, erschreckten Augen Juliette Binoches das Eindringen der sowjetischen Panzer in die Stadt gesehen haben und damit wohl zum ersten Mal eine Ahnung bekamen von der Tragödie des 21. August 1968, so wartet auch auf Museumsbesucher von heute eine Entdeckung: im "Museum of Communism". Gegründet wurde es, nahe dem Wenzelsplatz, von einem Amerikaner. Ihm ist der englische Name der Gedenkstätte ebenso zu verdanken wie die Plakate, die etwa eine zähnefletschende Matrjoschka-Puppe zeigen oder strahlende Blauhemden-Demonstranten - versehen mit der Bildzeile "But the shiniest were in the uranium mines".
Trivialisierung der Geschichte? Nicht unbedingt. Eher ist es so, dass in den düster anmutenden Ausstellungsräumen das Skandalon des kommunistischen Menschenversuchs entsprechend effektvoll präsentiert wird. Auf die historische Dimension wird dabei keineswegs verzichtet: Die Gründung der Tschechoslowakei im Jahre 1918 wird ebenso dokumentiert wie der westliche Verrat von München 1938 und Hitlers nachfolgender Einmarsch. Auch die Befreiung Prags durch die Rote Armee im Mai 1945 wird nicht unterschlagen. Dann aber, beginnend mit der kommunistischen Machtergreifung 1948, wartet auf den Besucher in den Räumen "Reality" und "Nightmare" eine bedrückende Exponatenschau: Originalgetreu nachgebaute Gefängniszellen aus der Zeit der stalinistischen Schauprozesse, Gänsehaut verursachende Radio-Aufnahmen bösartig fistelnder Staatsanwälte, dazu an den Wänden die Ölschinken des Sozialistischen Realismus, auf denen semmelblonde Bäuerinnen entschlossen dreinblickenden Soldaten rote Nelken zuwerfen oder Josef Stalin mahnend den Zeigefinger hebt.
Kafka, Marx und der Soldat Schwejk
Dass sich der Totalitarismus genau darin von traditionellen Diktaturen unterschied, dass er das Volk nicht plump unterdrückte, sondern zum gehirngewaschenen Komplizen seiner Herrschaftsausübung machte - es ist eine Lektion, die hier sinnlich nachvollziehbar und im Wortsinn ganz en passant vermittelt wird. Viele der jungen Touristen, die in nett-törichten "Czech it" oder Bierhumpen-Kafka-und-Schwejk-T-Shirts durch die Ausstellung gehen, bekommen hier wohl das erste Mal eine Ahnung davon, weshalb sich das kommunistische System so lange halten und für eine Weile sogar manch naive Westler in seinen Bann zu ziehen vermochte. Mag auch in den Erklärungstafeln etwa der Weg von Marx' Theorien zu den Verbrechen des Regimes etwas verkürzt dargestellt sein, hätte man das faszinierende intellektuelle Umfeld des Prager Frühlings auch etwas ausführlicher darstellen können: Wer die historischen Fernsehaufnahmen von den Demonstranten sieht, die sich am Wenzelsplatz todesmutig den Sowjet-Panzern mit dem roten Stern entgegenstellten, wird keineswegs emotional manipuliert, sondern erhascht einen Eindruck vom Wesentlichen.
So lässt sich das Museum auf zwei Arten besichtigen: mit den neugierigen Augen einer nachwachsenden Generation, die um das Jahr 1989 erst geboren wurde, wie auch mit dem Blick des Zeitzeugen, der durchaus kritisch betrachtet, ob man hier der komplexen Geschichte gerecht wurde. Lautet nicht eine Standardformel der Verdränger von Prag bis Ostberlin, in den letzten Jahren seiner Existenz habe sich das Partei-Regime doch gemäßigt und sei anschließend friedlich implodiert? Nun zeigt das Museum aber Bilder vormilitärischer Jugendausbildung aus den Achtzigern, zeigt - in Aufnahmen des Österreichischen Fernsehens - Bilder von einer der zahlreichen Verhaftungen Václav Havels und dazu Polizei, die noch im November 1989 auf die Demonstranten eindrosch und Studenten an den Haaren über das Pflaster schleifte - wiederum auf dem nahe beim Museum liegenden Wenzelsplatz.
