View allAll Photos Tagged Relation
In relation to my previous image of 70802 at Norton Fitzwarren (www.flickr.com/photos/135352375@N08/41217357802/in/photos...), we managed to chase the noo-noo to Bathpool thanks to a pause in Taunton Station. The working was the 6X54 08.54 Plymouth-Westbury Railvac move. The autumnal colours really stand out this time of year!
Although the morning started off clear and sunny, cloud began to role in over the next hour. My superb shots of 70802 would later be marred by a dismal shot of 43185 which took some getting over, especially as it was my first sighting of this powercar in its new Intercity guise, grrr!
“Figure 7a from the Apollo 17 Professional Paper shows the location of Station 3 in relation to Lara [crater] and the [Lee Lincoln] Scarp.”
Above from/at:
www.hq.nasa.gov/alsj/a17/a17.trvsta4.html
Specifically:
www.hq.nasa.gov/alsj/a17/a17profpap-f7a.jpg
Both above credit: ALSJ website
This Apollo 17 panoramic camera photo provides excellent visual reference from lunar orbit of Geology Station 3’s desirable location for the stratigraphic sampling of the light-mantle landslide material within/on the Lee Lincoln Scarp.
Furthermore, since I know y’all are clamoring for more detailed & technical information pertaining to what Cernan’s holding in my posted photograph…and its significance:
A pertinent paper from the 51st Lunar and Planetary Science Conference (2020), titled:
“GEOLOGIC CONTEXT OF APOLLO 17 STATION 3 FROM RECENT REMOTE SENSING DATASETS: IMPLICATIONS FOR THE APOLLO NEXT GENERATION SAMPLE ANALYSIS (ANGSA) DOUBLE CORE TUBE SAMPLES 73001/73002.”
Specifically, the following extract:
“Station 3 Sample Context: Station 3 soils and rock fragments were collected along the rim of a 10 m crater (tentatively named Ballet) within the light-mantle landside from the South Massif. Additionally, samples 73001/73002 were collected ~15 m from the rim of the small crater and likely samples the light-mantle.
Rock Fragments: Nearly all rock fragments collected from S3 are breccias similar to the South Massif breccias. These rocks are aphanitic to fine-grained impact melt breccias (IMBs) dominated by matrix materials. Lithic clasts are composed of non-mare materials.
Lithic clasts record multiple events from 3.9–>4.1 Ga. Early interpretations were that these impact melt rocks must be remnants of the Serenitatis impact event, but there have been challenges to this interpretation. Exposure and crater- frequency ages of the IMBs cluster may reflect the multiple stages of landslide deposits with ages of 7586, 95-110, 160, and >190-270 myr.
Soils: Near-surface Station 3 soils were collected from a 10 cm deep trench dug on the rim of the Ballet crater. The trench soils exhibit a distinct marbling of light and darker gray material owing to varying agglutinate content (i.e., maturity). The soil samples are reflective of the light mantle as breccia is the most common material (≤62%), but also contain other fragments of interest including basalt (≤3.7%) and volcanic ash (≤7.0%). A companion abstract provides a detailed evaluation of samples from S3.
Implications for 73001/73002: The ANGSA program allows us to analyze previously unstudied lunar samples. The Apollo 17 Station 3 double core tube sampled a ~70 cm deep section of the light mantle deposit. Based on remote sensing data the regolith at Station 3 may have portions of decimeter sized indurated regolith within the upper meter but below the top ~7 cm which is relatively unconsolidated. However, there may be additional mafic fragments within the core samples, similar to the IMBs sampled at Ballet Crater, may be sourced from the blocks at the summit of the South Massif. Detailed analysis of the core, building on the micro-XCT scans already performed of 73002, will provide an excellent ground truth test for these remote observations and provide insight for the application of these datasets to planning future sample return missions.”
Above at/from:
www.hou.usra.edu/meetings/lpsc2020/pdf/2234.pdf
Credit: Universities Space Research Association (USRA) website
Orthodox Greek people keep a very personal and warm relation with Virgin Maria - the mother of Jesus Christ.
Panagia is the link and the direct conection for humble believers with the devine and pure level of excistance. With the hope of healing body's and soul's wounds...
Life is painful and hard. Mother of God is the path, the way, the mediator to the Savior who heals and forgives all the sins.
This scene was captured a morning in the church of Saint Nicholas, in Syra.
Sometimes when I shot a flower, I am like "I am catching her intimacy" and feel a little bit voyeur.
Why? Because when you are looking at them very close, you can understand their way to reproduce, and these delicate and beautiful parts of them who are use to.
It's a very intimate relation you had with nature.
But the most important feeling is the amazement : by beauty, by simplicity, by grace...
See also my other queerstreet impressions:
the queer street You should have a look on my Faves too.
Zum Thema "schwule Szene": www.bento.de/queer/schwule-szene-ist-viel-zu-oberflaechli...
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
14 Performances. Relation Work (1976 - 1980). Filmed by Paolo Cardazzo. Marina Abramović/ Ulay. Neuer Berliner Kunstverein, Berlin, Germany.
Abramović, Marina. Student Body: Workshops 1979 - 2003: Performances 1993 - 2003. Milano: ed. Charta, 2003.
Bergson, Henri. Creative Evolution. London: Macmillan and Co., 1911.
Bergson, Henri. Key Writings. Edited by Keith Ansell-Pearson and John Mullarkey. New York:
Continuum, 2002.
Bergson, Henri. Matter and Memory. New York: Zone Books, 1988.
Blaikie, William. “Common Sense Physical Training.” In Athletics and Health: Modern Achievement: Advice and Instruction upon the Conduct of Life, Principles of Business, Care of Health, Duties of Citizenship, etc. Edited by Edward Everett Hale. New York: P.F. Collier & Son, 1902.
Blaikie, William. How to Get Strong and How to Stay So. New York: Harper & Brothers Publishers, 1883.
Cunningham, Merce. Changes: Notes on Choreography. New York: Something Else Press, 1969.
de Balzac, Honoré. The Human Comedy. EBook: Project Gutenberg, 2010. de Balzac, Honoré. Théorie de la démarche. 1833, 1853.
de Biran, Maine. “Opposition du principe de Descartes avec celui d’une science de l’homme. Première base d’une division des faits psychologiques et physiologiques. Perception et sensation animale.” In Maine de Biran. Librairie Philosophique J. VRIN, 1990.
de Tocqueville, Alexis. The Old Regime and the Revolution. New York: Harper & Brothers, Publishers, 1856.
Delaumosne, M. L’Abbe. “The Delsarte System.” Translated by Frances A. Shaw. In Delsarte System of Oratory, 4th Ed. New York: Edgar S. Werner, 1893.
Descartes, René. Méditations metaphysiques. 1641.
Gropius, Walter, and Arthur S. Wensinger, eds. The Theater of the Bauhaus: Oskar Schlemmer, Laszlo Moholy-Nagy, Farkas Molnár. Translated by Arthur S. Wensinger. Middleton, Conn.: Wesleyan University, 1961.
Hahn, Archibald. How to Sprint: The Theory of Spring Racing. New York: American Sports Publishing Company, 1923.
Hegel, Georg Wilhelm Friedrich. Phenomenology of Spirit. Translated by A.V. Miller. Oxford: Oxford University Press, 1977.
Helmholtz, Hermann. “On the Facts Underlying Geometry.” In Epistemological Writings: Hermann von Helmholtz. Edited by R.S. Cohen and Y. Elkana. Boston: D. Reidel Publishing Company, 1977.
Helmholtz, Hermann. Théorie physiologique de la musique fondée sur l’étude des sensations auditives. Paris: Masson, 1868.
Helmholtz, Hermann. Treatise of Physiological Optics (Handbuch der physiologischen Optik) 1856. 3 Volumes. Translated by James P.C. Southall. Milwaukee, 1924.
Holmes, Oliver Wendall. Soundings from the Atlantic. Boston: Tickknor and Fields, 1864. James, William. The Principles of Psychology. New York: Henry Holt & Co, 1890, 1918.
James, William. Writings 1902 - 1910. Edited by Bruce Kuklick. New York: Literary Classics of the United States, 1987.
Kandinsky, Vasily. Über Das Geistige in der Kunst. Dritte Auflage. München: R. Piper&Co, 1912.
Kant, Immanuel. “Was ist Aufklärung?” 1784.
Laban, Rudolf. A Life for Dance: Reminiscences. Translated by Lisa Ullmann. London: Macdonald & Evans, 1975.
Laban, Rudolf. Choreographie. Jena: E. Diederichs, 1926.
Laban, Rudolf. Choreutics. Edited by Lisa Ullmann. London: Macdonald & Evans, 1939, 1966.
Laban, Rudolf. Effort: Economy in Body Movement. 2nd Edition. Boston: Plays, 1947, 1974.
Laban, Rudolf. Principles of Dance and Movement Notation. New York: A Dance Horizons Republication, 1956, 1970.
Laban, Rudolf. The Language of Movement: A Guidebook to Choreutics. Edited by Lisa Ullmann. Boston: Plays, Inc., 1974.
MacKaye, Percy. “Steele Mackaye, Dynamic Artist of the American Theatre; An Outline of his Life Work,” in The Drama. Edited by William Norman Guthrie and Charles Hubbard Sergel. Chicago: The Dramatic Publishing Company, 1911.
Marey, Étienne-Jules. La Machine Animale: Locomotion Terrestre et Aérienne. Paris: Librairie Germer Baillière, 1873.
Marey, Étienne-Jules. Le Vol des Oiseaux. Paris: Libraire de l’académie de médecine, 1890. Marey, Étienne-Jules. Movement. Translated by Eric Pritchard. New York: D. Appleton and
Company, 1895.
Michelet, Jules. The History of France. Volume I. Translated by Walter K. Kelly. London: Chapman and Hall, 1844.
Morgan, Anna. An Hour with Delsarte: A Study of Expression. New York: Edgar S. Werner Publisher, 1891.
Muybridge, Eadweard. Animal Locomotion: An Electro-photographic Investigation of Consecutive Phases of Animal Movements. Philadelphia: University of Pennsylvania and J. B. Lippincott Company, 1887.
Muybridge, Eadweard. Descriptive Zoopraxography, or the Science of Animal Locomotion. Philadelphia: University of Pennsylvania, 1893.
Muybridge, Eadweard. The Attitudes of Animals in Motion: A Series of Photographs Illustrating the Consecutive Positions assumed by Animals in Performing Various Movements; Executed at Palo Alto, California, in 1878 and 1879 (1881). Albumen, Library of Congress, Washington, D.C., Library of Congress.
Muybridge, Eadweard. The Human Figure in Motion. New York: Dover Publications, 1955. Ramsaye, Terry. A Million and One Nights: A History of the Motion Picture. U.K.: Simon and
Schuster, Inc., 1926, 1954.
Richer, Paul. Physiologie Artistique: De l’Homme en Mouvement. Paris: Aulanier et Cie, 1896.
Sanburn, Frederic. Delsartean Scrap-book: Health, Personality, Beauty, House-Decoration, Dress, etc. New York: United States Book Company, c. 1890.
Schlemmer, Oskar. Briefe und Tagebücher: The Letters and Diaries of Oskar Schlemmer. Edited by Tut Schlemmer. Translated by Krishna Winston. Middletown, Conn: Wesleyan University Press, 1972.
Schlemmer, Oskar, and Heimo Kuchling. Der Mensch, Unterricht am Bauhaus. Nachgelassene Aufzeichnungen. Mainz: F. Kupferberg, 1969.
Schuftan, Werner. Handbuch des Tanzes. Preface by Rudolf von Laban. Mannheim: Verlag Deutscher Chorsänger Verband und Tänzerbund, 1928.
Shearman, Sir Montague. Athletics and Football. London: Longmans, Green, and Co., 1888. Smith, Shawn Michelle. At the Edge of Sight: Photography and the Unseen. Durham: Duke
University Press, 2013.
Stebbins, Genevieve. Delsarte System of Expression, 5th Edition. New York: Edgar S. Werner, 1894; orig. 1885.
Talbot, Frederick A. Practical Cinematography and its Applications. London: William Heinemann, 1913.
Wigman, Mary. The Mary Wigman Book: Her Writings. Middletown, CT: Wesleyan University Press, 1975.
Abramović, Marina, et al. Marina Abramović: Seven Easy Pieces. New York: Charta 2007. Acconci, Vito. Language to Cover a Page: The Early Writings of Vito Acconci. Edited by Craig
Dworkin. Cambridge: MIT Press, 2006.
Adolphs, Volker, and Philip Norten. Gehen Bleiben: Bewegung, Körper, Ort in der Kunst der
Gegenwart. Bonn: Kunstmuseum Bonn, 2007.
Agamben, Giorgio. “Movement.” In Dance: Documents of Contemporary Art. Edited André
Lepecki. London: MIT Press and WhiteChapel Gallery, 2012.
Alberro, Alexander, and Blake Stimson, eds. Institutional Critique: An Anthology of Artists’
Writings. Cambridge: MIT Press, 2009.
Albers, Kate Palmer. “Abundant Images and the Collective Sublime.” Exposure. Volume 46,
Issue 2 (Fall 2013).
Allen, Beverly. Rape Warfare: The Hidden Genocide in Bosnia-Herzegovina and Croatia. Minneapolis: University of Minnesota Press, 1996.
Alloway, Lawrence. The Venice Biennale 1895 - 1968: from salon to goldfish bowl. Greenwich, CT: New York Graphic Society LTD., 1968.
Anderson, Ben. “Affect and Biopower: Towards a Politics of Life.” Transactions - Institute of British Geographers, Issue 1 (2011).
Andras, Edit, and Bojana Pejic, eds. Gender Check: Femininity and Masculinity in the Art of Eastern Europe. Cologne: Buchhandlung Walther König, 2009.
Antliff, Mark. Inventing Bergson: Cultural Politics and the Parisian Avant-Garde. Princeton: Princeton University Press, 1992.
Arendt, Hannah. The Human Condition, Second Edition. Chicago: University of Chicago Press, 1958, 1998.
Arendt, Hannah. On Violence. New York: Harcourt Brace, 1969.
Atkins, Dawn, ed. Looking Queer: Body Image and Identity in Lesbian, Bisexual, Gay, and
Transgender Communities. New York: The Haworth Press, 1998.
Ault, Julie, ed. Alternative Art, New York, 1965-1985: A Cultural Politics Book for the Social
Text Collective. Minneapolis: University of Minnesota Press, 2002.
Auslander, Philip. “Going with the Flow: Performance Art and Mass Culture.” TDR. Volume 33,
Number 2 (Summer 1989).
Auslander, Philip. “The Performativity of Performance Documentation.” PAJ 84 (2006).
Backstein, Joseph, and Daniel Birnbaum, Sven-Olov Wallenstein. Thinking Worlds - The Moscow Conference on Philosophy, Politics, and Art. Berlin: Sternberg Press, 2008.
Badovinac, Zdenka. Body and the East: From the 1960s to the Present. Cambridge, Mass.: MIT Press, 1999.
Baer, Ulrich. Spectral Evidence: The Photography of Trauma. Cambridge: MIT Press, 2002. Baker, George. “Entr’acte.” October. Volume 105 (Summer 2003).
Bale, John. Imagined Olympians: Body Culture and Colonial Representations in Rwanda. Minneapolis: University of Minnesota Press, 2002.
Bale, John. Running Cultures: Racing in Time and Space. London: Frank Cass, 2004. Banes, Sally. Democracy’s Body: Judson Dance Theatre, 1962 - 1964. Durham, NC: Duke
University Press, 1993.
Banes, Sally. Terpsichore in Sneakers: Post-Modern Dance, 2nd edition. Middletown, CT: Wesleyan University Press, 1987.
Bartenieff, Irmgard. Body Movement: Coping with the Environment. New York: Routledge, 2002.
Barthes, Roland. Camera Lucida: Reflections on Photography. Translated by Richard Howard. New York: Hill and Wang, 198, 2010.
Barthes, Roland. Mythologies. Translated by Annette Lavers. New York: Hill and Wang, 1972. Batchen, Geoffrey. Burning with Desire: The Conception of Photography. Cambridge: MIT
Press, 1997.
Baudelaire, Charles. The Parisian Prowler, Le Spleen de Paris Petits Poèmes en Prose. Translated by Edward K. Kaplan. Athens: The University of Georgia Press, 1989.
Bauer, M. W. and G. Gaskell. Biotechnology — the Making of a Global Controversy. Cambridge: Cambridge University Press, 2002.
Bayat, Asef. Life as Politics: How Ordinary People Change the Middle East. Amsterdam: Amsterdam University Press, 2010, 2015.
Belaief, Lynne. “Meanings of the Body.” Journal of the Philosophy of Sport. Volume 4, Issue 1 (1977).
Bell, Catherine. Ritual: Perspectives and Dimensions. New York: Oxford University Press, 1997.
Benjamin, Walter. Charles Baudelaire: A Lyric Poet in the Era of High Capitalism. Translated by Harry Zohn. London: Verso, 1997.
Benjamin, Walter. Selected Writings, Volumes 1 - 4. Edited by Howard Eiland and Michael W. Jennings. Cambridge: Belknap Press of Harvard University Press, 2003 - 2006.
Benjamin, Walter. “The Storyteller: Reflections on the Works of Nikolai Leskov.” In Illuminations. Edited by Hannah Arendt. Translated by Harry Zohn. New York: Schocken Books, 2007.
Bennett, Jill. Empathic Vision: Affect, Trauma, and Contemporary Art. Stanford, CA; Stanford University Press, 2005.
Berger, John. About Looking. New York: Pantheon Books, 1980.
Bergson, Henri. Laughter: An Essay on the Meaning of the Comic. Translated by Cloudesley Brereton and Fred Rothwell. New York: The Macmillan Company, 1914.
Bishop, Claire, and Marta Dziewańska, eds. 1968 - 1989: Political Upheaval and Artistic Change. Warsaw: Museum of Modern Art, 2009.
Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso, 2012.
Bishop, Claire. Radical Museology: or, What’s ‘Contemporary’ in Museums of Contemporary Art? London: Koenig Books, 2013.
Black, Graham. Transforming Museums in the Twenty-First Century. New York: Routledge, 2011.
Blaive, Muriel, and Christian Gerbel, Thomas Lindenberger, eds. Clashes in European Memory: The Case of Communist Repression and the Holocaust. Innsbruck: Studienverlag, 2011.
Blassnigg, Martha. Time, Memory, Consciousness and the Cinema Experience: Revisiting Ideas on Matter and Spirit. New York: Rodopi, 2009.
Bloomer, Kent C., and Charles Willard Moore. Body, Memory, and Architecture. New Haven: Yale University Press, 1977.
Boecker, Henning, et. al. “The Runner’s High: Opioidergic Mechanisms in the Human Brain.” Cerebral Cortex. Volume 18, Number 11 (2008).
Bougarel, Xavier, and Elissa Helms, Ger Duijzings, eds. The New Bosnian Mosaic: Identities, Memories and Moral Claims in a Post-War Society. Hampshire, England: Ashgate, 2007.
Bourdieu, Pierre. Outline of a Theory of Practice. Cambridge: Cambridge University Press, 1977.
Bourriaud, Nicolas. Relational Aesthetics. Dijon: Les Presses du réel, 1998, 2002.
Brandstetter, Gabriele. Poetics of Dance: Body, Image and Space in the Historical Avant- Gardes. Translated by Elena Polzer and Mark Franko. Oxford: Oxford University Press, 1995, 2015.
Braudy, Leo, and Marshall Cohen, eds. Film Theory and Criticism: Introductory Readings. New York: Oxford UP, 1999.
Braun, Marta. Eadweard Muybridge. London: Reaktion, 2010.
Braun, Marta. Picturing Time: The Work of Etienne-Jules Marey (1830 - 1904). Chicago:
University of Chicago Press, 1992, 1994.
Brettell, Richard R. Modern Art, 1851 - 1929: Capitalism and Representation. Oxford: Oxford University Press, 1999.
Brooke, J.D., and H.T.A. Whiting, eds. Human Movement - A Field of Study. London: Henry Kimpton Publishers, 1973.
Brown, Keith S., and Yannis Hamilakis, eds. The Usable Past: Greek Metahistories. Lanham, MD: Lexington Books, 2003.
Brunnbauer, Ulf, and Konrad Clewing, eds. Südost-Forschungen. Munich: R. Oldenbourg Verlag, 2008.
Bruno, Giuliana. Atlas of Emotion: Journeys in Art, Architecture, and Film. New York: Verso, 2002.
Bryzgel, Amy. Performing the East: Performance Art in Russia, Latvia, and Poland since 1980. London: I.B. Tauris, 2012.
Buchloh, Benjamin H. D. Neo-Avantgarde and Culture Industry: Essays on European and American Art from 1955 to 1975. Cambridge: MIT Press, 2001, 2003.
Buck-Morss, Susan. The Dialectics of Seeing: Walter Benjamin and the Arcades Project. Cambridge: MIT Press, 1991.
Burchell, Graham, and Colin Gordon, Peter Miller, eds. The Foucault Effect: Studies in Governmentality. Chicago: University of Chicago Press, 1991.
Bürger, Peter. Theory of the Avant-Garde. Translated by Michael Shaw. Minneapolis: University of Minnesota Press and Manchester University Press, 1974, 1984.
Butler, Judith. Bodies that Matter: On the Discursive Limits of Sex. New York: Routledge, 1993. Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge,
2006.
Butler, Samuel. Unconscious Memory: A Comparison between the Theory of Dr. Ewald Hering and the ‘Philosophy of the Unconscious’ of Dr. Edward von Hartmann. London: David Bogue, 1880.
Cage, John. Silence: Lectures and Writings. Middletown, CT: Wesleyan University Press, 1961. Campany, David, ed. The Cinematic: Documents of Contemporary Art. Cambridge: MIT Press,
2007.
Canales, Jimena. A Tenth of a Second: A History. Chicago: University of Chicago Press, 2009.
Careri, Francesco. Walkscapes: Walking as an Aesthetic Practice. Translated by Steve Piccolo and Paul Hammond. Barcelona: Editorial Gusavo Gili, 2002.
Carroll, Noël. Theorizing the Moving Image. Cambridge: Cambridge University Press, 1996. Cetinić, Ljiljana, and Ana Panić, eds. Štafete: Titova Štafeta - Štafeta Mladosti, 1945 - 1987.
Belgrade: Tipografik plus, 2008.
Chase, Stuart. Men and Machines. New York: Macmillan Co, 1929.
Christesen, Paul. Sport and Democracy in the Ancient and Modern Worlds. Cambridge: Cambridge University Press, 2012.
Christian, Mary. Marina Abramović: The Artist is Present. New York: The Museum of Modern Art, 2010.
Clark, Kenneth. The Nude: A Study in Ideal Form. New York: Pantheon Books, 1956. Coleman, Simon, and John Eade, eds. Reframing Pilgrimage: Cultures in Motion. London:
Routledge, 2004.
Connerton, Paul. The Spirit of Mourning: History, Memory and the Body. Cambridge: Cambridge University Press, 2011.
Cosgrove, Denis. Geography and Vision: Seeing, Imagining and Representing the World. New York: I.B. Tauris, 2008.
Cottington, David. Cubism in the Shadow of War: The Avant-Garde and Politics in Paris 1905- 1914. New Haven: Yale University Press, 1998.
Crane, Susan, ed. Museums and Memory. Stanford: Stanford University Press, 2000. Crary, Jonathan. Techniques of the Observer: On Vision and Modernity in the Nineteenth
Century. Cambridge: MIT Press, 1990.
Crow, Thomas. The Rise of the Sixties: American and European Art in the Era of Dissent.
London: Laurence King Publishing, 1996.
Csiksgentmihalyi, Mihaly. Creativity! Flow and psychology of discovery and invention. New York: Harper Collins, 1996.
Cumming, John. Runners & Walkers: A Nineteenth Century Sports Chronicle. Chicago: Regency Gateway, 1981.
Cvejić, Bojana, and Ana Vujanović. Public Sphere by Performance. Belgrade: b_books, TkH, 2012.
Dagg, Anne Innis. Running, Walking, and Jumping: The Science of Locomotion. New York: Crane, Russak & Company, Inc, 1977.
de Certeau, Michel. The Practice of Everyday Life. Translated by Steven Rendall. Berkeley: University of California Press, 1984, 1988.
de Certeau, Michel. The Writing of History. Translated by Tom Conley. New York: Columbia University Press, 1975, 1988.
de Groote, Pascale. Ballets Suédois: Jean Börlin. Ghent: University of Ghent, 2002.
de Waal, Frans. The Age of Empathy: Nature’s Lessons for a Kinder Society. New York:
Harmony Books, 2009.
Deleuze, Gilles. Cinema 1: The Movement-Image. Minneapolis: University of Minnesota Press, 1986.
Deleuze, Gilles, and Félix Guattari. A Thousand Plateaus. London: Continuum, 1980, 2008. Dewey, John. The Public and its Problems: An Essay in Political Inquiry. Edited by Melvin L.
Rogers. University Park, PA: The Pennsylvania State University, 2012.
di Giovanni, Janine. Madness Visible: A Memoir of War. London: Bloomsbury, 2005.
Djetelić, Pera, and Dragan Maršičević. Narodna Omladina i Jugoslovenski Kongres za Fizičku Kulturu. Beograd: Mladost, 1959.
Djurić, Dubravka, and Miško Šuvaković, eds. Impossible Histories: Historical Avant-gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918 - 1991. Cambridge: MIT Press, 2003.
Donawerth, Jane, ed. Rhetorical Theory by Women before 1900: An Anthology. Lanham, MD: Rowman & Littlefield Publishers, Inc, 2002.
Dörr, Evelyn. Rudolf Laban: The Dancer of the Crystal. Lanham, Maryland: The Rowman & Littlefield Publishing Group, Inc., 2008.
Drakulić, Slavenka. Balkan Express: Fragments from the Other Side of War. London: Hutchinson, 1993.
Drakulić, Slavenka. They Would Never Hurt a Fly: War Criminals on Trial in the Hague. New York: Penguin, 2005.
Drapag, Vesna. Constructing Yugoslavia: A Transnational History. London: Palgrave Macmillan, 2010.
Duncan, Carol. Civilizing Rituals: Inside Public Art Museums. Abingdon: Routledge, 1995. Eamon, Christopher. Rearview Mirror: New Art from Central and Eastern Europe. Edmonton:
Art Gallery of Alberta, 2011.
Eichberg, Henning, ed. Body Cultures: Essays on Sport, Space, and Identity. London, New York: Routledge, 1998.
Elias, Norbert. The Civilizing Process. Sociogenetic and Psychogenetic Investigations. Oxford: Blackwell, 1939, 2000.
Elias, Norbert, and Eric Dunning. Quest for Excitement: Sport and Leisure in the Civilising Process. Dublin: University of College Dublin Press, 2008.
Enwezor, Okwui. Archive Fever: Uses of the Document in Contemporary Art. Göttingen: Steidl Publishers, 2008.
Erjavec, Aleš, ed. Postmodernism and the Postsocialist Condition: Politicized Art under Late Socialism. Berkeley: University of California Press, 2003.
Fer, Briony, and David Batchelor, Paul Wood. Realism, Rationalism, Surrealism: Art Between the Wars. New Haven: Yale University Press, 1993.
Finn, David. How to Visit A Museum. New York: Abrams, 1985.
Fleming, Bruce. Running is Life: Transcending the Crisis of Modernity. Lanham: University
Press of America, Inc, 2010.
Forrester, Sibelan E.S., and Magdalena J. Zaborowska, Elena Gapova, eds. Over the Wall/After the Fall: Post-Communist Cultures Through an East-West Gaze. Bloomington: Indiana University Press, 2004.
Foster, Hal. The Return of the Real: The Avant-Garde at the End of the Century. Cambridge: MIT Press, 1996.
Foster, Hal. “What’s Neo about the Neo-Avant-Garde?” October. Volume 70, The Duchamp Effect (Autumn, 1994), 5 - 32.
Foucault, Michel. Discipline and Punish: The Birth of the Prison. Translated by Alan Sheridan. New York: Vintage Books, Random House, Inc, 1977, 1995.
Foucault, Michel. The History of Sexuality Volume 1. Translated by Robert Hurley. New York: Pantheon Books, 1978.
Foucault, Michel. Power/Knowledge: Selected Interviews & Other Writings, 1972 - 1977. Edited by Colin Gordon. New York: Pantheon Books,1972, 1980.
Fraleigh, Sondra Horton. Dance and the Lived Body: A Descriptive Aesthetics. Pittsburgh: University of Pittsburgh Press, 1987.
Frampton, Hollis. “Eadweard Muybridge: Fragments of a Tesseract.” In On the Camera Arts and Consecutive Matters: The Writings of Hollis Frampton. Cambridge: MIT Press, 2009.
Fried, Michael. Four Honest Outlaws: Sala, Ray, Marioni, Gordon. New Haven: Yale University Press, 2011.
Gallagher, Catherine, and Thomas Laqueur, eds. The Making of the Modern Body: Sexuality and Society in the Nineteenth Century. Berkeley: University of California Press, 1987.
Gamwell, Lynn, ed. Dreams Nineteen Hundred to Two Thousand: Science, Art, and the Unconscious Mind. Binghamton: State University of New York at Binghamton, 2000.
Gay, Peter. Savage Reprisals: Bleak House, Madame Bovary, Buddenbrooks. New York: W.W. Norton & Company, 2002.
Gehm, Sabine, and Pirkko Husemann, Katharina von Wilke, eds. Knowledge in Motion: Perspectives of Artistic and Scientific Research in Dance. Translated by Bettina von Arps- Aubert. Bielefeld: Transcript, 2007.
Genoways, Hugh H., ed. Museum Philosophy for the Twenty-First Century. Oxford: AltaMira Press, 2006.
Geoghegan, Bernard Dionysius. “After Kittler: On the Cultural Techniques of Recent German Media Theory.” Theory Culture Society (August 2013).
Gidal, Peter. Materialist Film. London: Routledge, 1989.
Giedion, Siegfried. Space, Time, and Architecture: The Growth of a New Tradition. Cambridge:
Harvard University Press, 1974.
Godard, Jean-Luc. Godard on Godard. Edited by Jean Narboni and Tom Milne. New York: The Viking Press, 1968, 1972.
Gödl, Doris. “Challenging the Past: Serbian and Croatian Aggressor-Victim Narratives.” International Journal of Sociology 37. No. 1 (2007).
Goldberg, Roselee. Performance: Live Art Since the ‘60s. London: Thames & Hudson, 2004.
Goldberg, Roselee. Performance Art: From Futurism to the Present. London: Thames & Hudson, 2001.
Goldberg, Vicki, ed. Photography in Print: Writings from 1816 to the Present. New York: Simon and Schuster, 1981.
Golding, Sue, ed. The Eight Technologies of Otherness. London: Routledge, 1997. Gotaas, Thor. Running: A Global History. London: Reaktion Books, 2009.
Grau, Andrée, and Stephanie Jordan. Europe Dancing: Perspectives on Theatre, Dance, and Cultural Identity. New York: Routledge, 2000.
Grigorov, Dimitar. “‘Рачунајте на нас.’ ‘Oдломак’ о Титовој штафети или Штафети младости.” In Друштвену историју. Belgrade: 2008.
Grimes, Ronald L. Beginnings in Ritual Studies. Columbia: University of South Carolina Press, 1995.
Groys, Boris. Introduction to Antiphilosophy. Translated by David Fernbach. London: Verso, 2012.
Groys, Boris. The Communist Postscript. Translated by Thomas Ford. London: Verso, 2010. Groys, Boris, and Ann von der Heiden, Peter Weibel, eds. Zurück aus der Zukunft.
Osteuropäische Kulturen im Zeitalter des Postkommunismus. Berlin: Suhrkamp, 2005.
Gržinić, Marina, and Günther Heeg, Veronika Darian. Mind the Map! History is not a Given: A
th th
Critical Anthology Based on the Symposium [Leipzig, 13 -16 October 2005]. Frankfurt:
Revolver, 2006.
Guttman, Allen. “Sport, Politics, and the Engaged Historian.” Journal of Contemporary History. Volume 38, Number 3 (2003).
Hardt, Michael, and Antonio Negri. Empire. Boston, Harvard University Press, 2001. Hargreaves, Jennifer, and Patricia Anne Vertinsky, eds. Physical Culture, Power, and the Body.
New York: Routledge, 2007.
Harris, Mary Emma. The Arts at Black Mountain College. Cambridge: MIT Press, 1987, 2002.
Harte, Jane L., et. al. “The effects of running and meditation on beta-endorphin, corticotropin- releasing hormone and cortisol in plasma, and on mood.” Biological Psychology. Volume 40, Issue 3 (June 1995).
Harte, Jane L., and Georg H. Eifert. “The effects of running, environment, and attentional focus on athletes’ catecholamine and cortisol levels and moods.” Psychophysiology. Volume 32, Issue 1 (January 1995).
Havránek, Vít, ed. Jiří Kovanda: Actions and Installations, 2005-1976. Zurich: Tranzit & JRP|Ringier, 2006.
Helme, Sirje. PopKunst Forever: Estonian Pop Art at the Turn of the 1960s and 1970s. Tallinn: Art Museum of Estonia - Kumu Art Museu, 2010.
Hemmings, Frederick William John, ed. The Age of Realism. Baltimore: Penguin Books, 1974. Hendricks, Gordon. Eadweard Muybridge: The Father of the Motion Picture. New York:
Grossman Publishers, of Viking Press, 1975.
Henning, Michelle. Museums, Media, and Cultural Theory. New York: Open University Press, 2006.
Hewitt, Andrew. Social Choreography: Ideology as Performance in Dance and Everyday Movement. Durham: Duke University Press, 2005.
Higgins, Steven. Still Moving: The Film and Media Collections of the Museum of Modern Art. New York: The Museum of Modern Art, 2006.
Hoberman, John M. “Sport and Political Ideology.” Journal of Sport and Social Issues. Volume 1, Number 2 (1977).
Hodgson, John. Mastering Movement: The Life and Work of Rudolf Laban. New York: Routledge, 2001.
Hoelzl, Ingrid, and Friedrich Tietjen, eds. Images in Motion. Burges: Die Keure, 2012. Husserl, Edmund. The Phenomenology of Internal Time-Consciousness. Edited by Martin
Heidegger. Translated by James S. Churchill. Bloomington: Indiana University Press, 1964.
IRWIN, ed. East Art Map: Contemporary Art and Eastern Europe. London: Afterall and MIT Press, 2006.
Ivey, Paul Eli. Radiance from Halcyon: A Utopian Experiment in Religion and Science. Minneapolis: University of Minnesota Press, 2013.
Jameson, Frederic. Postmodernism, or, The Cultural Logic of Late Capitalism. Durham: Duke University Press,1991.
Janevski, Ana, ed. As Soon as I Open My Eyes I See a Film: Experiment in the Art of Yugoslavia in the 1960s and 1970s. Warsaw: Museum of Modern Art, 2010.
Jarausch, Konrad H., and Michael Geyer. Shattered Past: Reconstructing German Histories. Princeton, NJ: Princeton University Press, 2003.
Jones, Amelia. Body Art/Performing the Subject. Minneapolis: University of Minnesota Press, 1998.
Jones, Amelia, and Adrian Heathfield. Perform, Repeat, Record: Live Art in History. Chicago: University of Chicago Press, 2012.
Jones, Amelia. “The Body and Technology.” Art Journal. Volume 60, Number 1 (Spring, 2001). Joseph, Brandon W. Random Order: Robert Rauschenberg and the Neo-avant-garde.
Cambridge: MIT Press, 2003.
Joy, Jenn. The Choreographic. Cambridge: MIT Press, 2014.
Jünger, Ernst. “War and Photography.” Translated by Anthony Nassar. New German Critique. Number 59 (Spring-Summer, 1993).
Kater, Michael H. Hitler Youth. Cambridge, Mass.: Harvard University Press, 2004. Kebo, Ozren. Sarajevo za početnike. Sarajevo: Dani, 1996.
Kelley, Jeff, ed. Essays on the Blurring of Art and Life. Berkley: University of California Press, 1993, 2003.
Kern, Stephen. The Culture of Time and Space. Cambridge, Mass: Harvard University Press, 1983.
Kester, Grant H. Conversation Pieces: Community and Communication in Modern Art. Berkley: University of California Press, 2004.
Kholeif, Omar. Moving Image. London: Whitechapel, 2015.
Kirkpatrick, Sidney. The Revenge of Thomas Eakins. New Haven: Yale University Press, 2006.
Kirn, Gal, and Dubravka Sekulić, Žiga Testen, eds. Surfing the Black: Yugoslav Black Wave Cinema and its Transgressive Moments. Maastricht: Jan van Eyck Academie, 2012.
Kittler, Friedrich A. Gramophone, Film, Typewriter. Stanford: Stanford University Press, 1999. Klinger, Cornelia, and Bartomeu Mari. Modernologies: Contemporary Artists Researching
Modernity and Modernism. Barcelona: Museu d’Art Contemporani de Barcelona, 2009.
Knell, Simon J., et al., eds. National Museums: New Studies from around the World. New York:
Routledge, 2011.
Knudson, Duane. Fundamentals of Biomechanics, Second Edition. New York: Springer, 2007.
Knust, Albrecht. Handbook of Kinetography Laban: Examples. Hamburg: Das Tanzarchiv, 1958. Koch, Sabine, et al. Body Memory, Metaphor, and Movement. Philadelphia: John Benjamins
Publishing Company, 2012.
Krauss, Rosalind E. “Sculpture in the Expanded Field.” October. Volume 8 (Spring 1979).
Krauss, Rosalind E. The Originality of the Avant-Garde and Other Modernist Myths. Cambridge: MIT Press, 1985.
Kuligowski, Waldemar. “A Relay of Youth of the 21st Century. A Re-enactment of Ritual or a Grotesque Performance?” Cargo. Volume 10, Number 1 - 2 (2012).
Kwon, Miwon. One Place After Another: Site-Specific Art and Locational Identity. Cambridge: MIT Press, 2002.
LaBelle, Brandon. Background Noise: Perspectives on Sound Art. London and New York: Continuum International Publishing Group, 2006.
Lakoff, George, and Mark Johnson. Metaphors We Live By. Chicago: University of Chicago Press, 1980.
Landsberg, Alison. Prosthetic Memory: The Transformation of American Remembrance in the Age of Mass Culture. New York: Columbia University Press, 2004.
Laws, Kenneth, and Francia Russell. Physics and the Art of Dance: Understanding Movement. Oxford: Oxford University Press, 2002.
le Blanc, Guillaume. Courir: Méditations Physiques. Paris: Éditions Flammarion, 2012.
Leahy, Helen Rees. Museum Bodies: The Politics of Practices of Visiting and Viewing. Surrey,
England: Ashgate, 2012.
Lederman, Gail. Manliness and Civilization: A Cultural History of Gender and Race in the
United States, 1880 - 1917. Chicago: The University of Chicago Press, 1995. Lefebvre, Henri. The Production of Space. Oxford: Blackwell, 1991.
Lehman, Arnold L., and Brenda Richardson, eds. Oskar Schlemmer. Baltimore: The Baltimore Museum of Art, 1986.
Lemke, Thomas. Bio-Politics: An Advanced Introduction. Translated by Eric Frederick Trump. New York: New York University Press, 2011.
Lepage, Jean-Denis G.G. Hitler Youth, 1922 - 1945: An Illustrated History. London: McFarland & Company, Inc.,2009.
Lepecki, André, ed. Dance: Documents of Contemporary Art. London: MIT Press and WhiteChapel Gallery, 2012.
Leposavić, Radonja. vlasTito iskustvo. Belgrade: Publikum, 2005.
Licht, Alan. Sound Art: Beyond Music, Between Categories. New York: Rizzoli International
Publications, 2007.
Lippard, Lucy. Six Years: The Dematerialization of the Art Object from 1966 to 1972. Berkley: University of California Press, 1973.
Loland, Sigmund, and Berit Skirstad, Ivan Waddington. Pain and Injury in Sport: Social and Ethical Analysis. New York: Routledge, 2006.
Luthar, Breda, and Maruša Pušnik, eds. Remembering Utopia: The Culture of Everyday Life in Socialist Yugoslavia. Washington, D.C.: New Academia Publishers, 2010.
Mackay, Robin, and Armen Avanessian, eds. #Accelerate: The Accelerationist Reader. Falmouth, UK: Urbanomic, 2014.
Malcolm, Noel. Bosnia: A Short Story. London: MacMillan, 1994.
Maletic, Vera. Body - Space - Expression: The Development of Rudolf Laban’s Movement and
Dance Concepts. Amsterdam: Mouton de Gruyter, 1987.
Marie, Michel. The French New Wave: An Artistic School. Translated by Richard Neupert.
Oxford: Blackwell Publishing, 1997.
Marien, Mary Warner. Photography: A Cultural History. 2nd Edition. London: Laurence King Publishing Ltd, 2002, 2006.
Marks, Laura. Touch: Sensuous Theory and Multisensory Media. Minneapolis: University of Minnesota Press, 2002.
Marvin, Carolyn. When Old Technologies Were New: Thinking about Electric Communication in the Late Nineteenth Century. Oxford: Oxford University Press, 1988.
Mathews, Nancy Mowll. “The Body in Motion.” In Moving Pictures: American Art and Early Film, 1880 - 1910. Manchester, Vermont: Hudson Hills Press, 2005.
Mauss, Marcel. “Techniques of the Body” (1934). In Incorporations, Zone 6. Edited by Jonathan Crary and Sanford Kwinter. New York: Zone, 1992.
Mazower, Mark. Dark Continent: Europe’s Twentieth Century. New York: A.A. Knopf, 1999.
McGinnis, Peter M. Biomechanics of Sport and Exercise, Third Edition. Champaign, IL: Human Kinetics, 2013.
McSorley, Kevin, ed. War and the Body: Militarisation, Practice and Experience. New York: Routledge, 2013.
Meltzer, Eve. Systems We Have Loved: Conceptual Art, Affect, and the Antihumanist Turn. Chicago: The University of Chicago, 2013.
Merleau-Ponty, Maurice. The Phenomenology of Perception. Translated by Colin Smith. London: Routledge and Kegan Paul, 1962, 1989.
Metz, Christian. Film Language: A Semiotics of the Cinema. Translated by Michael Taylor. New York: Oxford University Press, 1974.
Metz, Christian. “Photography and Fetish.” October. Volume 34 (Autumn, 1985).
Meyer, James. Minimalism: Art and Polemics in the Sixties. New Haven: Yale University Press,
Michelson, Annette, ed. Kino-Eye: The Writings of Dziga Vertov. Translated by Kevin O’Brien. Berkeley: University of California Press, 1984.
Mirzoeff, Nicholas, ed. The Visual Culture Reader, Second Edition. New York: Routledge, 1998, 2002.
Mishima, Yukio. Sun and Steel: His Personal Testament on Art, Action, and Ritual Death. New York: Kodansha, 1970.
Mondloch, Kate. Screens: Viewing Media Installation Art. Minneapolis: The University of Minnesota Press, 2010.
Moore, Sarah J. Empire on Display: San Francisco’s Panama-Pacific International Exposition of 1915. Norman, OK: University of Oklahoma Press, 2013.
Morgan, William P. “Affective beneficence of vigorous physical activity.” Medicine and Science in Sports and Exercise. Volume 17, Number 1 (February 1985).
Morse, Meredith. Soft is Fast: Simone Forti in the 1960s and After. Cambridge: MIT Press, 2016.
Mosse, George L. The Image of Man: The Creation of Modern Masculinity. Oxford: Oxford University Press, 1996.
Motherwell, Robert, ed. Dada Painters and Poets. New Haven: Harvard University Press, 1981.
Mozley, Anita Ventura, ed. Eadweard Muybridge: The Stanford Years, 1872 - 1882. San Francisco: Stanford University, 1972.
Mulvey, Laura. Death 24x a Second: Stillness and the Moving Image. London: Reaction books, 2006.
Mumford, Lewis. Technics and Civilization. London: Routledge & Kegan Paul LTD, 1934, 1955.
Muñoz, José Esteban. Disidentifications: Queers of Color and the Performance of Politics. Minneapolis: The University of Minnesota Press, 1999.
Musolff, Andreas. Metaphor, Nation, and the Holocaust: The Concept of the Body Politic. New York: Routledge, 2010.
New Collectivism, ed. Neue Slowenische Kunst. Translated by Marjan Golobič. Hong Kong: Paramount Printing, 1991.
Newman, Michael, and Jon Bird, eds. Rewriting Conceptual Art. London: Reaction Books, 1999. O’Doherty, Brian. Inside the White Cube: The Ideology of the Gallery Space. Berkley:
University of California Press, 1986.
O’Rourke, Karen. Walking and Mapping: Artists as Cartographers. Cambridge: MIT Press, 2013.
Obrist, Hans Ulrich. Do It: The Compendium. New York: Independent Curators International/D.A.P., 2013.
Partsch-Bergsohn, Isa. Modern Dance in Germany and the Untied States: Crosscurrents and Influences. Chur: Harwood Academic Publishers, 1994.
Passerini, Luisa, ed. Memory and Totalitarianism. Oxford: Oxford University Press, 1992. Pavković, Aleksandar. The Fragmentation of Yugoslavia: Nationalism and War in the Balkans,
Second Edition. New York: St. Martin’s Press, 2000.
Pegrum, Mark A. Challenging Modernity: Dada Between Modern and Postmodern. Oxford: Berghahn Books, 2000.
Peiffer, Lorenz. Sport im Nationalsozialismus: Zum aktuellen Stand der sporthistorischen Forschung. Göttingen: Verlag Die Werkstaat, 2004, 2015.
Pejić, Bojana, and David Elliot. After the Wall: Art and Culture in Post-Communist Europe. Stockholm: Moderna Museet, 1999.
Penz, Otto. “Sport and Speed.” International Review for the Sociology of Sport. Volume 25, Number 2 (June 1990).
Peoples, Crocker. “A Psychological Analysis of the ‘Runner’s High’ (Human Performance).” Physical Educator. Volume 40, Number 1 (March 1, 1983).
Perica, Vjekoslav. Balkan Idols: Religion and Nationalism in Yugoslav States. Oxford: Oxford University Press, 2002.
Petrov, Ana. “Telesni projekti i regulacija normativnog tela: uloga fizičke kulture u Jugoslaviji.” Institut za etnologiju i folkloristiku. Issue 51, Number 2 (2014).
Pfister, Gertrud, ed. Gymnastics, A Transatlantic Movement: From Europe to America. New York: Routledge, 2011.
Phelan, Peggy. Unmarked: The Politics of Performance. New York: Routledge, 1993. Phillips, Christopher, ed. Photography in the Modern Era: European Documents and Critical
Writings, 1913 - 1940. New York: The Metropolitan Museum of Art/Aperature, 1990. Phillips, Murray G. Deconstructing Sport History: A Postmodern Analysis. Albany: State
University of New York Press, 2006.
Pissaro, Joachim, et al. Martin Creed: What’s the Point of It? London: Hayward Publishing, 2014.
Piotrowski, Piotr. In the Shadow of Yalta: Art and the Avant-Garde in Eastern Europe, 1945 - 1989. London: Reaktion, 2009.
Preston-Dunlop, Valerie. Rudolf Laban: An Extraordinary Life. London, Dance Books, 1998. Preziosi, Donald. Art Religion Amnesia: The Enchantments of Credulity. New York: Routledge,
Pursell, Caroll. White Heat: People and Technology. Berkley: University of California Press, 1994.
Quercetani, R. L. A World History of Track and Field Athletics 1864-1964. London: Oxford University Press, 1964.
Rabinbach, Anson. The Human Motor: Energy, Fatigue, and the Origins of Modernity. New York: Basic Books, 1990.
Rabinow, Paul, ed. The Foucault Reader. New York: Random House, 1984.
Radstone, Susannah, and Bill Schwarz, Memory: Histories, Theories, Debates. New York: Fordham University Press, 2010.
Rancière, Jacques. Aesthetics and its Discontents. Malden: Polity Press, 2004.
Rancière, Jacques. The Emancipated Spectator. Translated by Gregory Elliot. London: Verso,
Rancière, Jacques. The Politics of Aesthetics: The Distribution of the Sensible. London: Continuum, 2006.
Rees, A.L., and Duncan White, Steven Ball, David Curtis, eds. Expanded Cinema: Art, Performance, Film. London: Tate Publishing, 2011.
Rempel, Gerhard. Hitler’s Children: The Hitler Youth and the SS. Chapel Hill: University of North Carolina Press, 1989.
Richards, Mary. Marina Abramović. New York: Routledge, 2010.
Ricoeur, Paul. Oneself as Another. Translated by Kathleen Blamey. Chicago: University of
Chicago Press, 1992.
Rosa, Hartmut. Beschleunigung und Entfremdung: Entwurf einer Kritischen Theorie
spätmoderner Zeitlichkeit. Berlin: Suhrkamp, 2013.
Rosa, Hartmut, and William E. Scheuerman. High-Speed: Social Acceleration, Power, and
Modernity. University Park, PA: The Pennsylvania State University, 2009.
Rosati, Lauren, and Mary Anne Staniszewski, eds. Alternative Histories: New York Art Spaces,
1960-2010. Cambridge: MIT Press, 2012.
Rosenstone, Robert A., “History in Images/History in Words: Reflections on the Possibility of Really Putting History onto Film.” The American Historical Review. Volume 93. Number 5 (December 1988).
Rossol, Nadine. Performing the Nation in Interwar Germany: Sport, Spectacle, and Political Symbolism, 1926 - 1936. New York: Palgrave Macmillan, 2010.