Auf ein freies Wort
Selbst wer dies alles kennt, ist erschüttert und muss sich am Ende der Ausstellung seiner Ergriffenheit gewiss nicht schämen, wenn er auf den Schautafeln und Monitoren die Freiheit letztlich doch triumphieren sieht: Am 24. November 1989 stehen lachend und Arm in Arm Alexander Dubcek und Václav Havel auf dem Balkon des Verlagshauses Svobodné Slovo (Das freie Wort) und sprechen zu den Demonstranten, die nun endlich das sein können, was sie so lange erträumt haben: freie Bürger einer Stadt, die wieder zu atmen beginnt.
„Museum of Communism“, Prag, Na Príkope 10, täglich geöffnet von 9 bis 21 Uhr.
www.faz.net/aktuell/reise/nah/prag-stalins-zeigefinger-un...
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Reportage complet, "La Terre en direct avec Al Gore, ancien candidat à la présidentielle américaine et prix Nobel de la paix," le 13 novembre 2015 à Paris : www.flickr.com/photos/sebastienduhamel/albums/72157660980...
Reportage complet, COP21 2015 : www.flickr.com/photos/sebastienduhamel/albums/72157659891...
Albums Écologie, Éducation et Politiques : www.flickr.com/photos/sebastienduhamel/collections/721576...
Projets/Reportages Fondation Nicolas Hulot : www.flickr.com/photos/sebastienduhamel/collections/721576...
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A Paris, Al Gore donne le coup d'envoi d'une émission de 24h sur le climat
L’ancien candidat à la présidentielle américaine et prix Nobel de la paix a lancé vendredi une émission de 24 heures à Paris. A deux semaines de la Cop21, Al Gore veut mobiliser autour de la question climatique.
Le groupe Duran Duran a donné le coup d’envoi du show vendredi soir dans un studio éphémère en forme de bulle, sous la tour Eiffel. Al Gore est aux manettes de cette émission mondiale, diffusée en direct sur le site de The Climate Reality Project, une organisation dont il est le président fondateur.
Pendant ces 24 heures, scientifiques, politiques et chanteurs se relaient pour interpeller sur les enjeux du climat, à quelques jours de la Conférence sur climat de Paris. "Cette émission vise à mettre la pression sur les dirigeants mondiaux pour qu'ils concluent un accord sur le climat le plus solide possible à la prochaine conférence de l'ONU à Paris, et aussi pour encourager chacun à agir dans sa propre communauté", expliquent les organisateurs.
Baptisée "24 heures de réalité et la Terre en direct: le monde regarde" (24 Hours of Reality and Live Earth: the World is Watching), l'émission se déroule en direct depuis Paris mais aussi depuis d'autres régions du monde: Etats-Unis, Chine, Australie, Philippines, Afrique du Sud, Canada, Kenya, Antarctique, Mexique, Malaisie, Inde et Bangladesh.
Dans le studio de la tour Eiffel, François Hollande sera reçu samedi, seul avec Al Gore, "pour un entretien exclusif". Vendredi soir, Ségolène Royal, la ministre de l’Écologie est déjà intervenue sur le plateau de l’émission et a plaidé pour un accord mondial en faveur du climat. "Il faut que les pays les plus pollueurs de la planète améliorent leur contribution, a déclaré Ségolène Royal (…) et que les pays riches tiennent leurs engagements".
Des concerts de Pharrel Williams et Elton John.
Parmi les autres intervenants, les organisateurs ont annoncé le président mexicain Felipe Calderon, le Premier ministre du Québec, Philippe Couillard, le gouverneur de Californie Jerry Brown et l'ancien secrétaire général de l'ONU Kofi Annan. Ces 24 heures sont aussi animées par des concerts de plusieurs chanteurs. A l’affiche, Elton John, Pharrel Williams ou encore Neil Young, mais leurs concerts seront uniquement retransmis.
En 2007, Al Gore avait reçu le prix Nobel de la paix avec le Giec pour son engagement dans la lutte contre le dérèglement climatique. En 2006, il avait notamment réalisé Une vérité qui dérange, un documentaire sur les conséquences du dérèglement climatique, récompensé aux Oscars. Avec ce rendez-vous, l’ancien candidat à la présidence américaine souhaite de nouveau interpeller sur les enjeux climatiques.
Par C. B avec AFP
fr.news.yahoo.com/video/al-gore-sous-la-tour-193106906.html
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Dans ce nouveau diaporama (présenté pour la première fois à TED), Al Gore dévoile des preuves que la vitesse des changements climatiques est bien plus importante que ce que les scientifiques avaient prédit auparavant. Il nous enjoint à agir.
www.ted.com/talks/al_gore_the_case_for_optimism_on_climat...