Roxby-Maude, Alice, On Camera: Performance and Photography. Southampton: John Hansard Gallery, 2007.
Ruyter, Nancy Lee Chalfa. The Cultivation of Body and Mind in Nineteenth-Century American Delsartism. Westport, CT: Greenwood Press, 1999.
Salazar, James B. Bodies of Reform The Rhetoric of Character in Gilded Age America. New York: New York University Press, 2010.
Schechner, Richard. Essays on Performance Theory 1970 - 1976. New York: Drama Book Specialists, 1973, 1977.
Scheerder, Jeroen, and Koen Breedveld, eds. Running Across Europe: The Rise and Size of One of the Largest Sport Markets. New York: Palgrave Macmillan, 2015.
Seckinelgin, H., and Billy Wong, eds. Global Civil Society 2011: Globally and the Absence of Justice. Hampshire: Palgrave Macmillan, 2011.
Sekula, Allan. “The Body and the Archive.” October. Volume 39 (Winter, 1986). Semon, Richard. Die mnemischen Empmfindungen in ihren Beziehungen zu den
Originalempfindungen. Leipzig: W. Engelmann, 1909.
Shawn, Ted. Every Little Movement: A Book About François Delsarte. Pittsfield, MA: The Eagle
Printing and Binding Company, 1954.
Shayt, David H. “Stairway to Redemption: America’s Encounter with the British Prison
Treadmill.” Technology and Culture, Volume 30, Number 4 (Oct. 1989).
Sheridan, Heather, and Leslie Howe, and Keith Thompson, eds. Sporting Reflections: Some
Philosophical Perspectives. Aachen: Meyer & Meyer Verlag, 2007.
Siegmund, Gerald, and Stefan Hölscher, eds. Dance, Politics, and Co-Immunity: Thinking Resistances, Current Perspectives on Politics and Communities in the Arts. Volume 1. Zürich- Berlin: Diaphanes, 2013.
Sileo, Diego, and Eugenio Viola, PAC (Milano), eds. Marina Abramović: The Abramović Method. 2 Volumes. Milan: 24 ORE Cultura, 2012.
Silverman, Kaja. The Subject of Semiotics. New York: Oxford University Press, 1983.
Slevin, Tom. Vision of the Human: Art, World War One and the Modernist Subject. London: I.B.
Tauris, 2015.
Solnit, Rebecca. River of Shadows: Eadweard Muybridge and the Technological Wild West. New York: Viking, 2003.
Solnit, Rebecca. Wanderlust: A History of Walking. London: Verso, 2001.
Sontag, Susan. Against Interpretation and Other Essays. New York: Picador, 1966, 2001. Sontag, Susan. “Fascinating Fascism.” The New York Review of Books (6 February 1975). Sontag, Susan. On Photography. New York: Picador, 1977.
Spieker, Sven. The Big Archive: Art from Bureaucracy. Cambridge: MIT Press, 2008. Stepišnik, Drago. Oris Zgodovine Telesne Kulture na Slovenskem. Ljubljana: Dražavna založba
Slovenija, 1968.
Stipančić, Branka. “‘Zame je resničnost umetnost,’ Intervju s Tomislavom Gotovcem.” Vijenac, Number 123/VI (8 Oct. 1998).
Stoddart, Tom. Sarajevo. Washington, D.C.: Smithsonian Institution Press, 1998.
Stošić, Mirjana. “Body-name — The Brotherhood Chronotype and Social Choreography.”
Култура/Culture (2015).
Suljagić, Emir. Postcards from the Grave. Translated by Lejla Haverić. London: The Bosnian
Institute, 2005.
Susovski, Marijan, ed. The New Art Practice in Yugoslavia, 1966 - 1978. Zagreb: Gallery of Contemporary Art, 1978.
Sutil, Nicolás Salazar. Motion and Representation: The Language of Human Movement. Cambridge: MIT Press, 2015.
Swenson, Kirsten. Irrational Judgements: Eva Hesse, Sol Lewitt, and 1960s New York. New Haven: Yale University Press, 2015.
Szeemann, Harold. Zum freien Tanz, zu reiner Kunst. Rolandseck: Stiftung Hans Arp und Sophie Taeuber-Arp, 1991.
Tagg, John. The Burden of Representation: Essays on Photographies and Histories. Minneapolis: University of Minnesota Press, 1988.
Tilmans, Karin, and Frank van Vree, Jay Winter, eds. Performing the Past: Memory, History, and Identity in Modern Europe. Amsterdam: Amsterdam University Press, 2010.
Tumarkin, Maria M. Traumascapes: The Power and Fate of Places Transformed by Tragedies. Victoria, Australia: Melbourne University Press, 2005.
Udall, Sharyn R. Dance and American Art: A Long Embrace. Madison: University of Wisconsin Press, 2012.
Vacche, Angela Dalle. Film, Art, New Media: Museum without Walls? New York: Palgrave Macmillan, 2012.
Vertinsky, Patricia Anne. The Eternally Wounded Woman: Women, Doctors, and Exercise in the Late Nineteenth Century. Manchester: Manchester University Press, 1989.
Virilio, Paul. The Art of the Motor. Translated Julie Rose. Minneapolis: University of Minnesota Press, 1995.
Weibel, Peter. Beyond Art: A Third Culture. Vienna: Ambra Verlag, 2005.
Wells, Liz, ed. Photography: A Critical Introduction. New York: Rutledge, 1996/2015.
Westcott, James. When Marina Abramović Dies: A Biography. Cambridge: MIT Press, 2010.
White, Hayden. “Historiography and Historiophoty.” The American Historical Review. Volume 93. Number 5 (December 1988).
White, Hayden V. Metahistory: The Historical Imagination in Nineteenth-Century Europe. Baltimore: Johns Hopkins University Press, 1973.
Wiehager, Renate, ed. Moving Pictures: Photography and Film in Contemporary Art. Ostfildern- Ruit, Germany: Hate Cantz Publishers, 2001.
Williams, Raymond. Culture and Society, 1780 - 1950. New York: Columbia University Press, 1958/1983.
Wood, Catherine. Yvonne Rainer: The Mind is a Muscle. London: Afterall, 2007. Wood, Denis. The Power of Maps. New York: Guilford Press, 2010.
Woodward, Susan L. Balkan Tragedy: Chaos and Dissolution after the Cold War. Washington, D.C.: The Brookings Institution, 1995.
Young, Kevin. Deviance and Social Control in Sport. Champaign, IL: Human Kinetics, 2008. Youngblood, Gene. Expanded Cinema. New York: E.P. Dutton and Co., 1970.
Zelizer, Barbie, ed. Visual Culture and the Holocaust. New Brunswick: Rutgers University Press, 2001.
Zidić, Igor, and Ana Dević, Antonio Gotovac Lauer a.k.a. Tomislav Gotovac. Antonio Gotovac Lauer: Čelična mreža. Zagreb: Moderna Galerija and Studio Josip Račič, 2006.
Zorn, John W., ed. The Essential Delsarte. Metuchen, NJ: The Scarecrow Press, Inc, 1968.
Žižek, Slavoj. The Indivisible Remainder: An Essay on Schelling and Related Matters. London: Verso, 1996.
----
------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس 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ಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
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 ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
-------
In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE
is the critical run
and other emergency art format
CRITICAL RUN / Debate Format
Critical Run is an Art Format created by Thierry Geoffroy/Colonel
debate while running .
Debate and Run together,Now,before it is too late.
www.emergencyroomscanvas todo .org/criticalrun.html
The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates
New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,
Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...
CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because
a debate was necessary here and now.
In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich
part of Colonel solo show : The Awareness Muscle Training Center
----
Interesting publication for researches on running and art
www.emergencyrooms.org/formats.html
14 Performances. Relation Work (1976 - 1980). Filmed by Paolo Cardazzo. Marina Abramović/ Ulay. Neuer Berliner Kunstverein, Berlin, Germany.
Abramović, Marina. Student Body: Workshops 1979 - 2003: Performances 1993 - 2003. Milano: ed. Charta, 2003.
Bergson, Henri. Creative Evolution. London: Macmillan and Co., 1911.
Bergson, Henri. Key Writings. Edited by Keith Ansell-Pearson and John Mullarkey. New York:
Continuum, 2002.
Bergson, Henri. Matter and Memory. New York: Zone Books, 1988.
Blaikie, William. “Common Sense Physical Training.” In Athletics and Health: Modern Achievement: Advice and Instruction upon the Conduct of Life, Principles of Business, Care of Health, Duties of Citizenship, etc. Edited by Edward Everett Hale. New York: P.F. Collier & Son, 1902.
Blaikie, William. How to Get Strong and How to Stay So. New York: Harper & Brothers Publishers, 1883.
Cunningham, Merce. Changes: Notes on Choreography. New York: Something Else Press, 1969.
de Balzac, Honoré. The Human Comedy. EBook: Project Gutenberg, 2010. de Balzac, Honoré. Théorie de la démarche. 1833, 1853.
de Biran, Maine. “Opposition du principe de Descartes avec celui d’une science de l’homme. Première base d’une division des faits psychologiques et physiologiques. Perception et sensation animale.” In Maine de Biran. Librairie Philosophique J. VRIN, 1990.
de Tocqueville, Alexis. The Old Regime and the Revolution. New York: Harper & Brothers, Publishers, 1856.
Delaumosne, M. L’Abbe. “The Delsarte System.” Translated by Frances A. Shaw. In Delsarte System of Oratory, 4th Ed. New York: Edgar S. Werner, 1893.
Descartes, René. Méditations metaphysiques. 1641.
Gropius, Walter, and Arthur S. Wensinger, eds. The Theater of the Bauhaus: Oskar Schlemmer, Laszlo Moholy-Nagy, Farkas Molnár. Translated by Arthur S. Wensinger. Middleton, Conn.: Wesleyan University, 1961.
Hahn, Archibald. How to Sprint: The Theory of Spring Racing. New York: American Sports Publishing Company, 1923.
Hegel, Georg Wilhelm Friedrich. Phenomenology of Spirit. Translated by A.V. Miller. Oxford: Oxford University Press, 1977.
Helmholtz, Hermann. “On the Facts Underlying Geometry.” In Epistemological Writings: Hermann von Helmholtz. Edited by R.S. Cohen and Y. Elkana. Boston: D. Reidel Publishing Company, 1977.
Helmholtz, Hermann. Théorie physiologique de la musique fondée sur l’étude des sensations auditives. Paris: Masson, 1868.
Helmholtz, Hermann. Treatise of Physiological Optics (Handbuch der physiologischen Optik) 1856. 3 Volumes. Translated by James P.C. Southall. Milwaukee, 1924.
Holmes, Oliver Wendall. Soundings from the Atlantic. Boston: Tickknor and Fields, 1864. James, William. The Principles of Psychology. New York: Henry Holt & Co, 1890, 1918.
James, William. Writings 1902 - 1910. Edited by Bruce Kuklick. New York: Literary Classics of the United States, 1987.
Kandinsky, Vasily. Über Das Geistige in der Kunst. Dritte Auflage. München: R. Piper&Co, 1912.
Kant, Immanuel. “Was ist Aufklärung?” 1784.
Laban, Rudolf. A Life for Dance: Reminiscences. Translated by Lisa Ullmann. London: Macdonald & Evans, 1975.
Laban, Rudolf. Choreographie. Jena: E. Diederichs, 1926.
Laban, Rudolf. Choreutics. Edited by Lisa Ullmann. London: Macdonald & Evans, 1939, 1966.
Laban, Rudolf. Effort: Economy in Body Movement. 2nd Edition. Boston: Plays, 1947, 1974.
Laban, Rudolf. Principles of Dance and Movement Notation. New York: A Dance Horizons Republication, 1956, 1970.
Laban, Rudolf. The Language of Movement: A Guidebook to Choreutics. Edited by Lisa Ullmann. Boston: Plays, Inc., 1974.
MacKaye, Percy. “Steele Mackaye, Dynamic Artist of the American Theatre; An Outline of his Life Work,” in The Drama. Edited by William Norman Guthrie and Charles Hubbard Sergel. Chicago: The Dramatic Publishing Company, 1911.
Marey, Étienne-Jules. La Machine Animale: Locomotion Terrestre et Aérienne. Paris: Librairie Germer Baillière, 1873.
Marey, Étienne-Jules. Le Vol des Oiseaux. Paris: Libraire de l’académie de médecine, 1890. Marey, Étienne-Jules. Movement. Translated by Eric Pritchard. New York: D. Appleton and
Company, 1895.
Michelet, Jules. The History of France. Volume I. Translated by Walter K. Kelly. London: Chapman and Hall, 1844.
Morgan, Anna. An Hour with Delsarte: A Study of Expression. New York: Edgar S. Werner Publisher, 1891.
Muybridge, Eadweard. Animal Locomotion: An Electro-photographic Investigation of Consecutive Phases of Animal Movements. Philadelphia: University of Pennsylvania and J. B. Lippincott Company, 1887.
Muybridge, Eadweard. Descriptive Zoopraxography, or the Science of Animal Locomotion. Philadelphia: University of Pennsylvania, 1893.
Muybridge, Eadweard. The Attitudes of Animals in Motion: A Series of Photographs Illustrating the Consecutive Positions assumed by Animals in Performing Various Movements; Executed at Palo Alto, California, in 1878 and 1879 (1881). Albumen, Library of Congress, Washington, D.C., Library of Congress.
Muybridge, Eadweard. The Human Figure in Motion. New York: Dover Publications, 1955. Ramsaye, Terry. A Million and One Nights: A History of the Motion Picture. U.K.: Simon and
Schuster, Inc., 1926, 1954.
Richer, Paul. Physiologie Artistique: De l’Homme en Mouvement. Paris: Aulanier et Cie, 1896.
Sanburn, Frederic. Delsartean Scrap-book: Health, Personality, Beauty, House-Decoration, Dress, etc. New York: United States Book Company, c. 1890.
Schlemmer, Oskar. Briefe und Tagebücher: The Letters and Diaries of Oskar Schlemmer. Edited by Tut Schlemmer. Translated by Krishna Winston. Middletown, Conn: Wesleyan University Press, 1972.
Schlemmer, Oskar, and Heimo Kuchling. Der Mensch, Unterricht am Bauhaus. Nachgelassene Aufzeichnungen. Mainz: F. Kupferberg, 1969.
Schuftan, Werner. Handbuch des Tanzes. Preface by Rudolf von Laban. Mannheim: Verlag Deutscher Chorsänger Verband und Tänzerbund, 1928.
Shearman, Sir Montague. Athletics and Football. London: Longmans, Green, and Co., 1888. Smith, Shawn Michelle. At the Edge of Sight: Photography and the Unseen. Durham: Duke
University Press, 2013.
Stebbins, Genevieve. Delsarte System of Expression, 5th Edition. New York: Edgar S. Werner, 1894; orig. 1885.
Talbot, Frederick A. Practical Cinematography and its Applications. London: William Heinemann, 1913.
Wigman, Mary. The Mary Wigman Book: Her Writings. Middletown, CT: Wesleyan University Press, 1975.
Abramović, Marina, et al. Marina Abramović: Seven Easy Pieces. New York: Charta 2007. Acconci, Vito. Language to Cover a Page: The Early Writings of Vito Acconci. Edited by Craig
Dworkin. Cambridge: MIT Press, 2006.
Adolphs, Volker, and Philip Norten. Gehen Bleiben: Bewegung, Körper, Ort in der Kunst der
Gegenwart. Bonn: Kunstmuseum Bonn, 2007.
Agamben, Giorgio. “Movement.” In Dance: Documents of Contemporary Art. Edited André
Lepecki. London: MIT Press and WhiteChapel Gallery, 2012.
Alberro, Alexander, and Blake Stimson, eds. Institutional Critique: An Anthology of Artists’
Writings. Cambridge: MIT Press, 2009.
Albers, Kate Palmer. “Abundant Images and the Collective Sublime.” Exposure. Volume 46,
Issue 2 (Fall 2013).
Allen, Beverly. Rape Warfare: The Hidden Genocide in Bosnia-Herzegovina and Croatia. Minneapolis: University of Minnesota Press, 1996.
Alloway, Lawrence. The Venice Biennale 1895 - 1968: from salon to goldfish bowl. Greenwich, CT: New York Graphic Society LTD., 1968.
Anderson, Ben. “Affect and Biopower: Towards a Politics of Life.” Transactions - Institute of British Geographers, Issue 1 (2011).
Andras, Edit, and Bojana Pejic, eds. Gender Check: Femininity and Masculinity in the Art of Eastern Europe. Cologne: Buchhandlung Walther König, 2009.
Antliff, Mark. Inventing Bergson: Cultural Politics and the Parisian Avant-Garde. Princeton: Princeton University Press, 1992.
Arendt, Hannah. The Human Condition, Second Edition. Chicago: University of Chicago Press, 1958, 1998.
Arendt, Hannah. On Violence. New York: Harcourt Brace, 1969.
Atkins, Dawn, ed. Looking Queer: Body Image and Identity in Lesbian, Bisexual, Gay, and
Transgender Communities. New York: The Haworth Press, 1998.
Ault, Julie, ed. Alternative Art, New York, 1965-1985: A Cultural Politics Book for the Social
Text Collective. Minneapolis: University of Minnesota Press, 2002.
Auslander, Philip. “Going with the Flow: Performance Art and Mass Culture.” TDR. Volume 33,
Number 2 (Summer 1989).
Auslander, Philip. “The Performativity of Performance Documentation.” PAJ 84 (2006).
Backstein, Joseph, and Daniel Birnbaum, Sven-Olov Wallenstein. Thinking Worlds - The Moscow Conference on Philosophy, Politics, and Art. Berlin: Sternberg Press, 2008.
Badovinac, Zdenka. Body and the East: From the 1960s to the Present. Cambridge, Mass.: MIT Press, 1999.
Baer, Ulrich. Spectral Evidence: The Photography of Trauma. Cambridge: MIT Press, 2002. Baker, George. “Entr’acte.” October. Volume 105 (Summer 2003).
Bale, John. Imagined Olympians: Body Culture and Colonial Representations in Rwanda. Minneapolis: University of Minnesota Press, 2002.
Bale, John. Running Cultures: Racing in Time and Space. London: Frank Cass, 2004. Banes, Sally. Democracy’s Body: Judson Dance Theatre, 1962 - 1964. Durham, NC: Duke
University Press, 1993.
Banes, Sally. Terpsichore in Sneakers: Post-Modern Dance, 2nd edition. Middletown, CT: Wesleyan University Press, 1987.
Bartenieff, Irmgard. Body Movement: Coping with the Environment. New York: Routledge, 2002.
Barthes, Roland. Camera Lucida: Reflections on Photography. Translated by Richard Howard. New York: Hill and Wang, 198, 2010.
Barthes, Roland. Mythologies. Translated by Annette Lavers. New York: Hill and Wang, 1972. Batchen, Geoffrey. Burning with Desire: The Conception of Photography. Cambridge: MIT
Press, 1997.
Baudelaire, Charles. The Parisian Prowler, Le Spleen de Paris Petits Poèmes en Prose. Translated by Edward K. Kaplan. Athens: The University of Georgia Press, 1989.
Bauer, M. W. and G. Gaskell. Biotechnology — the Making of a Global Controversy. Cambridge: Cambridge University Press, 2002.
Bayat, Asef. Life as Politics: How Ordinary People Change the Middle East. Amsterdam: Amsterdam University Press, 2010, 2015.
Belaief, Lynne. “Meanings of the Body.” Journal of the Philosophy of Sport. Volume 4, Issue 1 (1977).
Bell, Catherine. Ritual: Perspectives and Dimensions. New York: Oxford University Press, 1997.
Benjamin, Walter. Charles Baudelaire: A Lyric Poet in the Era of High Capitalism. Translated by Harry Zohn. London: Verso, 1997.
Benjamin, Walter. Selected Writings, Volumes 1 - 4. Edited by Howard Eiland and Michael W. Jennings. Cambridge: Belknap Press of Harvard University Press, 2003 - 2006.
Benjamin, Walter. “The Storyteller: Reflections on the Works of Nikolai Leskov.” In Illuminations. Edited by Hannah Arendt. Translated by Harry Zohn. New York: Schocken Books, 2007.
Bennett, Jill. Empathic Vision: Affect, Trauma, and Contemporary Art. Stanford, CA; Stanford University Press, 2005.
Berger, John. About Looking. New York: Pantheon Books, 1980.
Bergson, Henri. Laughter: An Essay on the Meaning of the Comic. Translated by Cloudesley Brereton and Fred Rothwell. New York: The Macmillan Company, 1914.
Bishop, Claire, and Marta Dziewańska, eds. 1968 - 1989: Political Upheaval and Artistic Change. Warsaw: Museum of Modern Art, 2009.
Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso, 2012.
Bishop, Claire. Radical Museology: or, What’s ‘Contemporary’ in Museums of Contemporary Art? London: Koenig Books, 2013.
Black, Graham. Transforming Museums in the Twenty-First Century. New York: Routledge, 2011.
Blaive, Muriel, and Christian Gerbel, Thomas Lindenberger, eds. Clashes in European Memory: The Case of Communist Repression and the Holocaust. Innsbruck: Studienverlag, 2011.
Blassnigg, Martha. Time, Memory, Consciousness and the Cinema Experience: Revisiting Ideas on Matter and Spirit. New York: Rodopi, 2009.
Bloomer, Kent C., and Charles Willard Moore. Body, Memory, and Architecture. New Haven: Yale University Press, 1977.
Boecker, Henning, et. al. “The Runner’s High: Opioidergic Mechanisms in the Human Brain.” Cerebral Cortex. Volume 18, Number 11 (2008).
Bougarel, Xavier, and Elissa Helms, Ger Duijzings, eds. The New Bosnian Mosaic: Identities, Memories and Moral Claims in a Post-War Society. Hampshire, England: Ashgate, 2007.
Bourdieu, Pierre. Outline of a Theory of Practice. Cambridge: Cambridge University Press, 1977.
Bourriaud, Nicolas. Relational Aesthetics. Dijon: Les Presses du réel, 1998, 2002.
Brandstetter, Gabriele. Poetics of Dance: Body, Image and Space in the Historical Avant- Gardes. Translated by Elena Polzer and Mark Franko. Oxford: Oxford University Press, 1995, 2015.
Braudy, Leo, and Marshall Cohen, eds. Film Theory and Criticism: Introductory Readings. New York: Oxford UP, 1999.
Braun, Marta. Eadweard Muybridge. London: Reaktion, 2010.
Braun, Marta. Picturing Time: The Work of Etienne-Jules Marey (1830 - 1904). Chicago:
University of Chicago Press, 1992, 1994.
Brettell, Richard R. Modern Art, 1851 - 1929: Capitalism and Representation. Oxford: Oxford University Press, 1999.
Brooke, J.D., and H.T.A. Whiting, eds. Human Movement - A Field of Study. London: Henry Kimpton Publishers, 1973.
Brown, Keith S., and Yannis Hamilakis, eds. The Usable Past: Greek Metahistories. Lanham, MD: Lexington Books, 2003.
Brunnbauer, Ulf, and Konrad Clewing, eds. Südost-Forschungen. Munich: R. Oldenbourg Verlag, 2008.
Bruno, Giuliana. Atlas of Emotion: Journeys in Art, Architecture, and Film. New York: Verso, 2002.
Bryzgel, Amy. Performing the East: Performance Art in Russia, Latvia, and Poland since 1980. London: I.B. Tauris, 2012.
Buchloh, Benjamin H. D. Neo-Avantgarde and Culture Industry: Essays on European and American Art from 1955 to 1975. Cambridge: MIT Press, 2001, 2003.
Buck-Morss, Susan. The Dialectics of Seeing: Walter Benjamin and the Arcades Project. Cambridge: MIT Press, 1991.
Burchell, Graham, and Colin Gordon, Peter Miller, eds. The Foucault Effect: Studies in Governmentality. Chicago: University of Chicago Press, 1991.
Bürger, Peter. Theory of the Avant-Garde. Translated by Michael Shaw. Minneapolis: University of Minnesota Press and Manchester University Press, 1974, 1984.
Butler, Judith. Bodies that Matter: On the Discursive Limits of Sex. New York: Routledge, 1993. Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge,
2006.
Butler, Samuel. Unconscious Memory: A Comparison between the Theory of Dr. Ewald Hering and the ‘Philosophy of the Unconscious’ of Dr. Edward von Hartmann. London: David Bogue, 1880.
Cage, John. Silence: Lectures and Writings. Middletown, CT: Wesleyan University Press, 1961. Campany, David, ed. The Cinematic: Documents of Contemporary Art. Cambridge: MIT Press,
2007.
Canales, Jimena. A Tenth of a Second: A History. Chicago: University of Chicago Press, 2009.
Careri, Francesco. Walkscapes: Walking as an Aesthetic Practice. Translated by Steve Piccolo and Paul Hammond. Barcelona: Editorial Gusavo Gili, 2002.
Carroll, Noël. Theorizing the Moving Image. Cambridge: Cambridge University Press, 1996. Cetinić, Ljiljana, and Ana Panić, eds. Štafete: Titova Štafeta - Štafeta Mladosti, 1945 - 1987.
Belgrade: Tipografik plus, 2008.
Chase, Stuart. Men and Machines. New York: Macmillan Co, 1929.
Christesen, Paul. Sport and Democracy in the Ancient and Modern Worlds. Cambridge: Cambridge University Press, 2012.
Christian, Mary. Marina Abramović: The Artist is Present. New York: The Museum of Modern Art, 2010.
Clark, Kenneth. The Nude: A Study in Ideal Form. New York: Pantheon Books, 1956. Coleman, Simon, and John Eade, eds. Reframing Pilgrimage: Cultures in Motion. London:
Routledge, 2004.
Connerton, Paul. The Spirit of Mourning: History, Memory and the Body. Cambridge: Cambridge University Press, 2011.
Cosgrove, Denis. Geography and Vision: Seeing, Imagining and Representing the World. New York: I.B. Tauris, 2008.
Cottington, David. Cubism in the Shadow of War: The Avant-Garde and Politics in Paris 1905- 1914. New Haven: Yale University Press, 1998.
Crane, Susan, ed. Museums and Memory. Stanford: Stanford University Press, 2000. Crary, Jonathan. Techniques of the Observer: On Vision and Modernity in the Nineteenth
Century. Cambridge: MIT Press, 1990.
Crow, Thomas. The Rise of the Sixties: American and European Art in the Era of Dissent.
London: Laurence King Publishing, 1996.
Csiksgentmihalyi, Mihaly. Creativity! Flow and psychology of discovery and invention. New York: Harper Collins, 1996.
Cumming, John. Runners & Walkers: A Nineteenth Century Sports Chronicle. Chicago: Regency Gateway, 1981.
Cvejić, Bojana, and Ana Vujanović. Public Sphere by Performance. Belgrade: b_books, TkH, 2012.
Dagg, Anne Innis. Running, Walking, and Jumping: The Science of Locomotion. New York: Crane, Russak & Company, Inc, 1977.
de Certeau, Michel. The Practice of Everyday Life. Translated by Steven Rendall. Berkeley: University of California Press, 1984, 1988.
de Certeau, Michel. The Writing of History. Translated by Tom Conley. New York: Columbia University Press, 1975, 1988.
de Groote, Pascale. Ballets Suédois: Jean Börlin. Ghent: University of Ghent, 2002.
de Waal, Frans. The Age of Empathy: Nature’s Lessons for a Kinder Society. New York:
Harmony Books, 2009.
Deleuze, Gilles. Cinema 1: The Movement-Image. Minneapolis: University of Minnesota Press, 1986.
Deleuze, Gilles, and Félix Guattari. A Thousand Plateaus. London: Continuum, 1980, 2008. Dewey, John. The Public and its Problems: An Essay in Political Inquiry. Edited by Melvin L.
Rogers. University Park, PA: The Pennsylvania State University, 2012.
di Giovanni, Janine. Madness Visible: A Memoir of War. London: Bloomsbury, 2005.
Djetelić, Pera, and Dragan Maršičević. Narodna Omladina i Jugoslovenski Kongres za Fizičku Kulturu. Beograd: Mladost, 1959.
Djurić, Dubravka, and Miško Šuvaković, eds. Impossible Histories: Historical Avant-gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918 - 1991. Cambridge: MIT Press, 2003.
Donawerth, Jane, ed. Rhetorical Theory by Women before 1900: An Anthology. Lanham, MD: Rowman & Littlefield Publishers, Inc, 2002.
Dörr, Evelyn. Rudolf Laban: The Dancer of the Crystal. Lanham, Maryland: The Rowman & Littlefield Publishing Group, Inc., 2008.
Drakulić, Slavenka. Balkan Express: Fragments from the Other Side of War. London: Hutchinson, 1993.
Drakulić, Slavenka. They Would Never Hurt a Fly: War Criminals on Trial in the Hague. New York: Penguin, 2005.
Drapag, Vesna. Constructing Yugoslavia: A Transnational History. London: Palgrave Macmillan, 2010.
Duncan, Carol. Civilizing Rituals: Inside Public Art Museums. Abingdon: Routledge, 1995. Eamon, Christopher. Rearview Mirror: New Art from Central and Eastern Europe. Edmonton:
Art Gallery of Alberta, 2011.
Eichberg, Henning, ed. Body Cultures: Essays on Sport, Space, and Identity. London, New York: Routledge, 1998.
Elias, Norbert. The Civilizing Process. Sociogenetic and Psychogenetic Investigations. Oxford: Blackwell, 1939, 2000.
Elias, Norbert, and Eric Dunning. Quest for Excitement: Sport and Leisure in the Civilising Process. Dublin: University of College Dublin Press, 2008.
Enwezor, Okwui. Archive Fever: Uses of the Document in Contemporary Art. Göttingen: Steidl Publishers, 2008.
Erjavec, Aleš, ed. Postmodernism and the Postsocialist Condition: Politicized Art under Late Socialism. Berkeley: University of California Press, 2003.
Fer, Briony, and David Batchelor, Paul Wood. Realism, Rationalism, Surrealism: Art Between the Wars. New Haven: Yale University Press, 1993.
Finn, David. How to Visit A Museum. New York: Abrams, 1985.
Fleming, Bruce. Running is Life: Transcending the Crisis of Modernity. Lanham: University
Press of America, Inc, 2010.
Forrester, Sibelan E.S., and Magdalena J. Zaborowska, Elena Gapova, eds. Over the Wall/After the Fall: Post-Communist Cultures Through an East-West Gaze. Bloomington: Indiana University Press, 2004.
Foster, Hal. The Return of the Real: The Avant-Garde at the End of the Century. Cambridge: MIT Press, 1996.
Foster, Hal. “What’s Neo about the Neo-Avant-Garde?” October. Volume 70, The Duchamp Effect (Autumn, 1994), 5 - 32.
Foucault, Michel. Discipline and Punish: The Birth of the Prison. Translated by Alan Sheridan. New York: Vintage Books, Random House, Inc, 1977, 1995.
Foucault, Michel. The History of Sexuality Volume 1. Translated by Robert Hurley. New York: Pantheon Books, 1978.
Foucault, Michel. Power/Knowledge: Selected Interviews & Other Writings, 1972 - 1977. Edited by Colin Gordon. New York: Pantheon Books,1972, 1980.
Fraleigh, Sondra Horton. Dance and the Lived Body: A Descriptive Aesthetics. Pittsburgh: University of Pittsburgh Press, 1987.
Frampton, Hollis. “Eadweard Muybridge: Fragments of a Tesseract.” In On the Camera Arts and Consecutive Matters: The Writings of Hollis Frampton. Cambridge: MIT Press, 2009.
Fried, Michael. Four Honest Outlaws: Sala, Ray, Marioni, Gordon. New Haven: Yale University Press, 2011.
Gallagher, Catherine, and Thomas Laqueur, eds. The Making of the Modern Body: Sexuality and Society in the Nineteenth Century. Berkeley: University of California Press, 1987.
Gamwell, Lynn, ed. Dreams Nineteen Hundred to Two Thousand: Science, Art, and the Unconscious Mind. Binghamton: State University of New York at Binghamton, 2000.
Gay, Peter. Savage Reprisals: Bleak House, Madame Bovary, Buddenbrooks. New York: W.W. Norton & Company, 2002.
Gehm, Sabine, and Pirkko Husemann, Katharina von Wilke, eds. Knowledge in Motion: Perspectives of Artistic and Scientific Research in Dance. Translated by Bettina von Arps- Aubert. Bielefeld: Transcript, 2007.
Genoways, Hugh H., ed. Museum Philosophy for the Twenty-First Century. Oxford: AltaMira Press, 2006.
Geoghegan, Bernard Dionysius. “After Kittler: On the Cultural Techniques of Recent German Media Theory.” Theory Culture Society (August 2013).
Gidal, Peter. Materialist Film. London: Routledge, 1989.
Giedion, Siegfried. Space, Time, and Architecture: The Growth of a New Tradition. Cambridge:
Harvard University Press, 1974.
Godard, Jean-Luc. Godard on Godard. Edited by Jean Narboni and Tom Milne. New York: The Viking Press, 1968, 1972.
Gödl, Doris. “Challenging the Past: Serbian and Croatian Aggressor-Victim Narratives.” International Journal of Sociology 37. No. 1 (2007).
Goldberg, Roselee. Performance: Live Art Since the ‘60s. London: Thames & Hudson, 2004.
Goldberg, Roselee. Performance Art: From Futurism to the Present. London: Thames & Hudson, 2001.
Goldberg, Vicki, ed. Photography in Print: Writings from 1816 to the Present. New York: Simon and Schuster, 1981.
Golding, Sue, ed. The Eight Technologies of Otherness. London: Routledge, 1997. Gotaas, Thor. Running: A Global History. London: Reaktion Books, 2009.
Grau, Andrée, and Stephanie Jordan. Europe Dancing: Perspectives on Theatre, Dance, and Cultural Identity. New York: Routledge, 2000.
Grigorov, Dimitar. “‘Рачунајте на нас.’ ‘Oдломак’ о Титовој штафети или Штафети младости.” In Друштвену историју. Belgrade: 2008.
Grimes, Ronald L. Beginnings in Ritual Studies. Columbia: University of South Carolina Press, 1995.
Groys, Boris. Introduction to Antiphilosophy. Translated by David Fernbach. London: Verso, 2012.
Groys, Boris. The Communist Postscript. Translated by Thomas Ford. London: Verso, 2010. Groys, Boris, and Ann von der Heiden, Peter Weibel, eds. Zurück aus der Zukunft.
Osteuropäische Kulturen im Zeitalter des Postkommunismus. Berlin: Suhrkamp, 2005.
Gržinić, Marina, and Günther Heeg, Veronika Darian. Mind the Map! History is not a Given: A
th th
Critical Anthology Based on the Symposium [Leipzig, 13 -16 October 2005]. Frankfurt:
Revolver, 2006.
Guttman, Allen. “Sport, Politics, and the Engaged Historian.” Journal of Contemporary History. Volume 38, Number 3 (2003).
Hardt, Michael, and Antonio Negri. Empire. Boston, Harvard University Press, 2001. Hargreaves, Jennifer, and Patricia Anne Vertinsky, eds. Physical Culture, Power, and the Body.
New York: Routledge, 2007.
Harris, Mary Emma. The Arts at Black Mountain College. Cambridge: MIT Press, 1987, 2002.
Harte, Jane L., et. al. “The effects of running and meditation on beta-endorphin, corticotropin- releasing hormone and cortisol in plasma, and on mood.” Biological Psychology. Volume 40, Issue 3 (June 1995).
Harte, Jane L., and Georg H. Eifert. “The effects of running, environment, and attentional focus on athletes’ catecholamine and cortisol levels and moods.” Psychophysiology. Volume 32, Issue 1 (January 1995).
Havránek, Vít, ed. Jiří Kovanda: Actions and Installations, 2005-1976. Zurich: Tranzit & JRP|Ringier, 2006.
Helme, Sirje. PopKunst Forever: Estonian Pop Art at the Turn of the 1960s and 1970s. Tallinn: Art Museum of Estonia - Kumu Art Museu, 2010.
Hemmings, Frederick William John, ed. The Age of Realism. Baltimore: Penguin Books, 1974. Hendricks, Gordon. Eadweard Muybridge: The Father of the Motion Picture. New York:
Grossman Publishers, of Viking Press, 1975.
Henning, Michelle. Museums, Media, and Cultural Theory. New York: Open University Press, 2006.
Hewitt, Andrew. Social Choreography: Ideology as Performance in Dance and Everyday Movement. Durham: Duke University Press, 2005.
Higgins, Steven. Still Moving: The Film and Media Collections of the Museum of Modern Art. New York: The Museum of Modern Art, 2006.
Hoberman, John M. “Sport and Political Ideology.” Journal of Sport and Social Issues. Volume 1, Number 2 (1977).
Hodgson, John. Mastering Movement: The Life and Work of Rudolf Laban. New York: Routledge, 2001.
Hoelzl, Ingrid, and Friedrich Tietjen, eds. Images in Motion. Burges: Die Keure, 2012. Husserl, Edmund. The Phenomenology of Internal Time-Consciousness. Edited by Martin
Heidegger. Translated by James S. Churchill. Bloomington: Indiana University Press, 1964.
IRWIN, ed. East Art Map: Contemporary Art and Eastern Europe. London: Afterall and MIT Press, 2006.
Ivey, Paul Eli. Radiance from Halcyon: A Utopian Experiment in Religion and Science. Minneapolis: University of Minnesota Press, 2013.
Jameson, Frederic. Postmodernism, or, The Cultural Logic of Late Capitalism. Durham: Duke University Press,1991.
Janevski, Ana, ed. As Soon as I Open My Eyes I See a Film: Experiment in the Art of Yugoslavia in the 1960s and 1970s. Warsaw: Museum of Modern Art, 2010.
Jarausch, Konrad H., and Michael Geyer. Shattered Past: Reconstructing German Histories. Princeton, NJ: Princeton University Press, 2003.
Jones, Amelia. Body Art/Performing the Subject. Minneapolis: University of Minnesota Press, 1998.
Jones, Amelia, and Adrian Heathfield. Perform, Repeat, Record: Live Art in History. Chicago: University of Chicago Press, 2012.
Jones, Amelia. “The Body and Technology.” Art Journal. Volume 60, Number 1 (Spring, 2001). Joseph, Brandon W. Random Order: Robert Rauschenberg and the Neo-avant-garde.
Cambridge: MIT Press, 2003.
Joy, Jenn. The Choreographic. Cambridge: MIT Press, 2014.
Jünger, Ernst. “War and Photography.” Translated by Anthony Nassar. New German Critique. Number 59 (Spring-Summer, 1993).
Kater, Michael H. Hitler Youth. Cambridge, Mass.: Harvard University Press, 2004. Kebo, Ozren. Sarajevo za početnike. Sarajevo: Dani, 1996.
Kelley, Jeff, ed. Essays on the Blurring of Art and Life. Berkley: University of California Press, 1993, 2003.
Kern, Stephen. The Culture of Time and Space. Cambridge, Mass: Harvard University Press, 1983.
Kester, Grant H. Conversation Pieces: Community and Communication in Modern Art. Berkley: University of California Press, 2004.
Kholeif, Omar. Moving Image. London: Whitechapel, 2015.
Kirkpatrick, Sidney. The Revenge of Thomas Eakins. New Haven: Yale University Press, 2006.
Kirn, Gal, and Dubravka Sekulić, Žiga Testen, eds. Surfing the Black: Yugoslav Black Wave Cinema and its Transgressive Moments. Maastricht: Jan van Eyck Academie, 2012.
Kittler, Friedrich A. Gramophone, Film, Typewriter. Stanford: Stanford University Press, 1999. Klinger, Cornelia, and Bartomeu Mari. Modernologies: Contemporary Artists Researching
Modernity and Modernism. Barcelona: Museu d’Art Contemporani de Barcelona, 2009.
Knell, Simon J., et al., eds. National Museums: New Studies from around the World. New York:
Routledge, 2011.
Knudson, Duane. Fundamentals of Biomechanics, Second Edition. New York: Springer, 2007.
Knust, Albrecht. Handbook of Kinetography Laban: Examples. Hamburg: Das Tanzarchiv, 1958. Koch, Sabine, et al. Body Memory, Metaphor, and Movement. Philadelphia: John Benjamins
Publishing Company, 2012.
Krauss, Rosalind E. “Sculpture in the Expanded Field.” October. Volume 8 (Spring 1979).
Krauss, Rosalind E. The Originality of the Avant-Garde and Other Modernist Myths. Cambridge: MIT Press, 1985.
Kuligowski, Waldemar. “A Relay of Youth of the 21st Century. A Re-enactment of Ritual or a Grotesque Performance?” Cargo. Volume 10, Number 1 - 2 (2012).
Kwon, Miwon. One Place After Another: Site-Specific Art and Locational Identity. Cambridge: MIT Press, 2002.
LaBelle, Brandon. Background Noise: Perspectives on Sound Art. London and New York: Continuum International Publishing Group, 2006.
Lakoff, George, and Mark Johnson. Metaphors We Live By. Chicago: University of Chicago Press, 1980.
Landsberg, Alison. Prosthetic Memory: The Transformation of American Remembrance in the Age of Mass Culture. New York: Columbia University Press, 2004.
Laws, Kenneth, and Francia Russell. Physics and the Art of Dance: Understanding Movement. Oxford: Oxford University Press, 2002.
le Blanc, Guillaume. Courir: Méditations Physiques. Paris: Éditions Flammarion, 2012.
Leahy, Helen Rees. Museum Bodies: The Politics of Practices of Visiting and Viewing. Surrey,
England: Ashgate, 2012.
Lederman, Gail. Manliness and Civilization: A Cultural History of Gender and Race in the
United States, 1880 - 1917. Chicago: The University of Chicago Press, 1995. Lefebvre, Henri. The Production of Space. Oxford: Blackwell, 1991.
Lehman, Arnold L., and Brenda Richardson, eds. Oskar Schlemmer. Baltimore: The Baltimore Museum of Art, 1986.
Lemke, Thomas. Bio-Politics: An Advanced Introduction. Translated by Eric Frederick Trump. New York: New York University Press, 2011.
Lepage, Jean-Denis G.G. Hitler Youth, 1922 - 1945: An Illustrated History. London: McFarland & Company, Inc.,2009.
Lepecki, André, ed. Dance: Documents of Contemporary Art. London: MIT Press and WhiteChapel Gallery, 2012.
Leposavić, Radonja. vlasTito iskustvo. Belgrade: Publikum, 2005.
Licht, Alan. Sound Art: Beyond Music, Between Categories. New York: Rizzoli International
Publications, 2007.
Lippard, Lucy. Six Years: The Dematerialization of the Art Object from 1966 to 1972. Berkley: University of California Press, 1973.
Loland, Sigmund, and Berit Skirstad, Ivan Waddington. Pain and Injury in Sport: Social and Ethical Analysis. New York: Routledge, 2006.
Luthar, Breda, and Maruša Pušnik, eds. Remembering Utopia: The Culture of Everyday Life in Socialist Yugoslavia. Washington, D.C.: New Academia Publishers, 2010.
Mackay, Robin, and Armen Avanessian, eds. #Accelerate: The Accelerationist Reader. Falmouth, UK: Urbanomic, 2014.
Malcolm, Noel. Bosnia: A Short Story. London: MacMillan, 1994.
Maletic, Vera. Body - Space - Expression: The Development of Rudolf Laban’s Movement and
Dance Concepts. Amsterdam: Mouton de Gruyter, 1987.
Marie, Michel. The French New Wave: An Artistic School. Translated by Richard Neupert.
Oxford: Blackwell Publishing, 1997.
Marien, Mary Warner. Photography: A Cultural History. 2nd Edition. London: Laurence King Publishing Ltd, 2002, 2006.
Marks, Laura. Touch: Sensuous Theory and Multisensory Media. Minneapolis: University of Minnesota Press, 2002.
Marvin, Carolyn. When Old Technologies Were New: Thinking about Electric Communication in the Late Nineteenth Century. Oxford: Oxford University Press, 1988.
Mathews, Nancy Mowll. “The Body in Motion.” In Moving Pictures: American Art and Early Film, 1880 - 1910. Manchester, Vermont: Hudson Hills Press, 2005.
Mauss, Marcel. “Techniques of the Body” (1934). In Incorporations, Zone 6. Edited by Jonathan Crary and Sanford Kwinter. New York: Zone, 1992.
Mazower, Mark. Dark Continent: Europe’s Twentieth Century. New York: A.A. Knopf, 1999.
McGinnis, Peter M. Biomechanics of Sport and Exercise, Third Edition. Champaign, IL: Human Kinetics, 2013.
McSorley, Kevin, ed. War and the Body: Militarisation, Practice and Experience. New York: Routledge, 2013.
Meltzer, Eve. Systems We Have Loved: Conceptual Art, Affect, and the Antihumanist Turn. Chicago: The University of Chicago, 2013.
Merleau-Ponty, Maurice. The Phenomenology of Perception. Translated by Colin Smith. London: Routledge and Kegan Paul, 1962, 1989.
Metz, Christian. Film Language: A Semiotics of the Cinema. Translated by Michael Taylor. New York: Oxford University Press, 1974.
Metz, Christian. “Photography and Fetish.” October. Volume 34 (Autumn, 1985).
Meyer, James. Minimalism: Art and Polemics in the Sixties. New Haven: Yale University Press,
Michelson, Annette, ed. Kino-Eye: The Writings of Dziga Vertov. Translated by Kevin O’Brien. Berkeley: University of California Press, 1984.
Mirzoeff, Nicholas, ed. The Visual Culture Reader, Second Edition. New York: Routledge, 1998, 2002.
Mishima, Yukio. Sun and Steel: His Personal Testament on Art, Action, and Ritual Death. New York: Kodansha, 1970.
Mondloch, Kate. Screens: Viewing Media Installation Art. Minneapolis: The University of Minnesota Press, 2010.
Moore, Sarah J. Empire on Display: San Francisco’s Panama-Pacific International Exposition of 1915. Norman, OK: University of Oklahoma Press, 2013.
Morgan, William P. “Affective beneficence of vigorous physical activity.” Medicine and Science in Sports and Exercise. Volume 17, Number 1 (February 1985).
Morse, Meredith. Soft is Fast: Simone Forti in the 1960s and After. Cambridge: MIT Press, 2016.
Mosse, George L. The Image of Man: The Creation of Modern Masculinity. Oxford: Oxford University Press, 1996.
Motherwell, Robert, ed. Dada Painters and Poets. New Haven: Harvard University Press, 1981.
Mozley, Anita Ventura, ed. Eadweard Muybridge: The Stanford Years, 1872 - 1882. San Francisco: Stanford University, 1972.
Mulvey, Laura. Death 24x a Second: Stillness and the Moving Image. London: Reaction books, 2006.
Mumford, Lewis. Technics and Civilization. London: Routledge & Kegan Paul LTD, 1934, 1955.
Muñoz, José Esteban. Disidentifications: Queers of Color and the Performance of Politics. Minneapolis: The University of Minnesota Press, 1999.
Musolff, Andreas. Metaphor, Nation, and the Holocaust: The Concept of the Body Politic. New York: Routledge, 2010.
New Collectivism, ed. Neue Slowenische Kunst. Translated by Marjan Golobič. Hong Kong: Paramount Printing, 1991.
Newman, Michael, and Jon Bird, eds. Rewriting Conceptual Art. London: Reaction Books, 1999. O’Doherty, Brian. Inside the White Cube: The Ideology of the Gallery Space. Berkley:
University of California Press, 1986.
O’Rourke, Karen. Walking and Mapping: Artists as Cartographers. Cambridge: MIT Press, 2013.
Obrist, Hans Ulrich. Do It: The Compendium. New York: Independent Curators International/D.A.P., 2013.
Partsch-Bergsohn, Isa. Modern Dance in Germany and the Untied States: Crosscurrents and Influences. Chur: Harwood Academic Publishers, 1994.
Passerini, Luisa, ed. Memory and Totalitarianism. Oxford: Oxford University Press, 1992. Pavković, Aleksandar. The Fragmentation of Yugoslavia: Nationalism and War in the Balkans,
Second Edition. New York: St. Martin’s Press, 2000.
Pegrum, Mark A. Challenging Modernity: Dada Between Modern and Postmodern. Oxford: Berghahn Books, 2000.
Peiffer, Lorenz. Sport im Nationalsozialismus: Zum aktuellen Stand der sporthistorischen Forschung. Göttingen: Verlag Die Werkstaat, 2004, 2015.
Pejić, Bojana, and David Elliot. After the Wall: Art and Culture in Post-Communist Europe. Stockholm: Moderna Museet, 1999.
Penz, Otto. “Sport and Speed.” International Review for the Sociology of Sport. Volume 25, Number 2 (June 1990).
Peoples, Crocker. “A Psychological Analysis of the ‘Runner’s High’ (Human Performance).” Physical Educator. Volume 40, Number 1 (March 1, 1983).
Perica, Vjekoslav. Balkan Idols: Religion and Nationalism in Yugoslav States. Oxford: Oxford University Press, 2002.
Petrov, Ana. “Telesni projekti i regulacija normativnog tela: uloga fizičke kulture u Jugoslaviji.” Institut za etnologiju i folkloristiku. Issue 51, Number 2 (2014).
Pfister, Gertrud, ed. Gymnastics, A Transatlantic Movement: From Europe to America. New York: Routledge, 2011.
Phelan, Peggy. Unmarked: The Politics of Performance. New York: Routledge, 1993. Phillips, Christopher, ed. Photography in the Modern Era: European Documents and Critical
Writings, 1913 - 1940. New York: The Metropolitan Museum of Art/Aperature, 1990. Phillips, Murray G. Deconstructing Sport History: A Postmodern Analysis. Albany: State
University of New York Press, 2006.