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Samedi soir 13 novembre 2015. Suite aux attentats, Al Gore interrompt une émission mondiale sur le climat
L'ex-vice-président américain Al Gore, qui organisait vendredi et samedi au pied de la Tour Eiffel à Paris une émission mondiale de 24 heures sur le climat, diffusée sur internet, l'a interrompue en raison des attentats survenus en France, par "solidarité avec le peuple français".
"Nous interrompons notre émission en raison des tragédies qui se déroulent ici à Paris, en raison de l'état d'urgence mais surtout parce que nous voulons exprimer notre solidarité avec le peuple français et la ville de Paris", a-t-il déclaré.
"Nous voulons exprimer nos condoléances aux familles de ceux qui ont perdu la vie, ceux qui sont gravement blessés, ceux qui souffrent des conséquences de ces terribles attaques terroristes", a-t-il dit. "Nous sommes solidaires".
"Nous continuerons à parler des sujets de cette émission, la crise du climat et ses solutions", a-t-il ajouté.
Dans cette émission organisée depuis vendredi en début de soirée sur un plateau installé sous un dôme transparent au pied de la Tour Eiffel, Al Gore accueillait scientifiques, politiques et chanteurs pour tenter de mobiliser la planète sur les enjeux du climat, à deux semaines de la Conférence de l'ONU sur le climat organisée à Paris à partir du 30 novembre.
Plus d'une centaine de chefs d'Etats sont attendus à l'ouverture de cette Conférence.
François Hollande devait intervenir dans l'émission d'Al Gore, samedi en début d'après-midi.
Le programme devait être diffusé pendant 24 heures sur le site de The Climate Reality Project, organisation fondée et présidée par M. Gore.
La conférence de l'ONU sur le climat (COP21), du 30 novembre au 11 décembre, est censée d’aboutir à un accord mondial pour limiter le réchauffement climatique.
AFP-LE MATIN 14 November 2015
lematin.ma/express/2015/al-gore-interrompt-l-emission-de-...
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La 21e Conférence des Parties
Chaque année, depuis la signature de la Convention-Cadre des Nations Unies sur les Changements Climatiques en 1992, les 195 Etats signataires se réunissent pour définir ensemble des objectifs concrets de lutte contre les dérèglements climatiques. Aux côtés des représentants des Etats, les ONG, les collectivités territoriales, les syndicats, les entreprises et la communauté scientifique, participent aux débats.
Du 29 novembre au 11 décembre, Paris accueillait la 21e Conférence des Parties (COP21). Cette conférence est une échéance cruciale qui représente la fin d’un cycle de négociations, en s’inscrivant dans le prolongement direct de la grande COP de 1997, qui avait permis l’adoption du protocole de Kyoto.
La COP21 a établi les bases d’un nouvel accord international applicable à tous les pays. Il engagera l’ensemble des Nations dans une réduction globale des émissions de gaz à effet de serre (GES), dans l’objectif de maintenir le réchauffement mondial à 1.5°C.
Conférence de Paris de 2015 sur le climat : fr.wikipedia.org/wiki/Conférence_de_Paris_de_2015_sur_le...
www.paris.fr/actualites/cop-21-paris-et-les-parisiens-mob...
Changements climatiques : quels enjeux pour la COP 21 ?
www.youtube.com/watch?v=3J7H7e2cMd4
www.fondation-nicolas-hulot.org/sites/default/files/press...
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François Hollande à ouvert la COP21, la conférence de Paris sur le climat. Le président Français a parlé d'un rendez-vous exceptionnel, un immense espoir : "Il s'agit de décider ici à Paris de l'avenir même de la planète" :
www.youtube.com/watch?v=V4VxTYg5AxQ
Sommet mondial sur le développement durable : discours de la France à l’ONU le 30 septembre 2015
François Hollande a évoqué les trois priorités après l’adoption du Programme de développement à l’horizon 2030 et en vue de la Conférence de Paris sur le climat en décembre. La première priorité est la préservation du climat, le Président français estimant qu’il faudrait signer un texte qui engagerait l’ensemble de la communauté internationale sur des décennies. Si notre planète subissait un réchauffement supérieur à 2°C, cela signifierait la disparition d’un certain nombre de pays, a prévenu le Président français, pour qui le caractère urgent de ce problème nécessitait des changements dans les modes de consommation et un financement approprié pour sa mise en œuvre. À son avis, 100 milliards de dollars seraient nécessaires pour assurer la transition énergétique et pour la lutte contre le réchauffement climatique. La deuxième priorité est la lutte contre la pauvreté, qui devra être menée avec le fonds de la transition énergétique. La troisième priorité concerne la mobilisation de ressources pour la réalisation des trois piliers du développement durable pour assurer que tous les peuples de la planète jouissent pleinement de leurs droits fondamentaux en toute égalité et dignité dans un monde pacifique.