Pissaro, Joachim, et al. Martin Creed: What’s the Point of It? London: Hayward Publishing, 2014.
Piotrowski, Piotr. In the Shadow of Yalta: Art and the Avant-Garde in Eastern Europe, 1945 - 1989. London: Reaktion, 2009.
Preston-Dunlop, Valerie. Rudolf Laban: An Extraordinary Life. London, Dance Books, 1998. Preziosi, Donald. Art Religion Amnesia: The Enchantments of Credulity. New York: Routledge,
Pursell, Caroll. White Heat: People and Technology. Berkley: University of California Press, 1994.
Quercetani, R. L. A World History of Track and Field Athletics 1864-1964. London: Oxford University Press, 1964.
Rabinbach, Anson. The Human Motor: Energy, Fatigue, and the Origins of Modernity. New York: Basic Books, 1990.
Rabinow, Paul, ed. The Foucault Reader. New York: Random House, 1984.
Radstone, Susannah, and Bill Schwarz, Memory: Histories, Theories, Debates. New York: Fordham University Press, 2010.
Rancière, Jacques. Aesthetics and its Discontents. Malden: Polity Press, 2004.
Rancière, Jacques. The Emancipated Spectator. Translated by Gregory Elliot. London: Verso,
Rancière, Jacques. The Politics of Aesthetics: The Distribution of the Sensible. London: Continuum, 2006.
Rees, A.L., and Duncan White, Steven Ball, David Curtis, eds. Expanded Cinema: Art, Performance, Film. London: Tate Publishing, 2011.
Rempel, Gerhard. Hitler’s Children: The Hitler Youth and the SS. Chapel Hill: University of North Carolina Press, 1989.
Richards, Mary. Marina Abramović. New York: Routledge, 2010.
Ricoeur, Paul. Oneself as Another. Translated by Kathleen Blamey. Chicago: University of
Chicago Press, 1992.
Rosa, Hartmut. Beschleunigung und Entfremdung: Entwurf einer Kritischen Theorie
spätmoderner Zeitlichkeit. Berlin: Suhrkamp, 2013.
Rosa, Hartmut, and William E. Scheuerman. High-Speed: Social Acceleration, Power, and
Modernity. University Park, PA: The Pennsylvania State University, 2009.
Rosati, Lauren, and Mary Anne Staniszewski, eds. Alternative Histories: New York Art Spaces,
1960-2010. Cambridge: MIT Press, 2012.
Rosenstone, Robert A., “History in Images/History in Words: Reflections on the Possibility of Really Putting History onto Film.” The American Historical Review. Volume 93. Number 5 (December 1988).
Rossol, Nadine. Performing the Nation in Interwar Germany: Sport, Spectacle, and Political Symbolism, 1926 - 1936. New York: Palgrave Macmillan, 2010.
Roxby-Maude, Alice, On Camera: Performance and Photography. Southampton: John Hansard Gallery, 2007.
Ruyter, Nancy Lee Chalfa. The Cultivation of Body and Mind in Nineteenth-Century American Delsartism. Westport, CT: Greenwood Press, 1999.
Salazar, James B. Bodies of Reform The Rhetoric of Character in Gilded Age America. New York: New York University Press, 2010.
Schechner, Richard. Essays on Performance Theory 1970 - 1976. New York: Drama Book Specialists, 1973, 1977.
Scheerder, Jeroen, and Koen Breedveld, eds. Running Across Europe: The Rise and Size of One of the Largest Sport Markets. New York: Palgrave Macmillan, 2015.
Seckinelgin, H., and Billy Wong, eds. Global Civil Society 2011: Globally and the Absence of Justice. Hampshire: Palgrave Macmillan, 2011.
Sekula, Allan. “The Body and the Archive.” October. Volume 39 (Winter, 1986). Semon, Richard. Die mnemischen Empmfindungen in ihren Beziehungen zu den
Originalempfindungen. Leipzig: W. Engelmann, 1909.
Shawn, Ted. Every Little Movement: A Book About François Delsarte. Pittsfield, MA: The Eagle
Printing and Binding Company, 1954.
Shayt, David H. “Stairway to Redemption: America’s Encounter with the British Prison
Treadmill.” Technology and Culture, Volume 30, Number 4 (Oct. 1989).
Sheridan, Heather, and Leslie Howe, and Keith Thompson, eds. Sporting Reflections: Some
Philosophical Perspectives. Aachen: Meyer & Meyer Verlag, 2007.
Siegmund, Gerald, and Stefan Hölscher, eds. Dance, Politics, and Co-Immunity: Thinking Resistances, Current Perspectives on Politics and Communities in the Arts. Volume 1. Zürich- Berlin: Diaphanes, 2013.
Sileo, Diego, and Eugenio Viola, PAC (Milano), eds. Marina Abramović: The Abramović Method. 2 Volumes. Milan: 24 ORE Cultura, 2012.
Silverman, Kaja. The Subject of Semiotics. New York: Oxford University Press, 1983.
Slevin, Tom. Vision of the Human: Art, World War One and the Modernist Subject. London: I.B.
Tauris, 2015.
Solnit, Rebecca. River of Shadows: Eadweard Muybridge and the Technological Wild West. New York: Viking, 2003.
Solnit, Rebecca. Wanderlust: A History of Walking. London: Verso, 2001.
Sontag, Susan. Against Interpretation and Other Essays. New York: Picador, 1966, 2001. Sontag, Susan. “Fascinating Fascism.” The New York Review of Books (6 February 1975). Sontag, Susan. On Photography. New York: Picador, 1977.
Spieker, Sven. The Big Archive: Art from Bureaucracy. Cambridge: MIT Press, 2008. Stepišnik, Drago. Oris Zgodovine Telesne Kulture na Slovenskem. Ljubljana: Dražavna založba
Slovenija, 1968.
Stipančić, Branka. “‘Zame je resničnost umetnost,’ Intervju s Tomislavom Gotovcem.” Vijenac, Number 123/VI (8 Oct. 1998).
Stoddart, Tom. Sarajevo. Washington, D.C.: Smithsonian Institution Press, 1998.
Stošić, Mirjana. “Body-name — The Brotherhood Chronotype and Social Choreography.”
Култура/Culture (2015).
Suljagić, Emir. Postcards from the Grave. Translated by Lejla Haverić. London: The Bosnian
Institute, 2005.
Susovski, Marijan, ed. The New Art Practice in Yugoslavia, 1966 - 1978. Zagreb: Gallery of Contemporary Art, 1978.
Sutil, Nicolás Salazar. Motion and Representation: The Language of Human Movement. Cambridge: MIT Press, 2015.
Swenson, Kirsten. Irrational Judgements: Eva Hesse, Sol Lewitt, and 1960s New York. New Haven: Yale University Press, 2015.
Szeemann, Harold. Zum freien Tanz, zu reiner Kunst. Rolandseck: Stiftung Hans Arp und Sophie Taeuber-Arp, 1991.
Tagg, John. The Burden of Representation: Essays on Photographies and Histories. Minneapolis: University of Minnesota Press, 1988.
Tilmans, Karin, and Frank van Vree, Jay Winter, eds. Performing the Past: Memory, History, and Identity in Modern Europe. Amsterdam: Amsterdam University Press, 2010.
Tumarkin, Maria M. Traumascapes: The Power and Fate of Places Transformed by Tragedies. Victoria, Australia: Melbourne University Press, 2005.
Udall, Sharyn R. Dance and American Art: A Long Embrace. Madison: University of Wisconsin Press, 2012.
Vacche, Angela Dalle. Film, Art, New Media: Museum without Walls? New York: Palgrave Macmillan, 2012.
Vertinsky, Patricia Anne. The Eternally Wounded Woman: Women, Doctors, and Exercise in the Late Nineteenth Century. Manchester: Manchester University Press, 1989.
Virilio, Paul. The Art of the Motor. Translated Julie Rose. Minneapolis: University of Minnesota Press, 1995.
Weibel, Peter. Beyond Art: A Third Culture. Vienna: Ambra Verlag, 2005.
Wells, Liz, ed. Photography: A Critical Introduction. New York: Rutledge, 1996/2015.
Westcott, James. When Marina Abramović Dies: A Biography. Cambridge: MIT Press, 2010.
White, Hayden. “Historiography and Historiophoty.” The American Historical Review. Volume 93. Number 5 (December 1988).
White, Hayden V. Metahistory: The Historical Imagination in Nineteenth-Century Europe. Baltimore: Johns Hopkins University Press, 1973.
Wiehager, Renate, ed. Moving Pictures: Photography and Film in Contemporary Art. Ostfildern- Ruit, Germany: Hate Cantz Publishers, 2001.
Williams, Raymond. Culture and Society, 1780 - 1950. New York: Columbia University Press, 1958/1983.
Wood, Catherine. Yvonne Rainer: The Mind is a Muscle. London: Afterall, 2007. Wood, Denis. The Power of Maps. New York: Guilford Press, 2010.
Woodward, Susan L. Balkan Tragedy: Chaos and Dissolution after the Cold War. Washington, D.C.: The Brookings Institution, 1995.
Young, Kevin. Deviance and Social Control in Sport. Champaign, IL: Human Kinetics, 2008. Youngblood, Gene. Expanded Cinema. New York: E.P. Dutton and Co., 1970.
Zelizer, Barbie, ed. Visual Culture and the Holocaust. New Brunswick: Rutgers University Press, 2001.
Zidić, Igor, and Ana Dević, Antonio Gotovac Lauer a.k.a. Tomislav Gotovac. Antonio Gotovac Lauer: Čelična mreža. Zagreb: Moderna Galerija and Studio Josip Račič, 2006.
Zorn, John W., ed. The Essential Delsarte. Metuchen, NJ: The Scarecrow Press, Inc, 1968.
Žižek, Slavoj. The Indivisible Remainder: An Essay on Schelling and Related Matters. London: Verso, 1996.
----
------------about Venice Biennale history from wikipedia ---------
curators previous
* 1948 – Rodolfo Pallucchini
* 1966 – Gian Alberto Dell'Acqua
* 1968 – Maurizio Calvesi and Guido Ballo
* 1970 – Umbro Apollonio
* 1972 – Mario Penelope
* 1974 – Vittorio Gregotti
* 1978 – Luigi Scarpa
* 1980 – Luigi Carluccio
* 1982 – Sisto Dalla Palma
* 1984 – Maurizio Calvesi
* 1986 – Maurizio Calvesi
* 1988 – Giovanni Carandente
* 1990 – Giovanni Carandente
* 1993 – Achille Bonito Oliva
* 1995 – Jean Clair
* 1997 – Germano Celant
* 1999 – Harald Szeemann
* 2001 – Harald Szeemann
* 2003 – Francesco Bonami
* 2005 – María de Corral and Rosa Martinez
* 2007 – Robert Storr
* 2009 – Daniel Birnbaum
* 2011 – Bice Curiger
* 2013 – Massimiliano Gioni
* 2015 – Okwui Enwezor
* 2017 – Christine Macel[19]
* 2019 – Ralph Rugoff[20]
----------
#art #artist #artistic #artists #arte #artwork
Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal
venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس 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ಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist
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 ,DOCUMENTA KASSEL ATHENS
* Dakar
kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער
Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya
Thierry Geoffroy / Colonel
#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist
#artformat #formatart
#emergencyart #urgencyart #urgentart #artofthenow #nowart
emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart
#InstitutionalCritique
#venicebiennale #venicebiennale2017 #venicebiennale2015
#venicebiennale2019
#venice #biennale #venicebiennale #venezia #italy
#venezia #venice #veniceitaly #venicebiennale
#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday
#biennalevenice
Institutional Critique
Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology
Racial and Ethnic Identity, Neo-Conceptualism, Diaristic
Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,
Culture, Collective History, Group of Portraits, Photographic Source
, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary
War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict
Personal Histories, Alter Egos and Avatars
Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text
Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism
Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis
—-
CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.
Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.
It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...
The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...
Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...
Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .
www.emergencyrooms.org/criticalrun.html
www.emergencyrooms.org/formats.html
-------
In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center
------
for activating the format or for inviting the installation
please contact 1@colonel.dk
-----
critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,
Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary
,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat
,now art,copenhagen,denmark
Sugar seems to have developed a reputation as the big bad wolf in relation to health. We have reported on numerous studies associating sugar intake with increased aging, cardiovascular disease, obesity and even cancer. Such research has led to many health experts around the globe calling for...
www.isteuygun.com/rat-problems-in-poor-neighborhoods-link...
Pictures taken in February 1983 - digitally captured from paper print.
_______________________________________
Borneo (/ˈbɔːrnioʊ/; Indonesian: Kalimantan, Malay: Borneo) is the third-largest island in the world and the largest island in Asia.[1] At the geographic center of Maritime Southeast Asia, in relation to major Indonesian islands, it is located north of Java, west of Sulawesi, and east of Sumatra.
The island is politically divided among three countries: Malaysia and Brunei in the north, and Indonesia to the south. Approximately 73% of the island is Indonesian territory. In the north, the East Malaysian states of Sabah and Sarawak make up about 26% of the island. Additionally, the Malaysian federal territory of Labuan is situated on a small island just off the coast of Borneo. The sovereign state of Brunei, located on the north coast, comprises about 1% of Borneo's land area. Antipodal to an area of Amazon rainforest, Borneo is itself home to one of the oldest rainforests in the world. It is home to Bornean orangutans.
ETYMOLOGY
The island is known by many names; internationally it is known as Borneo, after Brunei, derived from European historical contact with the kingdom in the 16th century during the Age of Exploration. The name Brunei possibly was initially derived from the Sanskrit word "váruṇa" (वरुण), meaning either "ocean" or the mythological Varuna, the Hindu god of the ocean. Indonesian natives called it Kalimantan, which was derived from the Sanskrit word Kalamanthana, meaning "burning weather island" (to describe its hot and humid tropical weather).
Prior to that the island was also known by other names. In 977 Chinese records began to use the term Po-ni to refer to Borneo. In 1225 it was also mentioned by the Chinese official Chau Ju-Kua (趙汝适). The Javanese manuscript Nagarakretagama, written by Majapahit court poet Mpu Prapanca in 1365, mentioned the island as Nusa Tanjungnagara, which means the island of the Tanjungpura Kingdom.
GEOGRAPHY
Borneo is surrounded by the South China Sea to the north and northwest, the Sulu Sea to the northeast, the Celebes Sea and the Makassar Strait to the east, and the Java Sea and Karimata Strait to the south. To the west of Borneo are the Malay Peninsula and Sumatra. To the south and east are islands of Indonesia: Java and Sulawesi, respectively. To the northeast are the Philippine Islands.
With an area of 743.330 square kilometres, it is the third-largest island in the world, and is the largest island of Asia (the largest continent). Its highest point is Mount Kinabalu in Sabah, Malaysia, with an elevation of 4095 m.
The largest river system is the Kapuas in West Kalimantan, with a length of 1143 km. Other major rivers include the Mahakam in East Kalimantan (980 km long), the Barito in South Kalimantan (880 km long), and Rajang in Sarawak (562,5 km long).
Borneo has significant cave systems. Clearwater Cave, for example, has one of the world's longest underground rivers. Deer Cave is home to over three million bats, with guano accumulated to over 100 metres deep.
Before sea levels rose at the end of the last Ice Age, Borneo was part of the mainland of Asia, forming, with Java and Sumatra, the upland regions of a peninsula that extended east from present day Indochina. The South China Sea and Gulf of Thailand now submerge the former low-lying areas of the peninsula. Deeper waters separating Borneo from neighbouring Sulawesi prevented a land connection to that island, creating the divide known as Wallace's Line between Asian and Australia-New Guinea biological regions.
ECOLOGY
The Borneo rainforest is 140 million years old, making it one of the oldest rainforests in the world. There are about 15000 species of flowering plants with 3000 species of trees (267 species are dipterocarps), 221 species of terrestrial mammals and 420 species of resident birds in Borneo. There are about 440 freshwater fish species in Borneo (about the same as Sumatra and Java combined). It is the centre of the evolution and distribution of many endemic species of plants and animals. The Borneo rainforest is one of the few remaining natural habitats for the endangered Bornean orangutan. It is an important refuge for many endemic forest species, including the Borneo elephant, the eastern Sumatran rhinoceros, the Bornean clouded leopard, the Hose's palm civet and the dayak fruit bat.
In 2010 the World Wide Fund for Nature stated that 123 species have been discovered in Borneo since the "Heart of Borneo" agreement was signed in 2007.
The WWFN has classified the island into seven distinct ecoregions. Most are lowland regions:
- Borneo lowland rain forests cover most of the island, with an area of 427500 square kilometres;
- Borneo peat swamp forests;
- Kerangas or Sundaland heath forests;
- Southwest Borneo freshwater swamp forests; and
- Sunda Shelf mangroves.
- The Borneo montane rain forests lie in the central highlands of the island, above the 1000 metres elevation. The highest elevations of Mount Kinabalu are home to the Kinabalu mountain alpine meadow, an alpine shrubland notable for its numerous endemic species, including many orchids.
The island historically had extensive rainforest cover, but the area was reduced due to heavy logging for the Malaysian and Indonesian plywood industry. Half of the annual global tropical timber acquisition comes from Borneo. Palm oil plantations have been widely developed and are rapidly encroaching on the last remnants of primary rainforest. Forest fires of 1997 to 1998, started by the locals to clear the forests for plantations were exacerbated by an exceptionally dry El Niño season, worsening the annual shrinkage of the rainforest. During these fires, hotspots were visible on satellite images and the resulting haze affected four countries: Brunei, Malaysia, Indonesia, and Singapore.
In 2010 Sarawak announced a plan for energy production, the Sarawak Corridor of Renewable Energy, to try to establish sustainability.
HISTORY
EARLY HISTORY
According to ancient Chinese, Indian and Javanese manuscripts, western coastal cities of Borneo had become trading ports by the first millennium. In Chinese manuscripts, gold, camphor, tortoise shells, hornbill ivory, rhinoceros horn, crane crest, beeswax, lakawood (a scented heartwood and root wood of a thick liana, Dalbergia parviflora), dragon's blood, rattan, edible bird's nests and various spices were described as among the most valuable items from Borneo. The Indians named Borneo Suvarnabhumi (the land of gold) and also Karpuradvipa (Camphor Island). The Javanese named Borneo Puradvipa, or Diamond Island. Archaeological findings in the Sarawak river delta reveal that the area was a thriving trading centre between India and China from the 6th century until about 1300.
One of the earliest evidence of Hindu influence in Southeast Asia were stone pillars which bear inscriptions in the Pallava script, found in Kutai along the Mahakam River in East Kalimantan, dating to around the second half of the 4th century.
By the 14th century, Borneo was under the control of the Majapahit kingdom based in present-day Indonesia. Muslims entered the island and converted many of the indigenous peoples to Islam.
During the 1450s, Shari'ful Hashem Syed Abu Bakr, an Arab born in Johor, arrived in Sulu from Malacca. In 1457, he founded the Sultanate of Sulu; he titled himself as "Paduka Maulana Mahasari Sharif Sultan Hashem Abu Bakr". The Sultanate of Brunei, during its golden age from the 15th century to the 17th century, ruled a large part of northern Borneo. In 1703 (other sources say 1658), the Sultanate of Sulu received the eastern part of North Borneo from the Sultan of Brunei, after Sulu sent aid against a rebellion in Brunei.
DUTCH AND BRITISH CONTROL
The Sultanate of Brunei granted large parts of land in Sarawak in 1842 to the English adventurer James Brooke, as reward for his having helped quell a local rebellion. Brooke established the Kingdom of Sarawak and was recognised as its rajah after paying a fee to the Sultanate. He established a monarchy, and the Brooke dynasty (through his nephew and great-nephew) ruled Sarawak for 100 years; the leaders were known as the White Rajahs.
In the early 19th century, British and Dutch governments signed the Anglo-Dutch Treaty of 1824 to exchange trading ports under their controls and assert spheres of influence. This resulted in indirectly establishing British- and Dutch-controlled areas in Borneo, in the north and south, respectively. The Malay and Sea Dayak pirates preyed on maritime shipping in the waters between Singapore and Hong Kong from their haven in Borneo.
The British North Borneo Company controlled the territory of North Borneo (present-day Sabah) from 1882 to 1941.
WORLD WAR II
During World War II, Japanese forces gained control and occupied Borneo (1941–45). They decimated many local populations and killed Malay intellectuals, executing all the Malay Sultans of Kalimantan in the Pontianak incidents. Sultan Muhammad Ibrahim Shafi ud-din II of Sambas in Kalimantan was executed in 1944. The Sultanate was thereafter suspended and replaced by a Japanese council.[19] During the Japanese occupation, the Dayak played a role in guerrilla warfare against the occupying forces, particularly in the Kapit Division. They temporarily revived headhunting of Japanese toward the end of the war. Allied Z Special Unit provided assistance to them. After the Fall of Singapore, the Japanese sent several thousand British and Australian prisoners of war to camps in Borneo. At one of the worst sites, around Sandakan in Borneo, only six of some 2500 prisoners survived. In 1945, the Japanese were defeated by the Allies.
RECENT HISTORY
Borneo was the main site of the confrontation between Indonesia and Malaysia between 1962 and about 1969. The British Army was deployed against the Indonesians and communist revolts to gain control of the whole area. Before the formation of Malaysian Federation, the Philippines claimed that the eastern part of the Malaysian state of Sabah was within their territory. They based this on the history of the Sultanate of Sulu's leasing agreement with the British North Borneo Company.
In 1962 Brunei Revolt, Brunei People's Party wanted to reunify Brunei, Sarawak and Sabah into one federation known as North Borneo Federation or Kesatuan Negara Kalimantan Utara in Malay where the Sultan of Brunei would be the Head of State for the federation. This caused a civil war for few days in British Protectorate Stats of Brunei and Sarawak State.
DEMOGRAPHICS
Borneo has 19,8 million inhabitants (in mid-2010), a population density of 26 inhabitants per square km. Most of the population lives in coastal cities, although the hinterland has small towns and villages along the rivers. The population consists mainly of Dayak ethnic groups, Malay, Banjar, Orang Ulu, Chinese and Kadazan-Dusun. The Chinese, who make up 29% of the population of Sarawak and 17% of total population in West Kalimantan, Indonesia are descendants of immigrants primarily from southeastern China.
In Kalimantan since the 1990s, the Indonesian government has undertaken an intense transmigration program; to that area it financed the relocation of poor, landless families from Java, Madura, and Bali. By 2001, transmigrants made up 21% of the population in Central Kalimantan. Since the 1990s, the indigenous Dayak and Malays have resisted encroachment by these migrants: violent conflict has occurred between some transmigrant and indigenous populations. In the 1999 Sambas riots, Dayaks and Malays joined together to massacre thousands of the Madurese migrants. In Kalimantan, thousands were killed in 2001 fighting between Madurese transmigrants and the Dayak people in the Sampit conflict.
ADMINISTRATION
The island of Borneo is divided administratively by three countries.
- The Indonesian provinces of East, South, West, North and Central Kalimantan, Kalimantan
- The Malaysian states of Sabah and Sarawak (The Federal Territory of Labuan is located on nearshore islands of Borneo, on the island of Borneo itself.)
- The independent country of Brunei (main part and eastern exclave of Temburong)
WIKIPEDIA
Record number: B-10 02687
Title: Reflexions on man, and his relation to other beings.
Imprint: London, J. Wilford 1733.
Binding description: Covers finished in gold with a 3-line fillet forming a panel with to a dentelle border featuring a royal crown motif.
Extent: 200 x 125 mm.
Rights info: No known restrictions on access
Repository: Thomas Fisher Rare Book Library, University of Toronto, Toronto, Ontario Canada, M5S 1A5, library.utoronto.ca/fisher
* No relation to Richard I Plantagenet, King of England, known as Richard Cœur de Lion or Richard the Lionheart, son to Henry II Plantagenet and Eleanor of Aquitaine, historic figures that my Flickr friend grandma Eleanor WHU (www.flickr.com/photos/elcog2010/) is very fond of!
- En cœur de lion*
* Aucune relation avec Richard Ier Plantagenêt, roi d'Angleterre, connu sous le nom de Richard Cœur de Lion, fils d'Henri II Plantagenêt et d' Aliénor d'Aquitaine, figures historiques dont l'ami Flickr grand-mère Eleanor WHU (www.flickr.com/photos/elcog2010/) y est très friande!
The Pacific waters rise and retreat in relation to the dance of Earth and Moon. La Jolla, CA.
See a similar image from that evening: www.flickr.com/photos/nchill4x4/6680407887/in/photostream
Lens: Tokina 11-16 mm f/2.8
Focal Length: 16 mm
Exposure: 2.0 sec at f/16
ISO: 200
Filters: Reverse Grad ND4 over the sky
20120110-072-D300s
google+ | facebook | twitter | blog | email
All Rights Reserved © Nick Chill
This image may not be used on websites, or any other media, without
explicit consent from the photographer. You may blog the image with a link
to the image page.
“This is a fantastically beautiful and not visited by many people for some reason but it is well worth a visit any time of the year. It is extremely tranquil and the walk around it is beautiful. Very close to Aviemore and easily accessible. Definitely a great spot for quiet picnic and away from the crowds.“
Pityoulish abounds with early archaeological remains and whilst the Pictish language has been lost, the prefix Pit- indicating a portion of land, betrays the early Pictish origins of the property.
Later, during the clan period, one of the Westernmost estates of the powerful Dukes of Gordon, Pityoulish was sold between the two World Wars when the vast Richmond & Gordon estates were broken up, eventually coming into the ownership of Sir Herbert Ogilvy of Inverquharity, who after the accidental death of his adopted son, a keen mountaineer, whilst climbing in the Cairngorms, left it in 1956 to his distant relation, the present owners (grand)father.
The Water Kelpie, a horse-like creature was rumoured to haunt Scottish lochs and rivers and lure unsuspecting humans to catastrophe in the cold waters. Loch Pityoulish, near Aviemore, was thought to have been a haunt of the shape-shifting kelpie. It was here that a kelpie was said to have carried off and drowned nine children, who were attracted by the ‘pretty pony’. And the moral of the story? “Things are not always what they appear”.
The Highlands is a historical region of Scotland. Culturally, the Highlands and the Lowlands diverged from the Late Middle Ages into the modern period, when Lowland Scots language replaced Scottish Gaelic throughout most of the Lowlands. The term is also used for the area north and west of the Highland Boundary Fault, although the exact boundaries are not clearly defined, particularly to the east. The Great Glen divides the Grampian Mountains to the southeast from the Northwest Highlands. The Scottish Gaelic name of A' Ghàidhealtachd literally means "the place of the Gaels" and traditionally, from a Gaelic-speaking point of view, includes both the Western Isles and the Highlands.
The area is very sparsely populated, with many mountain ranges dominating the region, and includes the highest mountain in the British Isles, Ben Nevis. During the 18th and early 19th centuries the population of the Highlands rose to around 300,000, but from c. 1841 and for the next 160 years, the natural increase in population was exceeded by emigration (mostly to Canada, the United States, Australia and New Zealand, and migration to the industrial cities of Scotland and England.) and passim The area is now one of the most sparsely populated in Europe. At 9.1/km2 (24/sq mi) in 2012, the population density in the Highlands and Islands is less than one seventh of Scotland's as a whole.
The Highland Council is the administrative body for much of the Highlands, with its administrative centre at Inverness. However, the Highlands also includes parts of the council areas of Aberdeenshire, Angus, Argyll and Bute, Moray, North Ayrshire, Perth and Kinross, Stirling and West Dunbartonshire.
The Scottish Highlands is the only area in the British Isles to have the taiga biome as it features concentrated populations of Scots pine forest: see Caledonian Forest. It is the most mountainous part of the United Kingdom.
Between the 15th century and the mid-20th century, the area differed from most of the Lowlands in terms of language. In Scottish Gaelic, the region is known as the Gàidhealtachd, because it was traditionally the Gaelic-speaking part of Scotland, although the language is now largely confined to The Hebrides. The terms are sometimes used interchangeably but have different meanings in their respective languages. Scottish English (in its Highland form) is the predominant language of the area today, though Highland English has been influenced by Gaelic speech to a significant extent. Historically, the "Highland line" distinguished the two Scottish cultures. While the Highland line broadly followed the geography of the Grampians in the south, it continued in the north, cutting off the north-eastern areas, that is Eastern Caithness, Orkney and Shetland, from the more Gaelic Highlands and Hebrides.
Historically, the major social unit of the Highlands was the clan. Scottish kings, particularly James VI, saw clans as a challenge to their authority; the Highlands was seen by many as a lawless region. The Scots of the Lowlands viewed the Highlanders as backward and more "Irish". The Highlands were seen as the overspill of Gaelic Ireland. They made this distinction by separating Germanic "Scots" English and the Gaelic by renaming it "Erse" a play on Eire. Following the Union of the Crowns, James VI had the military strength to back up any attempts to impose some control. The result was, in 1609, the Statutes of Iona which started the process of integrating clan leaders into Scottish society. The gradual changes continued into the 19th century, as clan chiefs thought of themselves less as patriarchal leaders of their people and more as commercial landlords. The first effect on the clansmen who were their tenants was the change to rents being payable in money rather than in kind. Later, rents were increased as Highland landowners sought to increase their income. This was followed, mostly in the period 1760–1850, by agricultural improvement that often (particularly in the Western Highlands) involved clearance of the population to make way for large scale sheep farms. Displaced tenants were set up in crofting communities in the process. The crofts were intended not to provide all the needs of their occupiers; they were expected to work in other industries such as kelping and fishing. Crofters came to rely substantially on seasonal migrant work, particularly in the Lowlands. This gave impetus to the learning of English, which was seen by many rural Gaelic speakers to be the essential "language of work".
Older historiography attributes the collapse of the clan system to the aftermath of the Jacobite risings. This is now thought less influential by historians. Following the Jacobite rising of 1745 the British government enacted a series of laws to try to suppress the clan system, including bans on the bearing of arms and the wearing of tartan, and limitations on the activities of the Scottish Episcopal Church. Most of this legislation was repealed by the end of the 18th century as the Jacobite threat subsided. There was soon a rehabilitation of Highland culture. Tartan was adopted for Highland regiments in the British Army, which poor Highlanders joined in large numbers in the era of the Revolutionary and Napoleonic Wars (1790–1815). Tartan had largely been abandoned by the ordinary people of the region, but in the 1820s, tartan and the kilt were adopted by members of the social elite, not just in Scotland, but across Europe. The international craze for tartan, and for idealising a romanticised Highlands, was set off by the Ossian cycle, and further popularised by the works of Walter Scott. His "staging" of the visit of King George IV to Scotland in 1822 and the king's wearing of tartan resulted in a massive upsurge in demand for kilts and tartans that could not be met by the Scottish woollen industry. Individual clan tartans were largely designated in this period and they became a major symbol of Scottish identity. This "Highlandism", by which all of Scotland was identified with the culture of the Highlands, was cemented by Queen Victoria's interest in the country, her adoption of Balmoral as a major royal retreat, and her interest in "tartenry".
Recurrent famine affected the Highlands for much of its history, with significant instances as late as 1817 in the Eastern Highlands and the early 1850s in the West. Over the 18th century, the region had developed a trade of black cattle into Lowland markets, and this was balanced by imports of meal into the area. There was a critical reliance on this trade to provide sufficient food, and it is seen as an essential prerequisite for the population growth that started in the 18th century. Most of the Highlands, particularly in the North and West was short of the arable land that was essential for the mixed, run rig based, communal farming that existed before agricultural improvement was introduced into the region.[a] Between the 1760s and the 1830s there was a substantial trade in unlicensed whisky that had been distilled in the Highlands. Lowland distillers (who were not able to avoid the heavy taxation of this product) complained that Highland whisky made up more than half the market. The development of the cattle trade is taken as evidence that the pre-improvement Highlands was not an immutable system, but did exploit the economic opportunities that came its way. The illicit whisky trade demonstrates the entrepreneurial ability of the peasant classes.
Agricultural improvement reached the Highlands mostly over the period 1760 to 1850. Agricultural advisors, factors, land surveyors and others educated in the thinking of Adam Smith were keen to put into practice the new ideas taught in Scottish universities. Highland landowners, many of whom were burdened with chronic debts, were generally receptive to the advice they offered and keen to increase the income from their land. In the East and South the resulting change was similar to that in the Lowlands, with the creation of larger farms with single tenants, enclosure of the old run rig fields, introduction of new crops (such as turnips), land drainage and, as a consequence of all this, eviction, as part of the Highland clearances, of many tenants and cottars. Some of those cleared found employment on the new, larger farms, others moved to the accessible towns of the Lowlands.
In the West and North, evicted tenants were usually given tenancies in newly created crofting communities, while their former holdings were converted into large sheep farms. Sheep farmers could pay substantially higher rents than the run rig farmers and were much less prone to falling into arrears. Each croft was limited in size so that the tenants would have to find work elsewhere. The major alternatives were fishing and the kelp industry. Landlords took control of the kelp shores, deducting the wages earned by their tenants from the rent due and retaining the large profits that could be earned at the high prices paid for the processed product during the Napoleonic wars.
When the Napoleonic wars finished in 1815, the Highland industries were affected by the return to a peacetime economy. The price of black cattle fell, nearly halving between 1810 and the 1830s. Kelp prices had peaked in 1810, but reduced from £9 a ton in 1823 to £3 13s 4d a ton in 1828. Wool prices were also badly affected. This worsened the financial problems of debt-encumbered landlords. Then, in 1846, potato blight arrived in the Highlands, wiping out the essential subsistence crop for the overcrowded crofting communities. As the famine struck, the government made clear to landlords that it was their responsibility to provide famine relief for their tenants. The result of the economic downturn had been that a large proportion of Highland estates were sold in the first half of the 19th century. T M Devine points out that in the region most affected by the potato famine, by 1846, 70 per cent of the landowners were new purchasers who had not owned Highland property before 1800. More landlords were obliged to sell due to the cost of famine relief. Those who were protected from the worst of the crisis were those with extensive rental income from sheep farms. Government loans were made available for drainage works, road building and other improvements and many crofters became temporary migrants – taking work in the Lowlands. When the potato famine ceased in 1856, this established a pattern of more extensive working away from the Highlands.
The unequal concentration of land ownership remained an emotional and controversial subject, of enormous importance to the Highland economy, and eventually became a cornerstone of liberal radicalism. The poor crofters were politically powerless, and many of them turned to religion. They embraced the popularly oriented, fervently evangelical Presbyterian revival after 1800. Most joined the breakaway "Free Church" after 1843. This evangelical movement was led by lay preachers who themselves came from the lower strata, and whose preaching was implicitly critical of the established order. The religious change energised the crofters and separated them from the landlords; it helped prepare them for their successful and violent challenge to the landlords in the 1880s through the Highland Land League. Violence erupted, starting on the Isle of Skye, when Highland landlords cleared their lands for sheep and deer parks. It was quietened when the government stepped in, passing the Crofters' Holdings (Scotland) Act, 1886 to reduce rents, guarantee fixity of tenure, and break up large estates to provide crofts for the homeless. This contrasted with the Irish Land War underway at the same time, where the Irish were intensely politicised through roots in Irish nationalism, while political dimensions were limited. In 1885 three Independent Crofter candidates were elected to Parliament, which listened to their pleas. The results included explicit security for the Scottish smallholders in the "crofting counties"; the legal right to bequeath tenancies to descendants; and the creation of a Crofting Commission. The Crofters as a political movement faded away by 1892, and the Liberal Party gained their votes.
Today, the Highlands are the largest of Scotland's whisky producing regions; the relevant area runs from Orkney to the Isle of Arran in the south and includes the northern isles and much of Inner and Outer Hebrides, Argyll, Stirlingshire, Arran, as well as sections of Perthshire and Aberdeenshire. (Other sources treat The Islands, except Islay, as a separate whisky producing region.) This massive area has over 30 distilleries, or 47 when the Islands sub-region is included in the count. According to one source, the top five are The Macallan, Glenfiddich, Aberlour, Glenfarclas and Balvenie. While Speyside is geographically within the Highlands, that region is specified as distinct in terms of whisky productions. Speyside single malt whiskies are produced by about 50 distilleries.
According to Visit Scotland, Highlands whisky is "fruity, sweet, spicy, malty". Another review states that Northern Highlands single malt is "sweet and full-bodied", the Eastern Highlands and Southern Highlands whiskies tend to be "lighter in texture" while the distilleries in the Western Highlands produce single malts with a "much peatier influence".
The Scottish Reformation achieved partial success in the Highlands. Roman Catholicism remained strong in some areas, owing to remote locations and the efforts of Franciscan missionaries from Ireland, who regularly came to celebrate Mass. There remain significant Catholic strongholds within the Highlands and Islands such as Moidart and Morar on the mainland and South Uist and Barra in the southern Outer Hebrides. The remoteness of the region and the lack of a Gaelic-speaking clergy undermined the missionary efforts of the established church. The later 18th century saw somewhat greater success, owing to the efforts of the SSPCK missionaries and to the disruption of traditional society after the Battle of Culloden in 1746. In the 19th century, the evangelical Free Churches, which were more accepting of Gaelic language and culture, grew rapidly, appealing much more strongly than did the established church.
For the most part, however, the Highlands are considered predominantly Protestant, belonging to the Church of Scotland. In contrast to the Catholic southern islands, the northern Outer Hebrides islands (Lewis, Harris and North Uist) have an exceptionally high proportion of their population belonging to the Protestant Free Church of Scotland or the Free Presbyterian Church of Scotland. The Outer Hebrides have been described as the last bastion of Calvinism in Britain and the Sabbath remains widely observed. Inverness and the surrounding area has a majority Protestant population, with most locals belonging to either The Kirk or the Free Church of Scotland. The church maintains a noticeable presence within the area, with church attendance notably higher than in other parts of Scotland. Religion continues to play an important role in Highland culture, with Sabbath observance still widely practised, particularly in the Hebrides.
In traditional Scottish geography, the Highlands refers to that part of Scotland north-west of the Highland Boundary Fault, which crosses mainland Scotland in a near-straight line from Helensburgh to Stonehaven. However the flat coastal lands that occupy parts of the counties of Nairnshire, Morayshire, Banffshire and Aberdeenshire are often excluded as they do not share the distinctive geographical and cultural features of the rest of the Highlands. The north-east of Caithness, as well as Orkney and Shetland, are also often excluded from the Highlands, although the Hebrides are usually included. The Highland area, as so defined, differed from the Lowlands in language and tradition, having preserved Gaelic speech and customs centuries after the anglicisation of the latter; this led to a growing perception of a divide, with the cultural distinction between Highlander and Lowlander first noted towards the end of the 14th century. In Aberdeenshire, the boundary between the Highlands and the Lowlands is not well defined. There is a stone beside the A93 road near the village of Dinnet on Royal Deeside which states 'You are now in the Highlands', although there are areas of Highland character to the east of this point.
A much wider definition of the Highlands is that used by the Scotch whisky industry. Highland single malts are produced at distilleries north of an imaginary line between Dundee and Greenock, thus including all of Aberdeenshire and Angus.
Inverness is regarded as the Capital of the Highlands, although less so in the Highland parts of Aberdeenshire, Angus, Perthshire and Stirlingshire which look more to Aberdeen, Dundee, Perth, and Stirling as their commercial centres.
The Highland Council area, created as one of the local government regions of Scotland, has been a unitary council area since 1996. The council area excludes a large area of the southern and eastern Highlands, and the Western Isles, but includes Caithness. Highlands is sometimes used, however, as a name for the council area, as in the former Highlands and Islands Fire and Rescue Service. Northern is also used to refer to the area, as in the former Northern Constabulary. These former bodies both covered the Highland council area and the island council areas of Orkney, Shetland and the Western Isles.
Much of the Highlands area overlaps the Highlands and Islands area. An electoral region called Highlands and Islands is used in elections to the Scottish Parliament: this area includes Orkney and Shetland, as well as the Highland Council local government area, the Western Isles and most of the Argyll and Bute and Moray local government areas. Highlands and Islands has, however, different meanings in different contexts. It means Highland (the local government area), Orkney, Shetland, and the Western Isles in Highlands and Islands Fire and Rescue Service. Northern, as in Northern Constabulary, refers to the same area as that covered by the fire and rescue service.
There have been trackways from the Lowlands to the Highlands since prehistoric times. Many traverse the Mounth, a spur of mountainous land that extends from the higher inland range to the North Sea slightly north of Stonehaven. The most well-known and historically important trackways are the Causey Mounth, Elsick Mounth, Cryne Corse Mounth and Cairnamounth.
Although most of the Highlands is geographically on the British mainland, it is somewhat less accessible than the rest of Britain; thus most UK couriers categorise it separately, alongside Northern Ireland, the Isle of Man, and other offshore islands. They thus charge additional fees for delivery to the Highlands, or exclude the area entirely. While the physical remoteness from the largest population centres inevitably leads to higher transit cost, there is confusion and consternation over the scale of the fees charged and the effectiveness of their communication, and the use of the word Mainland in their justification. Since the charges are often based on postcode areas, many far less remote areas, including some which are traditionally considered part of the lowlands, are also subject to these charges. Royal Mail is the only delivery network bound by a Universal Service Obligation to charge a uniform tariff across the UK. This, however, applies only to mail items and not larger packages which are dealt with by its Parcelforce division.
The Highlands lie to the north and west of the Highland Boundary Fault, which runs from Arran to Stonehaven. This part of Scotland is largely composed of ancient rocks from the Cambrian and Precambrian periods which were uplifted during the later Caledonian Orogeny. Smaller formations of Lewisian gneiss in the northwest are up to 3 billion years old. The overlying rocks of the Torridon Sandstone form mountains in the Torridon Hills such as Liathach and Beinn Eighe in Wester Ross.
These foundations are interspersed with many igneous intrusions of a more recent age, the remnants of which have formed mountain massifs such as the Cairngorms and the Cuillin of Skye. A significant exception to the above are the fossil-bearing beds of Old Red Sandstone found principally along the Moray Firth coast and partially down the Highland Boundary Fault. The Jurassic beds found in isolated locations on Skye and Applecross reflect the complex underlying geology. They are the original source of much North Sea oil. The Great Glen is formed along a transform fault which divides the Grampian Mountains to the southeast from the Northwest Highlands.
The entire region was covered by ice sheets during the Pleistocene ice ages, save perhaps for a few nunataks. The complex geomorphology includes incised valleys and lochs carved by the action of mountain streams and ice, and a topography of irregularly distributed mountains whose summits have similar heights above sea-level, but whose bases depend upon the amount of denudation to which the plateau has been subjected in various places.
Climate
The region is much warmer than other areas at similar latitudes (such as Kamchatka in Russia, or Labrador in Canada) because of the Gulf Stream making it cool, damp and temperate. The Köppen climate classification is "Cfb" at low altitudes, then becoming "Cfc", "Dfc" and "ET" at higher altitudes.
Places of interest
An Teallach
Aonach Mòr (Nevis Range ski centre)
Arrochar Alps
Balmoral Castle
Balquhidder
Battlefield of Culloden
Beinn Alligin
Beinn Eighe
Ben Cruachan hydro-electric power station
Ben Lomond
Ben Macdui (second highest mountain in Scotland and UK)
Ben Nevis (highest mountain in Scotland and UK)
Cairngorms National Park
Cairngorm Ski centre near Aviemore
Cairngorm Mountains
Caledonian Canal
Cape Wrath
Carrick Castle
Castle Stalker
Castle Tioram
Chanonry Point
Conic Hill
Culloden Moor
Dunadd
Duart Castle
Durness
Eilean Donan
Fingal's Cave (Staffa)
Fort George
Glen Coe
Glen Etive
Glen Kinglas
Glen Lyon
Glen Orchy
Glenshee Ski Centre
Glen Shiel
Glen Spean
Glenfinnan (and its railway station and viaduct)
Grampian Mountains
Hebrides
Highland Folk Museum – The first open-air museum in the UK.
Highland Wildlife Park
Inveraray Castle
Inveraray Jail
Inverness Castle
Inverewe Garden
Iona Abbey
Isle of Staffa
Kilchurn Castle
Kilmartin Glen
Liathach
Lecht Ski Centre
Loch Alsh
Loch Ard
Loch Awe
Loch Assynt
Loch Earn
Loch Etive
Loch Fyne
Loch Goil
Loch Katrine
Loch Leven
Loch Linnhe
Loch Lochy
Loch Lomond
Loch Lomond and the Trossachs National Park
Loch Lubnaig
Loch Maree
Loch Morar
Loch Morlich
Loch Ness
Loch Nevis
Loch Rannoch
Loch Tay
Lochranza
Luss
Meall a' Bhuiridh (Glencoe Ski Centre)
Scottish Sea Life Sanctuary at Loch Creran
Rannoch Moor
Red Cuillin
Rest and Be Thankful stretch of A83
River Carron, Wester Ross
River Spey
River Tay
Ross and Cromarty
Smoo Cave
Stob Coire a' Chàirn
Stac Polly
Strathspey Railway
Sutherland
Tor Castle
Torridon Hills
Urquhart Castle
West Highland Line (scenic railway)
West Highland Way (Long-distance footpath)
Wester Ross
צייר אמן ישראלי יוצר היוצר יוצרים היוצרים והיוצר והיוצרים ראליסטי רפי פרץ ראליסטים הראליסטי הראליסטים הריאליסטים הריאליסטי ריאליסטי פיגורטיבי הפיגורטיבי פיגורטיבית הפיגורטובית רישום רישומים הרישום הרישומים ברישום ברישומים לרישום לרישומים רשם רשמים לרשם לרשמים ורישום ורישומים הרישומים והרישומים שרבוט שרבוטים השרבוט השרבוטים כתם קו קווים הקווים הכתמים בכתם בכתמים בקווים בקו דיו עפרון בדיו בעפרון בעפרונות בעיפרון בעיפרונות עיפרון הדיו העפרון העיפרון הדיו אקספרסיבי האקספרסיבי אקספרסיביות אקספרסיבית האקספרסיבית באקספרסיביות אקספרסיה רגש ברגש ברגשות הרגשות נייר ניירות בנייר בניירות הנייר הניירות דיוקן הדיוקן הדיוקנאות בדיוקן ודיוקן מדיוקן לדיוקן דיוקנאות ודיוקנאות מדיוקנאות לדיוקנאות מדיוקנאות פנים הפנים פני עכשווי מודרני הצייר הישראלי העכשווי המודרני אמנות ישראלית עכשווית מודרנית האמנות הישראלית העכשווית המודרנית אומנות העכשוויות הישראליות העכשוויות המודרניות ציור ציורים הציור הציורים וציור וציורים לציור לציורים מציור מציורים מצייר מציירים ומצייר ומציירים שמצייר שמציירים של עם
האמן האמנים האומנים לאמנים לאומנים והאומנים ציירים הציירים והציירים לציירים מהציירים מהאמנים אומנות האמנות באמנות לאמנות ואמנות באומנות לאומנות והאומנות אמנותי האמנות האומנותי האומנות תערוכה תערוכות התערוכה התערוכות הגלריה הגלריות בגלריה בגלריות והגלריה והגלריות מהגלריה מהגלריות מהתערוכה מהתערוכות חדש חדשני החדש החדשני חדשנית החדשנית מקורי המקורי המקורית מקורית מיוחד המיוחד המיוחדים מיוחדים המפורסמים המפורסם מפורסם מפורסמים בישראל ישראל וישראל בציורי ציורי וציורי לציורי מציורי בדים חזקים עזים החזקים העזים לבית לסלון למשרד בית סלון משרד לבתים למשרדים משרדים בתים למכירה מכירה המכירה מכירות מוכר המוכר קונה הקונה קונים הקונים בקנייה במכירה פומבית הפומבית לרכוש רכוש ברכישה ישירה הישראליים ישראליים העכשוויים עכשוויים מודרניים המודרניים ישראלים עכשווים מודרנים פלסטי פלסטית הפלסטית הפלסטי החזותי החזותית חזותית חזותי ויזואלית הויזואלית הוויזואלית הוויזואלי ויזואלי וויזואלי הוויזואלי הויזואלי
drawings of man and woman relationship and love drawing men woman sketch art ink on paper ,Dibujos de hombre y mujer relación y amor dibujo hombres mujeres dibujos arte tinta sobre papel por ,dessins de relation homme-femme et amour dessin homme femme croquis encre d'art sur papier ,رسم، بسبب، شغل و المرأة، إلتزم، أيضا، حب، التخطيط، الرجال، المرأة، رسم، طريقة، الحبر، عن،
ورقة kişi və qadın əlaqələrinin təsvirləri və kişilərin rəsm çəkmələri qadınlar üzərində çəkilmiş rəsm mürəkkəbləri gizonezko eta emakumezkoen arteko harremanak eta gizonezkoak marrazteko marrazki bizidunen marrazkia чарцяжы мужчына і жанчына адносіны і люблю маляваць мужчынам жанчына эскіз мастацтва чарніла на паперы,рисунки на мъжки и женски взаимоотношения и любов изготвящи мъже жена скица изкуство мастило на хартия,dibuixos de la relació entre l'home i la dona i l'amor dibuixar els homes dona dibuixar tinta sobre paper,crteži odnosa između muškaraca i žena i ljubavi crtanje muškaraca žena skiciraju umjetničku tintu na papiru,kresby muže a ženy vztah a lásku kreslení muži žena skica umění inkoustu na papíře,tegninger af mand og kvinde forhold og kærlighed tegning mænd kvinde skitse kunstfarve på papir,tekeningen van man en vrouw relatie en liefde tekenen mannen vrouw schets kunst inkt op papier mga guhit ng lalaki at babae na relasyon at pag ibig sa pagguhit ng mga lalaki babae sketch art tinta sa papel,piirrokset miehen ja naisen suhteesta ja rakkaudesta piirustus miesten naisen luonnos taiteen mustetta paperilla,dessins de relation homme femme et amour dessin homme femme croquis encre d'art sur papier tekeningen fan manlju en froulike relaasjes en leafde tekenjen manlju fraaie skets keunsttinte op papier,Zeichnungen von Mann und Frau Beziehung und Liebe Zeichnung Männer Frau Skizze Kunst Tinte auf Papier,Σχέδια της σχέσης άνδρα και γυναίκας και της αγάπης άντρες άνδρες σκίτσο μελάνι τέχνης γυναίκα σε χαρτί कागज पर पुरुष और महिला रिश्ते और प्यार ड्राइंग पुरुषों महिला स्केच कला स्याही के चित्र ציורי זוגות רישום זוג גבר אישה יחסים אהבה רשם ישראלי רפי פרץ שירבוט שירבוטים אמנות עכשווית מודרנית סקיצות גברים נשים אוהבים שונאים rajzok az ember és a nő kapcsolat és a szerelem rajz férfiak vázlat művészeti tinta papírra,teikningar af sambandi karls og konu og ást teikna karla kona skissa blek á pappír,gambar pria dan wanita hubungan dan cinta menggambar pria sketsa art tinta di atas kertas,líníochtaí caidreamh fear agus bean agus grá líníocht fir fir sciath ealaíne sceitse ar pháipéar,disegni di uomo e donna relazione e amore disegno uomo donna schizzo d'arte su carta,wêneyên mêr û jina pêwendî û hezkirina mêrên jinan bi kaxizê jinê de jîngehê,vīriešu un sieviešu attiecību zīmējumi un mīlestības zīmēšanas vīrieši sievietes skices mākslas tinti uz papīra,vyrų ir moterų santykių bruožai ir meilės piešimo vyrų moterų eskizas ant popieriaus
I used an iphone app called 'planets' to help me find the milky way in relation to Brayshaws Hut. While the camera picks up the detail, you can barely make it out with the human eye. Once I had the direction locked in it was all about getting the composition right. Photo is one image (not HDR) captured in camera.