Le Président a par ailleurs annoncé que la France avait décidé d’augmenter son aide publique au développement à partir de 2020, à 4 milliards d’euros. Il a aussi annoncé la réforme de l’APD française en conjonction avec l’Agence française du développement et la Caisse des dépôts, qui deviendrait ainsi la plus grande banque européenne pour le développement. Il a également évoqué la mise en place de la taxe sur les transactions financières à partir de 2017, dont une partie serait affectée à la lutte contre les inégalités et contre la pauvreté.
www.youtube.com/watch?v=wVCamSbN53Q
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Le dérèglement climatique vu par Jean-Louis Etienne
En partenariat avec Universcience.tv, nous poursuivons la publication d’une série d’entretiens en vidéo sur le changement climatique, dans la perspective de la COP21, la conférence internationale qui se tiendra à Paris du 30 novembre au 11 décembre. Cette conférence tentera de parvenir à un accord contraignant sur la transition vers des économies sobres en carbone.
Dans cette vidéo, Jean-Louis Etienne, explorateur de l’Arctique et de l’Antarctique mais aussi médecin, voit le réchauffement climatique comme une maladie, une fièvre qui touche la planète et s’aggrave aux pôles. Il prescrit l’arrêt des énergies fossiles – tout particulièrement le charbon avec lequel les pays du Sud se développent – et se demande si l’homme saura stopper à temps son addiction à ces énergies.
Cet entretien a été réalisé à l’occasion de l’exposition temporaire « Climat, l’expo à 360 ° » qui vient d’ouvrir à la Cité des sciences et de l’industrie de Paris.
www.lemonde.fr/sciences/video/2015/10/14/le-dereglement-c...
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Le Sommet des Consciences pour le climat : www.dailymotion.com/video/x2yukt6
Lancé par Nicolas Hulot, envoyé spécial du président de la République pour la protection de la planète, le Sommet des Consciences réunit le 21 juillet 2015 à Paris, au CESE plus d'une quarantaine personnalités morales et religieuses du monde entier pour répondre à la question « The climate, why do I care ? » et lancer ensemble un « Appel des Consciences pour le climat ».
Une mobilisation des consciences de tous le habitants de la planète s’impose pour réussir le défi auquel l’humanité est confrontée : limiter le réchauffement du climat en diminuant sa consommation d’énergies fossiles et permettre à tous de s’adapter aux conditions nouvelles !
Le Temps est compté. Ce n’est plus seulement une question écologique, économique ou politique. C’est l’avenir de l’humanité qui est en jeu. Chacun de nous se doit de répondre maintenant à la question : est-ce qu’il m’importe que l’aventure de l’humanité sur Terre puisse se poursuivre ? Est-ce que je suis prêt à modifier dès aujourd’hui mon mode de vie pour que nos enfants et leurs enfants puissent vivre dans des conditions supportables ?
L'Appel des consciences
Il est fondamental que les consciences des hommes et des femmes de cette planète s'expriment ensemble, quelques soient leurs conditions, leurs religions, leurs philosophies.
La campagne "Why do I care ?" invite chacun à témoigner, et à faire savoir autour de lui, pourquoi la lutte contre le réchauffement climatique est importante et nous concerne chacun.
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Festival Science Frontières : Nicolas HULOT et Jean-Marie PELT, nous parlent des grands problèmes de notre planète mais aussi des grandes solutions...
www.youtube.com/watch?v=eo-YoX-nsKk
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Osons: la conférence du 07 octobre au Grand Rex à Paris
www.youtube.com/watch?v=cCUEcl6tqRM
OSONS
Plaidoyer d'un homme libre
« Les sommets sur le climat se succèdent, nous croulons sous l'avalanche de rapports plus alarmants les uns que les autres. Et l'on se rassure avec une multitude de déclarations d'intention et de bonnes résolutions. Si la prise de conscience progresse, sa traduction concrète reste dérisoire. L'humanité doit se ressaisir, sortir de son indifférence et faire naître un monde qui prend enfin soin de lui. »
Nicolas Hulot, Président de la Fondation Nicolas Hulot pour la Nature et l'Homme
Ce manifeste écrit par Nicolas Hulot est un cri du coeur, un plaidoyer pour l'action, un ultime appel à la mobilisation et un coup de poing sur la table des négociations climat avant le grand rendez-vous de la COP21. Il engage chacun à apporter sa contribution dans l'écriture d'un nouveau chapitre de l'aventure humaine, à nous changer nous mêmes et par ce biais à changer le monde.