I managed to get the lighting right for this one. So for anyone wanting to have a go here are the settings:
* 50mm lens
* ISO:6400
* Apeture: F1.4
* Shutter speed: 30 seconds
* Brayshaws Hut: light painted for 2 seconds (L to R sweep)
Website | Grant Brodie Creative Photography
Facebook | Grant Brodie Creative Photography
Blurb | Coordinates: Secrets of the Canberra Region
500px | 500px
The only thing that matters is your own peace
Visit this location at BADDIE BEACH, Miami- Interracial Lounge Urban RP SEX Hangout in Second Life
The actual setting of Mount Rushmore was different than I expected. The faces much higher up and seemed smaller in relation to their setting. But the more you looked the more it became apparent they really are quite large and overall very impressive. And imagining what it took to carve these was really not possible for me. The scale so immense and the proportions, the end results, looked so perfect from the various view points below. Hiking the loop trail below, with its many strategic view points, really put things into perspective and changed dramatically my initial impressions.
there is no relation between what I'll post next and the photo, but i wanted people to check this out and enjoy it... ^_^
so read and enjoy people! ivoryillusion.blogspot.com/
Oh and during the process of taking this shot the camera was perfectly safe and did not get wet ^_^
William Adams was a lifesaver, swimmer and swimming instructor, he is one of only four people to have received the Royal Humane Society bronze medal with three clasps in relation to numerous rescues from the sea at Gorleston, William also has the distinction of having his name appear twice in the Carnegie Hero Fund Trust Roll of Honour. In a lifesaving career which spanned 38 years William was responsible for rescuing 140 people from drowning.
Born on 25th. January 1864 in Gorleston, Norfolk, the son of Gorleston's Trinity House Maritime pilot Abel Adams, from an early age William developed into a highly proficient swimmer. He made his first rescue when only 11 years old by saving the life of a young girl who had fallen from the pier into the sea. This event marked the beginning of a lifetime of lifesaving, he was never a member of a lifeboat crew, instead he saved lives by swimming or diving to the aid of the stricken swimmer.
On leaving school he was employed as a tinsmith, but only in the winter months, he returning every summer to his alternative occupations as bathing hut proprietor and swimming instructor, he was also know also as "Professor" Adams in recognition of the expert swimming tuition he provided. Being on Gorleston beach meant that he was usually close at hand if a bather required assistance.
In 1881 the annual Gorleston Marine Regatta added a 400 yards swimming contest for a gold challenge medal and a silver cup to its programme of events. This event was won by a 17 year old William and he repeated the feat in 1882 and 1883 therefore winning the gold medal outright
In 1890 William was the proud recipient of the Royal Humane Society's bronze medal for his bravery in rescuing a local lad named Robert Drane. He soon became well known as the "Hero of Gorleston Pier" and reports of his rescues appeared with great regularity in the local, national and also international press.
In 1896 a Norwich man called Rimmington got into difficulties whilst bathing in the sea at Gorleston. A man called Collins, from London, went to his aid but soon also found himself in danger as Rimmington panicked and clutched to him frantically. It was at this point that William became aware, he swam to the two men and brought them both ashore together on his back. For this "double rescue" William was presented with a row of four bathing huts.
Another famous rescue occurred when William swam out and brought safely to shore a rowing boat which contained two couples. The vessel had drifted dangerously out to sea and appeared to be unmanageable by the occupants.
William was honoured on numerous occasions in recognition of his outstanding life saving record. In 1906 the Mayor of Great Yarmouth presented him with an illuminated address. The testimonial, signed by 90 subscribers, stated that he had saved 77 lives up to that time.
William died on 14th. October 1913 at the age of 49. Despite having been in failing health he had made his last, dramatic rescue at Gorleston beach only a month earlier. The Revd. Ritso spoke of this final act of bravery in his moving funeral address:
It was the beginning of the end, but when afterwards his wife gently chided him for his rashness, he said, "Could I stand there and see a man drown?" and in his last hours he told her he did not regret that he had done his duty to the end. Isn't that splendid? Isn't that true heroism? Isn't that complete self-sacrifice?
Reading the Great Yarmouth Mercury account of the funeral it is clear that William had been held in the very highest regard by his fellow townspeople:
The funeral of the late Professor William Adams took place amid many signs of sorrow and respect at the passing of one of Gorleston’s bravest and most efficient sons. The flag was flown at half-mast above the grey old tower of St. Andrew's Church and on the adjoining Recreation Ground the Gorleston football players wore black armlets as a token of respectful sympathy. Many shops were shuttered.
William dedicated his life to life saving, using his physical strength and swimming prowess to save others. The Great Yarmouth Mercury carried an eloquent tribute:
In all his rescues he always put aside any thought of personal risk, acting on the moment with one thought uppermost, that the life of a fellow creature was in peril. Such characteristics make the true hero, and he was admired and respected by everyone.
William is buried with his wife Ellen Eliza in Gorleston Old cemetery, from a distance his headstone does not look any different from the others that surround it, however, on closer inspection there is a depiction of a man diving to the rescue of a drowning figure. The headstone bears the following inscription:
In loving memory of William Adams who saved 140 lives from drowning.
The life story and likeness of William Adams have been used in recent years in a number of interesting and diverse ways. He has been the subject of local history exhibitions and lectures, school assemblies, poetry, artwork and even textile design. In addition his story has been mentioned in a number of books and websites. Notably he was the subject of the 1st. blue plaque to be installed in Gorleston by the Great Yarmouth Local History and Archaeological Society. This event took place on 28th. May 2004 when the plaque was unveiled at his former home, 199 Bells Road, Gorleston. On 11th. April 2007 his name became immortalised in a road name, William Adams Way, which serves as a busy route into Gorleston. On 13th. March 2018 a brand new £2.2 million J.D. Wetherspoon pub, "The William Adams", was opened in Gorleston High Street. The name of this local hero was chosen following a public vote.
Many places like to wear their connections with Charles Dickens visibly, but I find it hard to believe anywhere does it more completely than Blundeston.
Blundeston is mentioned in David Copperfield, and there has been a strong movement by the local parish planners to ensure that most street names now have a Dicken connection. I know this a a colleague of mine resisted the overtures to name their new dwellings something Dickensian, but stuck with the family name after all.
I also have family connections with Blundeston, and indeed a distant relation is on the war memorial, but he is one of the branch that has an extra D in their name, the first one I have ever seen. My name is very mis-spelt, and the double D variation the most common.
Anyway, late one afternoon, I arrive in Blundeston to visit the church, and see, or notice the pound for the first time. Situated on a road junction, the brick-built circular enclosure was once used to corral livestock. It is a rare survivor, and the first time I had noticed it.
It is a fine round-towered church, with plenty of interest inside, and the medieval (I guess) glass in the porch the first of many. Some unusual tessellated tiling in the chancel, but the sanctuary is now a book shop and the altar brought forward.The font, at least to my eyes, looks Norman, and is impressive, as is the arts and crafts window, but I guess this is where Simon puts me right on many points.....
-----------------------------------------
"I was born at Blunderstone, in Suffolk. There is nothing half so green as I know anywhere, as the grass of that churchyard; nothing half so shady as its trees; nothing half so quiet as its tombstones. The sheep are feeding there, when I kneel up to look out. Here is our pew in the church. What a high-backed pew! With a window near it, out of which our house can be seen.
I look up at the monumental tablets on the wall, and try to think of Mr Bodgers late of this parish, and what the feelings of Mrs Bodgers must have been, when affliction sore, long time Mr Bodgers bore, and physicians were in vain. I look to the pulpit, and think what a good place it would be to play in, and what a castle it would make, with another boy coming up the stairs to attack it..."
- Charles Dickens, David Copperfield
Blundeston is these days a very pleasant outer suburb of Lowestoft, although wise planners have kept a cordon sanitaire between it and the rampaging new estates of Oulton and Gunton. Everything here is very trim and polite, although St Mary itself has a rather more primitive air about it. Its narrow, tapering tower rises up sharply beside the steeply banked roof of its nave, for all the world like a Cornish tin mine or Derbyshire mill. This is an ancient building. The tower, at least the lower part, is clearly Saxon, and here inside there are some other ancient details.
You step into a church which is much bigger than it might appear from the outside, with a gentle High Church feel to it. The nave was widened in the late medieval period, and although there is no aisle or arcade, the tower has been left offset. The font dates from the 12th century, a plain, octagonal bowl set on 8 relief legs. The tower arch is earlier, and beside it there is a very curious detail. A circular squint hole, about 12 inches across, about 5 feet from the floor in the north-west corner. It is obviously intended to line up with something outside the church, but what, exactly? There is one exactly like it, in the same position, two miles away at Lound. They do not align with each other, though. Perhaps an outdoor Easter sepulchre? or to enable an internal sepulchre to be seen on Good Friday, when the church was out of use?
Above the south door, the arms of Charles II are very curious. They have been reused as a hatchment at some point, but the overpainting has faded to reveal the true origin. An altar against the north wall is dedicated to St Andrew, in memory of the nearby former church at Flixton, which was destroyed in a storm early in the 18th century. The font in the churchyard here comes from Flixton, too.
And the memorials? Well, I'm afraid there is no 'Mr Bodgers, late of this parish', and probably never was. The high-backed pews are all gone, and although the pulpit would certainly make an excellent castle, it post-dates Dickens's (and Copperfield's) time. The grass is still lush and green in the churchyard though, and much wilder than the neatly trimmed lawns of the very pleasant houses that surround it.
Simon Knott, June 2008
www.suffolkchurches.co.uk/Blundeston.htm
-----------------------------------------
Blundeston.
There are two manors here—those of Blundeston Hall, and Gonville's. The former was held by a family which took their name from the place, and retained it, with the patronage of the church, till the end of the reign of Edward III. In the ninth of Edward I., Robert de Blundeston was lord; (fn. 1) and in the twenty-third of Edward III., in the year 1348, there was a conveyance from Osbertus, Rector of the church of Blundeston, and Oliverus de Wysete, to William, the son of Robert de Blundeston, and the heirs of his body, of the manor of Blundeston, with all the lands and appurtenances in Blundeston, Oulton, and Flixton; together with the advowson of the church of the village of Blundeston, with the appurtenances; all which were formerly of Robert de Blundeston; to hold to the said William and the heirs of his body lawfully begotten. From this family the manor and advowson passed to that of Yarmouth; Henry Yarmouth, of Blundeston, presenting to the church in 1438. Humphrey Yarmouth, his descendant, on the 1st of December, 1570, conveyed to William Sydnor the manor of Blundeston, cum pertinentibus, and all other his manors, tenements, liberties, swanmarks, and hereditaments in Blundeston, Corton, Lound, Somerleyton, Flixton, Lowestoft, and Gunton, or elsewhere, and all other his manors and hereditaments, in the said towns, in fee. The manor, &c., and the messuages, were found to be holden of Sir John Heveningham, of his manor of South Leet, in soccage. (fn. 2) The said William Sydnor, by deed indented 6th of October, twenty-sixth of Elizabeth, 1584, in consideration of a jointure to Elizabeth, late wife of Henry Sydnor, his son, and heir apparent, did enfeoff John Read, and others, and their heirs, of a house called Gillam's, and 90 acres of land in Blundeston and Flixton; a meadow of 12 acres in Flixton; a marsh called Wrentham's, and 41 acres of land in Blundeston; two other messuages and 9 acres of land in Blundeston; a house called Chamber's, and 104 acres of land in Henstead. And of the manor called Blundeston; and the manor of Fritton with the appurtenances, to their uses; viz., as to the manor of Blundeston with the appurtenances, to the use of the said William for life; and after to the use of the said Henry, and his heirs male by the said Elizabeth, his wife; and after to the right heirs of the said William. The marriage between the aforesaid Henry Sydnor and Elizabeth was solemnized on the 1st of February, twenty-seventh of Elizabeth. He died during his father's lifetime, in December, 1611. William Sydnor, the father, died on the 26th of August, 1612. By his will, dated the 26th of March, in the same year, being "then of Christ's Church, but late of Blundeston," he gave to the poor of Blundeston, Henstead, Fritton, Belton, Conisford at the Gate (Norwich), Berstete St. John's, 20 shillings to each parish, and to Trowse on this side the Bridge 10 shillings. He desired "his body to be buried in the chauncell of the parishe church of Blundeston." He gave unto Dorothy Sydnor, his daughter, £ 200 of lawful English money, some furniture, and £10 in gold, to be paid within fourteen days; a cup of silver with three feet, and a cover. To Alice Goldsmithe, his daughter, all her mother's apparell, and £10 in gold, &c. Among other bequests, he leaves to William Sydnor, his grandchild, some furniture, and a great carved chest which lately came from Blundeston, and his next best salt-cellar. After leaving annuities to his servants, he directed "that his house in Christ's Church in all things be mayntayned and kept as usually he did for the entertainment of his children; and such of his children and servants as would stay and live orderly, and do their service honestly, during the time of their stay; for which they were to have their wages. The charges of such housekeeping to be defrayed by his executors; and he desired that Dorothy Sydnor, his daughter, during the said month should have the government of the said house." (fn. 3)
By an inquisition, held the 30th of August, in the twelfth of James I., when the death of William Sydnor was returned, it was found that William, the son of Henry, his eldest son, then deceased, was his next heir, and of the age of 24 years and more. And that the said William, eldest, was seized in fee of the manor of Blunston, alias Blundeston, with the appurtenances in Blundeston, Corton, Gunton, Lowestoft, Oulton, Ashby, Flixton, Bradwell, Burgh, Fritton, Belton, Herringfleet, Lound, Somerleyton, Hopton, and Gorleston.
On the 13th of February, eleventh of James I., William Sydnor, the grandson, in consideration of a marriage with Anne Harborne, did covenant with William Harborne, her father, to convey to him, Sir Anthony Drury, and others, and their heirs, the manor of Fritton, with the appurtenances, in Suffolk, and all lands, tenements, &c., of the said William, in Fritton, or in the towns adjoining, to the use of himself and his heirs until the marriage, and after the marriage to the use of himself and the said Anne, for jointure, and the heirs male of his body, with several remainders over to Robert, Thomas, and Henry, his brothers, Edmund, William, Francis, and Paul Sydnor, his uncles, and the heirs male of every of their several bodies. And after to the use of the right heirs of the said William Sydnor, the grandfather. And the manor of Blundeston, with the rights, members, and appurtenances, in Suffolk, and all lands, tenements, and other hereditaments, &c., of the said William Sydnor, the grandson, in Blundeston, or in the towns adjoining, or any of them, to and for the like uses, and estates, and remainders as before; omitting only the said Anne, and her estates, for life. In the following year a fine was levied in pursuance, by the said William Sydnor, his uncle, and the heirs of Sir Anthony, of the manors of Fritton and Blundeston, with the appurtenances. By the Office of the ninth of Charles I., after the death of William Sydnor, the grandson, it was found that he died, seized, on the 13th of June, eighth of Charles I., 1632, without issue male. By the same Office, Elizabeth, Anne, Sarah, Mary, Hester, Susanna, Abigail, and Lydia, were found to be the daughters and co-heiresses of the said William Sydnor, and that Elizabeth, the eldest, was, at her father's death, under eleven years of age, and all the rest under fourteen years of age. (fn. 4) On the 3rd of July, in the tenth of Charles I., the King, by ind're under the seal of the Court of Wards, granted to Anthony Bury, for a fine of 200 marks, the custody, wardship, and marriages of the said co-heiresses, to his own use. On the 2nd of July, tenth of Charles, the King, by another ind're, under the seal of the said Court, granted and leased to him, in consideration of £10, the manor of Henstead Pierpoind's, and two acres in Blundeston, during the minority of the said co-heiresses, at the yearly rent of £ 2. 6s. 8d. On the 20th of November, in the same year, this Anthony Bury, by ind're, assigned all his interests to Dr. Talbot, who married the said Anne, mother of the said co-heiresses, to his own use, for £330 paid, besides £100 for Bury, to the receiver of the Court of Wards, for leave of the King's fine. In Michaelmas Term, 1640, there was a decree in the Court of Wards, against Sir John Wentworth, who, in his answer to the information of the attorney of the wards on behalf of the said co-heiresses, denied they had the manor of Blundeston, but confessed they had the manor of Gonville's, in Blundeston, and that their father purchased that of one Jettor. But the Court decreed that the said co-heiresses had the manor of Blundeston, and also the manor of Gonville's. And such possession as the father of the said wards had in Blundeston great water, and fishing, is by the decree settled with the wards during their minority, and until livery sued. And Sir John desired not to fish in right of a tenement in Blundeston, which was his father's. As to the wards' suit as touching an hoorde, some lands in Fritton, and other matters, they are left to trial at law.
Elizabeth, Anne, Sarah, Mary, Hester, Susanna, Abigail, and Lydia Sydnor, the eight daughters and co-heiresses of William Sydnor, of Blundeston, by fine levied, and recovery suffered, and by deed dated the 19th of December, 1651, conveyed the said manors in Blundeston and Fritton to hold to William Heveningham, Esq., his heirs and assigns, for ever.
¶The family of Sydnor, from whom Blundeston thus passed, appears to have originated from — Sydnor, who married a daughter of Sir John Berney, of Reedham, in Norfolk. The following pedigree is derived from an abstract of the title of the estates, sold by the eight daughters and co-heiresses of William Sydnor, made in 1651; except the marriages of the eight daughters, which are added from the abstract continued to 1663, at which time Sarah was married to William Castleton. The other daughters had been all married before that date.
William Sydnor, the purchaser of Blundeston, as appears from bequests in his will, left three daughters, namely, Dorothy Sydnor, Alice Sydnor, who married Henry Goldsmith, and left issue Charles Goldsmith; and Elizabeth Sydnor, who married W. Doans, and left a son, William. Henry Sydnor, who died in his father's lifetime, left also three daughters, Elizabeth, Catharine, and Alice.
William Heveningham, Esq., who purchased the manors of Blundeston and Fritton of the Sydnors, was in the year 1661 convicted and attainted of high treason, as has been already shown under Mutford, &c. By letters patent, dated 28th September, thirteenth Charles II., the King did give unto Brian, Viscount Cullen, Sir Thomas Fanshaw, Sir Ralph Banks, Knights, Edward Pitt, and Charles Cornwallis, Esqrs., among other manors and lands, the said manors of Blundeston and Fritton; to hold to them, the said Brian, Viscount Cullen, &c., and their heirs, for ever. The said Brian, Viscount Cullen, &c., by their deed-poll, dated 3rd October, thirteenth Charles II., made between them, the said Brian, Viscount Cullen, &c., George, Earl of Bristol, Henry, Earl of Dover, and Margaret Heveningham, wife of the said William Heveningham, which was also signed by His Majesty's sign manual, did declare the use of the aforesaid letters patent to be to the intent that the said Brian, Viscount Cullen, &c., should, either by perception of the profits or sale of the aforesaid manors of Blundeston and Fritton, amongst others, raise £11,000 for the said Earl of Bristol, and several other trusts therein comprised: the remainder to be for the use of the said Mary, wife of the said William. The said William Heveningham, and Mary his wife, in Michaelmas Term, thirteenth Charles II., levied a fine, and suffered a recovery of the said manors of Blundeston and Fritton, inter alia. And by indenture, dated 24th of October, thirteenth of Charles II., the said William and Mary declared that the said fine and recovery should be to the use of the said Brian, Viscount Cullen, Sir Thomas Fanshaw, Sir Ralph Banks, Edward Pitt, and Charles Cornwallis, and their heirs, for ever.
In the 10th and 11th of December, 1662, fourteenth of Charles II., appear a lease and release from the Earl of Bristol, Brian, Viscount Cullen, Sir Thomas Fanshaw, Sir Ralph Banks, Edward Pitt, and Charles Cornwallis, unto Sir John Tasburgh, of the manor of Blundeston, and the capital house called Blundeston Hall, and the manor of Fritton, alias Freton Paston's, and all that manor called Blundeston, alias Gunville's, alias Scroope Hall, alias Gunville's Blundeston, with all the rights, members, and appurtenances to the said manors belonging; and the advowson of the churches, rectories, and vicarages of Blundeston and Fritton aforesaid; and courts-leet and view of frank-pledge, &c., to hold to him and his heirs, for ever. Consideration, £4000 in hand, and £4000 to be paid as therein named. On the 27th of December, 1662, the said William Heveningham and Mary his wife did grant, release, and confirm all and every the said manors of Blundeston, Fritton, and Blundeston Gunville's, to the said John Tasburgh, and his heirs, for ever.
These estates next passed to the Allins; for, on the 20th July, 1668, are letters of attorney from Thomas Allin, of Lowestoft, Knt., to Richard London, &c., to receive livery of seizin of John Tasburgh, of Bodney, in Norfolk, Esq., of all his manors, messuages, lands and fruits, and hereditaments situated in Blundeston, Fritton, Corton, or any other town adjoining. Sir Thomas Allin held his first court baron for these manors on the 3rd of November, 1668. (fn. 5)
On the 9th of July, 1712, the trustees of Richard Allin, under a deed authorizing them to sell lands to satisfy his debts, sold a messuage and about 76 acres of land at Blundeston and Fritton, of the yearly rent of £39. 10s., to Gregory Clarke, for £663; and on the 30th of August following, two other pieces of land, containing 13 acres, of the yearly rent of £5. 10s., to the same Gregory Clarke, for £100. These estates were afterwards purchased by Sir Ashurst Allin, Bart., who resided there; and were by him devised to his daughter, Frances Allin, for life. On the 29th of September, 1714, Blundeston Hall-farm, lands and decoy, of the yearly rent of £217. 2s. 6d., were sold to William Luson, merchant, the consideration money being £3691. 2s. 6d., who devised them to Robert Luson, his son, who, by his will of the 1st of May, 1767, bequeathed them to his eldest daughter, Maria, in fee, who married George Nicholls, Esq., by whom this estate was sold to Robert Woods, who, by his will, dated July 4th, 1780, devised the same to his wife to sell, and in 1791, she conveyed it to Thomas Woods in fee. Other estates in Blundeston were by Robert Luson devised to his second daughter, Hephzibah, who married Nathaniel Rix, Esq. An estate at Blundeston, and Corton, and Lound, he devised to Elizabeth, his daughter, who afterwards married Cammant Money, by whom the second property was sold to J. B. Roe, and the first to J. Manship. (fn. 6) The Decoy farm, at Blundeston, was, by the executors of Robert Luson, under the powers in the will contained, sold to William Berners, Esq., of Woolverstone Hall, whose son, Charles, resold it to Thomas Morse, Esq. (fn. 7) The manor of Fritton, and an estate of the annual value of £173, were sold to Samuel Fuller, Esq., for £ 2660. (fn. 8)
The manors of Blundeston Hall and Gunville's united, as will be presently shown, remained with the Allins, and passed with their other estates to the family of Anguish. From the Anguishes they descended to Lord Sydney Osborne, who sold them, in 1844, to Samuel Morton Peto, Esq.