Diagnostic implacable, constat lucide mais surtout propositions concrètes pour les responsables politiques et pistes d'action accessibles pour chacun d'entre nous, cet ouvrage est l'aboutissement de son engagement et de sa vision en toute liberté des solutions à « prescrire » avant et après la COP21. L'urgence est à l'action. En 12 propositions concrètes, Nicolas Hulot dresse, avec sa Fondation, une feuille de route alternative pour les États et suggère 10 engagements individuels pour que chacun puisse également faire bouger les lignes à son niveau.
Depuis 40 ans, Nicolas Hulot parcourt la planète. Témoin de sa lente destruction, il a décidé de devenir un des acteurs de sa reconstruction. Au côté de sa Fondation pour la Nature et l'Homme ou en parlant aux oreilles des décideurs, il contribue à faire évoluer les mentalités.
Broché - 96 pages - format : 12 x 19 cm.
Editions LLL Les liens qui libèrent.
boutique-solidaire.com/…/produits-…/26414-osons-.html
Nicolas Hulot - On n'est pas couché 31 octobre 2015 :
www.youtube.com/watch?v=3YjmXqOTqu0
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Le film "Le Syndrome du Titanic" : vimeo.com/64741962
Le Syndrome du Titanic est un film documentaire réalisé en 2008 par Nicolas Hulot et Jean-Albert Lièvre, sorti le 7 octobre 2009
fr.wikipedia.org/wiki/Le_Syndrome_du_Titanic
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Le film "Une Vérité qui Dérange" : www.youtube.com/watch?v=GZ4izGzj9r0
Une vérité qui dérange (An Inconvenient Truth) est un documentaire américain de Davis Guggenheim sorti en 2006. Traitant du changement climatique, il est basé en grande partie sur une présentation multimédia que Al Gore, ancien vice-président des États-Unis et prix Nobel de la paix en 2007 (partagé avec le GIEC) a préparé pour sa campagne de sensibilisation sur le réchauffement planétaire
fr.wikipedia.org/wiki/Une_vérité_qui_dérange
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Photographie de Sébastien Duhamel, professionnel de l’image : www.sebastien-duhamel.com/présentation-références/
Derniers sujets photos : www.flickr.com/photos/sebastienduhamel/collections/721576...
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Tournages : vimeo.com/137495739
www.dailymotion.com/user/Sebastien_Duhamel/1
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Photo / Conditions : www.sebastien-duhamel.com/conditions-tarifs/
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A hike up Clausland Mountain in Orangeburg NY. Nike Park was a former radar fire control base for the NIke Missile system. Doing a little research I found that the NIke missile system was a series of radars and fire control bases. This was one of the radars that covered the East Coast US. Any of the fire control centers could launch missiles from any of the launch sites in hopes of shooting down Soviet ICBMs during a nuclear war.
As a child in the 1980s we had heard there were missiles up here. I remember uneasily talking with friends about the possibility of nuclear war, and while we had a vague notion there were missiles nearby New York City was nearby and we figured that the Soviets would spare no warheads on the economic hub of the US. Me and my friends were nerds and understood what megatons meant, and that ICBMs would come in at 10s of thousands of miles per hour and each carrying multiple warheads, the most powerful that could be built, it was a somewhat futile attempt. The movie "The Day After", plenty of sci-fi, and Carl Sagan books showed us that the world after nuclear war was not one that we probably wanted to inhabit. While I don't remember being in despair about nuclear war, it was a shadowy being on the fringe of my consciousness except when there were conflicts where the superpowers were egging on the combatants or if I was alone in bed and thinking about it. Then it became a scary reality. My hike up here revived those memories.
Going up there was slightly surreal and the reality of the place was kind of....well.... so normal. It is now a park and picnic spot. You can see remnants of its time as a military base.... parking lots trailer like buildings, transformers, water treatment and storage tanks, gasoline tanks, gates and so on, but even those things were normal. It was a place of plywood huts and vacuum tube computers, Kids apparently come here often to drink and graffiti and the graffiti is an interesting juxtaposition to my images of the place. Once a spear head on the vanguard of the Cold War it is now scribbled with graffiti proclaiming peace and love (and plenty of childish 12 year old boy humor). TH interesting thing to me is that the graffiti-ers were not born in the time of the Cold War and never knew what this place was.
I spent an hour or two doing some drawing, admiring the summer sky, and enjoying the position over the Hudson River below and watching people come and go walking dogs or sneaking up there at lunch time to read books and such.