The Manor of Gonville's, in Blundeston,
¶was the lordship of John, the son of Nicholas de Gunville or Gonville, in the fourteenth of Edward III., in the month of March in which year is a "note of time" of this manor between the aforesaid John, who is styled the son of Nicholas Gonvyll, chyvaler, and Johan, his wife, complainants, and William de Gonvyll, parson of the church of Thelnethan, John Gonvyll, parson of the church of Lylyng, Osbert, parson of the church of Blundeston, and Thomas de Kalkhyll, deforcients, of 24 messuages, 332 acres of land, 16 acres of meadow, &c., in Gorleston, Louystoft, Barneby, Little Yarmouth, and Hopton, to John, son of Nicholas and Johan, and the heirs of their bodies; and remainder, after the decease of John and Johan, to the right heirs of John, the son of Nicholas. (fn. 9) The manor remained with this ancient line till it passed, in the early part of the fifteenth century, to Sir Robert Herling, Knt., who married Joan or Jane, the heiress of the Gonvilles, as the subjoined pedigree will show.
Sir Robert Herling, and Joan his wife, held the manor of Gonville's in 1420, as we learn from an inquisitio ad quod damnum, taken in that year. "Robtus Harlyng, miles, et Johanna, uxor ejus, tempore ultimi pascigii d'ni Henr. Regis nunc ad partes Norman: seiziti fuerunt de mn'o vocat Gunvilles manor: cum p'tin: in villis de Blundeston, Olton, et Flyxton, in d'mico suo ut de feodo." (fn. 10) Sir Robert Herling left a daughter and heiress, Anne, who was thrice married; first, to Sir William Chamberlain, Knight of the Garter; secondly, to Sir Robert Wingfield, Knt., who in 1474 settled, amongst divers manors and estates in Norfolk and Cambridgeshire, the manors of Gnateshall, Corton, Newton, Lound, and Blundeston, with Lound advowson, in Suffolk, on themselves and their trustees. He died seized of these in 1480. In 1492, Anne, his widow, married, thirdly, John, Lord Scroop, of Bolton, who died in 1494. (fn. 11) On her death, without issue, the manor of Gonville's went to Margaret, her father's sister, the wife of Sir Robert Tuddenham, Knt. (fn. 12) On the 4th of April, sixth of James I., Robert Jettor conveyed to William Sydnor the site, manor, or member of a manor, called Blundeston, Gunvilles Blundeston, or Gunvilles cum pertin: and a close called Gunvilles, reputed the site of the said manor, containing six acres; another close called the Home-close, in Blundeston, and four several fish-ponds, with several waters and fishings in Blundeston and Flixton, and with covenant to levy a fine thereof to the use of the said William Sydnor, and his heirs. William Sydnor's eight daughters and co-heiresses conveyed it to William Heveningham. Both manors in this parish being thus united, were granted, with the advowson, to Lady Heveningham's trustees in 1661, as already shown.
Early in the seventeenth century, Sir Butts Bacon, created a Baronet on the 29th of July, 1627, possessed an estate and resided at Blundeston. He married Dorothy, daughter of Sir Henry Warner, of Parham, in Suffolk, Knt., and widow of William, second son of Sir Henry Jermyn, Knt., by whom he had three sons, Charles and Clement, who died without issue, and Sir Henry Bacon, his successor. He had also two daughters, Anne, the wife of Henry Kitchingman, of Blundeston Hall, and Dorothy, who married William Peck, of Cove. Sir Butts died in 1661, and his widow in 1679. They lie buried in Blundeston church. Soon after the year 1700, the estate of the Bacons was sold to the Allins of Somerleyton; and in 1770 became the property of Frances, the daughter of the Rev. Ashurst Allin, of whose executors it was purchased by Nicholas Henry Bacon, Esq., the second surviving son of the late Sir Edmund Bacon, Bart., of Raveningham, in Norfolk, who sold it in 1832 to Charles Steward, Esq., an officer in the Honourable East India Company's service, who is the present possessor. He married his first-cousin, Harriet, the only daughter, by his first wife, of Ambrose Harbord Steward, Esq., of Stoke Park, near Ipswich, High Sheriff for Suffolk in 1822, by whom he has an only son, Charles John.
The mansion erected on this estate has been termed at different periods Sydnors, and Blundeston Villa, but is now designated Blundeston House. The spot is more celebrated for the loveliness of its scenery than the grandeur of the residence, which is simply a good substantial house, erected in a style of unpretending architecture. But its verdant lawns and ample sparkling lake bear testimony of a long subjection to the hand of taste, which evidently still controls. The domain was many years the residence of the late Rev. Norton Nicholls. Mr. Mathias, an author well known by his 'Observations on the Character and Writings of Gray,' in a letter to a friend, occasioned by the death of this "rare and gifted man," terms his villa here "an oasis." Speaking of what Mr. Nicholls had perfected at Blundeston, he says, "if barbarous taste should not improve it, or some more barbarous land-surveyor level with the soil its beauties and its glories, (it) will remain as one of the most finished scenes of cultivated sylvan delight which this island can offer to our view." An aged pollard oak, and a summer-house placed at the termination of the lake, are said to have been favourite haunts of Gray, who was an occasional guest of Mr. Nicholls at Blundeston. In 1799, this gentleman entertained here the gallant Admiral Duncan, soon after his return to Yarmouth, crowned with the laurels won at Camperdown. Mr. Nicholls died on the 22nd of November, 1809, aged 68, and was buried at Richmond church, in Surrey. The vicinity of Blundeston House, while tenanted by Dr. Saunders, was some years since the scene of an unfortunate accident, which deprived that gentleman of life. Being in the act of reloading his double-barrelled gun, a favourite dog fawning upon him, sprung the trigger of the second barrel, and discharged the contents into his master's body. Dr. Saunders's melancholy fate is recorded in the 'Suffolk Chronicle' of October the 15th, 1814.
¶The lake, or Blundeston Great Water, as it is called in ancient writings, was the subject of a dispute in the reign of James I., very similar to that recorded at Ashby, as we learn from the following "exemplification of interrogatories to be administered on the part and behalf of John Ufflet, Gent., Henry Winston, Henry Doughtie, and Anne his wife, Thomas Stares, and Anthony Thornwood, complainants, against William Sydnor, Esq., and Henry Sydnor, Gent., deforcients; and of depositions taken at Lowestoft, on the 15th of March, in the seventh of James I., before Anthony Shardelow, William Southwell, William Cuddon, and Benedict Campe, Gents., by virtue of His Majesty's commission out of the Court of Chancery, to them directed. Richard Burman deposed, inter alia, that he knew the great water in Blundeston, called the common fenne, or common water, and the piece of ground called Hempwater green, containing about three acres; that the said water contained about sixteen or seventeen acres. That the messuage wherein Henry Sydnor then dwelt was sometimes of Maister Yarmouth. That the water and green had always been reputed as common. That the inhabitants fished in the water; wetted their hemp therein, and dried it on the green, and fed their cattle thereon. William Pynne deposed, inter alia, that he did not know that the said William Sydnor or Humphrey Yarmouth had any manor in the said towne; nor that there were more manors therein than the manor of Mr. Jettor, called Gunvilles. Robert Jettor deposed that the water is called the common water of Blundeston in a court-roll of the manor of Blundeston Gonville, dated the thirty-first of Henry VIII., and that he did not know that Mr. Yarmouth, or the defendants, had any manor in Blundeston, or that there was any other manor therein than his, called Blundeston Gonvilles. John Wood deposed, inter alia, that the said William Sydnor had obtained the leases from divers owners of sundry messuages or dwelling-houses in Blundeston, of their interests of their fishing in the said great water about twenty years sithence, and that he had before that sued some of the inhabitants of the said towne for having fished therein. That he and another, then churchwardens of Blundeston, did sell the alders growing in or near the said water, and did convert the money to the reparations of the town-house, and that other inhabitants did take poles, splints, and other wood growing there, &c. That he had heard that Mr. Yarmouth did keep courts in Blundeston, and had tenants therein, and that this deponent did hold of Mr. Sydnor, who had Mr. Yarmouth's estate, three acres of land, &c., and that Mr. Jettor had a manor in Blundeston, &c. Interrogatories to be administered to the witnesses to be produced on the part and behalf of William Sydnor, Esq., and Henry Sydnor, Gent., complainants, against Henry Winston, &c., deforcients. Inter alia. Do you know that Humphrey Yarmouth, Esq., deceased, was seized of the manor of Blundeston in Blundeston, and of land covered with water, containing forty acres, and which, on his death, descended to Henry Yarmouth, his son, also dead; who sold the same to William Sydnor; and that they severally held courts-baron, &c. And whether Humphrey Yarmouth, and Henry Yarmouth, his son, and William Sydnor afterwards, did not present to the living on the death or resignation of the incumbents. If the house wherein Henry Sydnor then dwelt was not called Blundeston Hall in court-rolls and writings. Whether, in the twenty-eighth of Elizabeth, in a controversy between the said William Sydnor, lord of Blundeston, and owner of the water, with the inhabitants as to the same being common or not, the dispute was not referred to Sir Edward Coke, then Attorney-General, and afterwards Chief Justice of the Common Pleas, and to Richard Godfrey, Esq. Whether in the thirty-first of Elizabeth there was not a similar dispute, and that it was amicably settled by the said Henry Winston and certain others of the inhabitants agreeing to release their rights of fishing in the water, and that they should have in lieu thereof, a certain driftway thereto from the highway, near the mansion of the said William Sydnor, and a certain piece of land at the end of the said water, containing three acres, for their use, and the feed thereof; and to wet hemp in the water, and dry the same on the said three acres of land, and might dig the soil and carry it away therefrom, and also from Mill Hill, in Belton Heath, and the timber, &c., growing on the said way for repairing the town-house; and whether the said agreement was not carried into execution; and if complainants did not for twelve years quietly enjoy the water, &c., after the execution of the releases. And whether, before the agreement, the inhabitants had a right to take the land, gravel, &c.; and if complainant did not clear the water, and make a bank, &c., for the fowl to breed, &c."
he Church at Blundeston,
which is a rectory dedicated to St. Mary, and now consolidated with the adjoining benefice of Flixton, is valued in the King's books at £13. 6s. 8d. It is a singular edifice, comprising a nave and chancel, with a remarkably high-pitched roof, covered with thatch. The tower, which is circular and small in diameter, rises but little above the ridge of the nave, and looks more like a chimney than a steeple. It exhibits decided marks of Norman erection, and was probably attached to an earlier edifice than the present church, which, apparently incorporating the north wall of the ancient nave, seems raised on a wider ground-plan, thereby bringing the apex of the western gable to the southward of the tower, and producing a very inharmonious effect. The masonry of both nave and chancel is composed of large squared flints, but the walls of the latter bulge outwards in a threatening angle, and foretell a speedy dissolution. The interior is lofty and effective, and very neatly kept; and a carved oaken screen beneath the chancel arch is well deserving of observation. The lower compartments of this screen were in olden days richly painted and gilt, as the accidental discovery of one portion, by the removal of some boards, fortunately evinces. This splendid example of ancient art forms an illustration to the present work, and has been engraved from the faithful pencil of the late Miss Dowson, of Yarmouth. St. Peter pointing to the keys of Heaven and Hell, and an angel with uplifted hands assuring us of our salvation through the passion of Christ, occupy the two compartments of a pointed arch, richly backed by a crimson ground, diapered with gold. There is a stiffness in the attitude of each figure, and a harshness of outline visible here, as in the works of more celebrated artists, even at a later period; but these paintings are, nevertheless, extremely interesting, as illustrating the success of art in England in the fifteenth century. There is a small piscina in the chancel, and some oaken benches in the body of the church of excellent workmanship, and an ancient benetura near the south door. In the tower hang two bells, one of which was brought from the ruinated church of the adjoining village of Flixton. The body of the church, which presents a far less fearful aspect than the chancel, has lately undergone considerable renovation, and is indebted to the zeal of Mr. Steward for the preservation of many of its ancient features.
Reginald Wynstone, by his last will, dated the 14th of April, 1438, leaves his body to be buried within the church of Blundeston, and constitutes William Wynstone and John Wynstone, his sons, his executors. In the Lansdowne MSS. (fn. 13) is a note, taken apparently about the year 1573, of several armorial cognizances which then ornamented the windows of this building. "In the chancel windows. Arg. a lion sable. FitzOsbert and Jerningham. Quarterly, arg. and b. quarterly indented, a bend gules. Arg. a cross engrailed gules. Bloundeville, or and b. quarterly, indented, a bend gules, sided with Gurney. Gules, 3 gemelles or, a canton ermine, billetted sable. Sable a cross sarsele or, betwixt four scallops arg. Sable, a chevron arg. between 3 cinquefoils or."—"In the church, gul. a lion argent. Arg. 3 buckles lozengy gules, Jernegan. Gu. and b. pale, on a fess wavy arg., 3 crescents sab. betwixt three crosses pale or. Blundeville and Inglos. Erm. on a chevron sab., 3 crescents or, syded with Nownton. Sir Ed. Jenney, erm. a bend gul. cotised or, quartering sab. a chevr. twyxt 3 buckles argent. Or and g. barre unde. Castell, gu., 3 castells arg. Sab. a chev. gules, droppe or, twixt 3 cinquefoils pserd ermine. Or and b. checke. Paston, Bolaine, Nawton, and Barney, Nawton and Howard. Or 3 chev. gu., on each 3 ermines arg. sided with Nawton. Sampson syded with Felbrig. Felbrig, on his shoulder a mullet arg. Bedingfeld quartering Tuddenham, and one of Knevett single."
Monuments.—There is an old floor-stone with a cross, but no other ancient memorials, in this church. Among the more modern are the following:
Robertus Snelling, Rector, obt. Sep. 12, 1690, æt. 65. Hic jacet Butts Bacon, Baronettus, Nicholai Bacon, Angliæ Baronetti primi filius septimus, qui obiit Maij 29, 1661. Dorothea Bacon, his widow, obt. Sep. 4, 1679. Arms. Bacon.
Elizabeth, daughter of John Burkin, of Burlingham, died Jan. 26, 1735. She was first married to the Rev. Mr. Gregory Clarke, and after his decease to the Rev. Mr. Thomas Carter.
¶Samuel Luson, died July 7, 1766, aged 33. Luson bears, quarterly, 1st and 4th, az. and gul., 3 sinister hands arg., 2nd and 3rd, erm., 3 roses. . . . Sarah Keziah Thurtell, died May 29th, 1833, aged 18 years. William Wales, died June 8, 1710, aged 63. Gregory Clarke, Christi minister, died 3 Ides of Jan. 1726, aged 45. William Sydnor, Esq., died 1613. Robert Brown, died Sep. 6, 1813, aged 52 years. Mary, his daughter, Aug. 18, 1812, aged 22 years. Sarah, wife of John Clark, widow of the above Robert Brown, died Nov. 16, 1818, aged 59. Elizabeth, second wife of James Thurtell, of Flixton, died June 15, 1823, aged 75 years. Elizabeth, wife of John Clark, died Jan. 28, 1801, aged 28 years. John Clark, died Oct. 7, 1826, aged 57 years. Stephen Saunders, M. D., born 17th Oct. 1777, died 1st Oct. 1814. Timothy Steward, of Great Yarmouth, died 25th of June, 1836. Mary, his wife, daughter of John Fowler, and Ann, his wife, died 22 Jan. 1837. Arms. Steward, quarterly, 1st and 4th. Or, a fess chequee arg. and az.; 2nd and 3rd, arg., a lion ramp. gules, debruised with a bendlet raguly or, impales Fowler, az. on a fess between 3 lions pass. guard, or, as many crosses patonce sable.
The registers of Blundeston commence in 1558. They contain several notices of monies collected by Brief in aid of sufferers by fire in distant parts of England. Among others, "To a loss by fire at ye head of ye Cannon-gate at Edinburgh, in North Britain, Jan. 13, 1708/9, 1s. 6d." The advowson of Blundeston with Flixton was sold in 1844, by Lord Sydney Osborne, to Thomas Morse, Esq., of Blundeston.
www.british-history.ac.uk/no-series/suffolk-history-antiq...
Had to Google this plant. Most probably in the scurge genus. The same genus as the poinsettia. No one was seen kissing beneath it.
צייר אמן ישראלי יוצר היוצר יוצרים היוצרים והיוצר והיוצרים ראליסטי רפי פרץ ראליסטים הראליסטי הראליסטים הריאליסטים הריאליסטי ריאליסטי פיגורטיבי הפיגורטיבי פיגורטיבית הפיגורטובית רישום רישומים הרישום הרישומים ברישום ברישומים לרישום לרישומים רשם רשמים לרשם לרשמים ורישום ורישומים הרישומים והרישומים שרבוט שרבוטים השרבוט השרבוטים כתם קו קווים הקווים הכתמים בכתם בכתמים בקווים בקו דיו עפרון בדיו בעפרון בעפרונות בעיפרון בעיפרונות עיפרון הדיו העפרון העיפרון הדיו אקספרסיבי האקספרסיבי אקספרסיביות אקספרסיבית האקספרסיבית באקספרסיביות אקספרסיה רגש ברגש ברגשות הרגשות נייר ניירות בנייר בניירות הנייר הניירות דיוקן הדיוקן הדיוקנאות בדיוקן ודיוקן מדיוקן לדיוקן דיוקנאות ודיוקנאות מדיוקנאות לדיוקנאות מדיוקנאות פנים הפנים פני עכשווי מודרני הצייר הישראלי העכשווי המודרני אמנות ישראלית עכשווית מודרנית האמנות הישראלית העכשווית המודרנית אומנות העכשוויות הישראליות העכשוויות המודרניות ציור ציורים הציור הציורים וציור וציורים לציור לציורים מציור מציורים מצייר מציירים ומצייר ומציירים שמצייר שמציירים של עם
האמן האמנים האומנים לאמנים לאומנים והאומנים ציירים הציירים והציירים לציירים מהציירים מהאמנים אומנות האמנות באמנות לאמנות ואמנות באומנות לאומנות והאומנות אמנותי האמנות האומנותי האומנות תערוכה תערוכות התערוכה התערוכות הגלריה הגלריות בגלריה בגלריות והגלריה והגלריות מהגלריה מהגלריות מהתערוכה מהתערוכות חדש חדשני החדש החדשני חדשנית החדשנית מקורי המקורי המקורית מקורית מיוחד המיוחד המיוחדים מיוחדים המפורסמים המפורסם מפורסם מפורסמים בישראל ישראל וישראל בציורי ציורי וציורי לציורי מציורי בדים חזקים עזים החזקים העזים לבית לסלון למשרד בית סלון משרד לבתים למשרדים משרדים בתים למכירה מכירה המכירה מכירות מוכר המוכר קונה הקונה קונים הקונים בקנייה במכירה פומבית הפומבית לרכוש רכוש ברכישה ישירה הישראליים ישראליים העכשוויים עכשוויים מודרניים המודרניים ישראלים עכשווים מודרנים פלסטי פלסטית הפלסטית הפלסטי החזותי החזותית חזותית חזותי ויזואלית הויזואלית הוויזואלית הוויזואלי ויזואלי וויזואלי הוויזואלי הויזואלי
drawings of man and woman relationship and love drawing men woman sketch art ink on paper ,Dibujos de hombre y mujer relación y amor dibujo hombres mujeres dibujos arte tinta sobre papel por ,dessins de relation homme-femme et amour dessin homme femme croquis encre d'art sur papier ,رسم، بسبب، شغل و المرأة، إلتزم، أيضا، حب، التخطيط، الرجال، المرأة، رسم، طريقة، الحبر، عن،
ورقة kişi və qadın əlaqələrinin təsvirləri və kişilərin rəsm çəkmələri qadınlar üzərində çəkilmiş rəsm mürəkkəbləri gizonezko eta emakumezkoen arteko harremanak eta gizonezkoak marrazteko marrazki bizidunen marrazkia чарцяжы мужчына і жанчына адносіны і люблю маляваць мужчынам жанчына эскіз мастацтва чарніла на паперы,рисунки на мъжки и женски взаимоотношения и любов изготвящи мъже жена скица изкуство мастило на хартия,dibuixos de la relació entre l'home i la dona i l'amor dibuixar els homes dona dibuixar tinta sobre paper,crteži odnosa između muškaraca i žena i ljubavi crtanje muškaraca žena skiciraju umjetničku tintu na papiru,kresby muže a ženy vztah a lásku kreslení muži žena skica umění inkoustu na papíře,tegninger af mand og kvinde forhold og kærlighed tegning mænd kvinde skitse kunstfarve på papir,tekeningen van man en vrouw relatie en liefde tekenen mannen vrouw schets kunst inkt op papier mga guhit ng lalaki at babae na relasyon at pag ibig sa pagguhit ng mga lalaki babae sketch art tinta sa papel,piirrokset miehen ja naisen suhteesta ja rakkaudesta piirustus miesten naisen luonnos taiteen mustetta paperilla,dessins de relation homme femme et amour dessin homme femme croquis encre d'art sur papier tekeningen fan manlju en froulike relaasjes en leafde tekenjen manlju fraaie skets keunsttinte op papier,Zeichnungen von Mann und Frau Beziehung und Liebe Zeichnung Männer Frau Skizze Kunst Tinte auf Papier,Σχέδια της σχέσης άνδρα και γυναίκας και της αγάπης άντρες άνδρες σκίτσο μελάνι τέχνης γυναίκα σε χαρτί कागज पर पुरुष और महिला रिश्ते और प्यार ड्राइंग पुरुषों महिला स्केच कला स्याही के चित्र ציורי זוגות רישום זוג גבר אישה יחסים אהבה רשם ישראלי רפי פרץ שירבוט שירבוטים אמנות עכשווית מודרנית סקיצות גברים נשים אוהבים שונאים rajzok az ember és a nő kapcsolat és a szerelem rajz férfiak vázlat művészeti tinta papírra,teikningar af sambandi karls og konu og ást teikna karla kona skissa blek á pappír,gambar pria dan wanita hubungan dan cinta menggambar pria sketsa art tinta di atas kertas,líníochtaí caidreamh fear agus bean agus grá líníocht fir fir sciath ealaíne sceitse ar pháipéar,disegni di uomo e donna relazione e amore disegno uomo donna schizzo d'arte su carta,wêneyên mêr û jina pêwendî û hezkirina mêrên jinan bi kaxizê jinê de jîngehê,vīriešu un sieviešu attiecību zīmējumi un mīlestības zīmēšanas vīrieši sievietes skices mākslas tinti uz papīra,vyrų ir moterų santykių bruožai ir meilės piešimo vyrų moterų eskizas ant popieriaus
Nimrat Khaira ( Singer ) Wiki, Height, Biography, Weight, Relation [ Unknown Fact ] – Nimrat Khaira Full Name Nimratpal Kaur Khaira Beautifull Punjabi Female Singer. She is Very Talented Punjabi Singer and Winner of Voice Punjab Season 3 (2013) Nimrat Khaira Was Born on 22 December 1992. N...
punjabitoday.com/celebrity/nimrat-khaira-singer-wiki-heig...
“Our fulfillment is not in our isolated human grandeur, but in our intimacy with the larger earth community, for this is also the larger dimension of our being.”
—Thomas Berry
“Relation is the essence of everything that exists.”
—Meister Eckhart
Thousand sparkling diamonds in the rippling sea,
Rustling whispers of the evening breeze,
Fragrance of the newly bloomed red roses,
Makes me enlightened every day…..
What is it???
Is it simply a reflection, YOU AND I
Or a blood relation, brings u near
Whatever so the warmth and cold
A lovely relation ever to hold
Let the magical bond always keep the spell of YOU AND I
For all the memorable moments we are yet to see!!
The loving smile and caring touch,
The naughty teases and mischievous fights,
The sharing thoughts and valued words,
Makes me adorable every day…
What is it???
Is it simply a reflection, YOU AND I
Or a blood relation, brings u near
Whatever so the warmth and cold
A lovely relation ever to hold
Let the magical bond always keep the spell of YOU AND I
For all the memorable moments we are yet to see!!
Like a gem among pebbles and stones,
Like a hidden pearl in an oyster shell,
Like a honey dew in a flowering bud,
Makes me surprised every day…
What is it???
Is it simply a reflection, YOU AND I
Or a blood relation, brings u near
Whatever so the warmth and cold
A lovely relation ever to hold
Let the magical bond always keep the spell of YOU AND I
For all the memorable moments we are yet to see!!
Every rising sun with its thousand brilliant rays,
Every dream with its glowing angelic wings,
Every face with it subtle beautiful expressions,
Makes me happier every day...
What is it???
Is it simply a reflection, YOU AND I
Or a blood relation, brings u near
Whatever so the warmth and cold
A lovely relation ever to hold
Let the magical bond always keep the spell of YOU AND I
For all the memorable moments we are yet to see!!
“KALYANI”
Spl dedication to Anuj bhai!!!